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To The Pointe meets Niamh de Valera

Now more than ever we need to be supporting the arts, but as I trudge through the news, the stories that seem to be getting the most attention are those of established leading theatre and dance companies struggling to stay afloat. But what about the little guy? What about the small, independent art-house type companies with their hands up trying to get attention? The arts community is headed into a lot of trouble in the aftermath of the Covid pandemic, and unfortunately, it doesn’t matter what size your theatre is, it’s going to be a long and difficult road ahead. Blue Elephant Theatre is the type of independent theatre that’s going to need a helping a hand. Set within the heart of Camberwell, the venue is living proof that the arts need to remain alive. I spoke with Niamh de Valera, Blue Elephant’s Executive Director and Co-Artistic Director, to find out more about this special venue and how we can offer support in such a time of need.

Niamh de Valera and Jo Sadler-Lovett, Co-Artistic Directors of Blue Elephant Theatre, photo by Sam Dunstan

Founded by Antonio Ribeiro, a young Portuguese theatre maker, Blue Elephant Theatre is celebrating its 21st birthday, an accolade that Niamh is proud of and pleased to be promoting across social media. Ribeiro was looking to create a space to show new and international work which would also fit within the heart of a community. He worked with Southwark Council to create the theatre out of a closed down performance venue which sat on the Wyndham & Comber Estate in Camberwell. Just over two decades later and the Blue Elephant Theatre remains a hub of opportunity for local residents, making the arts accessible to anyone and everyone. Niamh tells me that BET is ‘a place to support artists, particularly emerging artists and diverse talent.’ I ask about her introduction to the theatre and she tells me “I walked in as a very nervous stage manager eleven years ago and I never left! It’s a place with a big heart and I feel very privileged to be part of it.” She managed shows and then began volunteering with the youth theatre and front of house team before assisting with production. She spent time as a press officer, which she tells me she loved, but then moved to cover then Artistic Director Jasmine Cullingford’s maternity leave as General Manager. Niamh is now leading the theatre alongside Jo Sadler-Lovett, and says they have the “privileged position to be choosing the direction BET takes in its programmes and how they support young artists to develop.” They have taken time together to figure out how to co-manage the theatre, and it seems to be going well, with their 2019 season boasting a range of productions.

Members of the BET Youth Theatre with Gareth Malone’s All Star Choir for Children in Need

I ask Niamh what some of her highlights have been whilst working at BET and she sighs whilst telling me there are so many to choose from. “One has to be when our Youth Theatre joined Gareth Malone’s All Star Choir for Children in Need. They recorded a single and it went to number one. I just kept thinking, how could this tiny theatre from nowhere get to number one?!” Their hard work over the years paid off when they found out, via Twitter, that they were going to be regularly funded by the Arts Council. Niamh tells me that writing and directing the BET Christmas show was another highlight thanks to an excited younger audience who believed Father Christmas had really come to visit them.

Monument Theatre Company in 'Windrush Square', photo by Femi Olubode

If you go on the BET website and look at their programme, it won’t take too long a scroll to realise how varied their offerings are. From spoken word, to contemporary dance, to theatre shows, there is something for everyone. I wonder which shows in particular have had an impact on Niamh and again she tells me how she hates to pick and choose as she gets so close to everybody. “I’m hugely proud of ‘Easy’ which was on before Christmas. I had worked with Paradox Theatre for more than a year and then to see how they worked to develop that show was amazing. I also loved ‘Windrush Square’ which was a devastating force of a show set amidst the Brixton Riots in the 1980s. One of the first shows I stage managed, ‘The Title of the Drama About Ante is Written Here’ is also hugely memorable as it was an incredibly unusual and beautifully theatrical piece.” Niamh tells me that seeing shows start at BET that go on to great acclaim at Edinburgh Fringe Festival or international tours is a hugely rewarding part of her experience at the theatre. “Feeling like we’ve made a difference is what I enjoy most about the work. When someone tells you that they couldn’t have done their show without you is so special. There’s a lot of thankless work and long hours for Jo and me so when we are thanked by parents for entertaining their children or a past participant comes back to tell us what part we played in their success, it makes it all worth it.” It’s not just the performers and parents that BET support though, they actively work to engage with the local community. Next door to the theatre, there is a home for recovering addicts who are often invited to shows, some of whom attend every performance during their stay. They also work in a number of local primary schools and run youth theatres for free, and offer a monthly writers’ group. To make performances more accessible they have a free ticket scheme for SE5 and SE7 residents and offer discounted tickets for all Southwark residents. Niamh tells me how it has been wonderful seeing drama transform young people and I ask her why she thinks the arts is so important. “The arts help you see things that you wouldn’t necessarily see otherwise. It can give perspective and raise aspirations and can open up the world in various ways.” I couldn’t agree more and am saddened at the possibility of seeing the arts dissolve following Covid. I wonder how the pandemic has affected BET and Niamh tells me that a lot of work was cancelled, including programmed shows, workshops, showcases in schools and youth theatre sessions. She doesn’t wallow though and tells me how great technology has been to keeping their programmes alive. ‘We’ve been able to move our youth theatres online so that we can still reach young people.” We later discuss that support has never been so important for the arts and she tells me “we all need to support the growing campaigns asking the government to provide more support for the theatre industry and those working in it as it’s being very badly affected by these long-term closures.” It’s going to be an interesting road ahead for the arts but I have no doubt that the dedication and passion from the staff at Blue Elephant Theatre will ensure it remains a staple in the South London theatre scene.

Please see below for ways you can support Blue Elephant Theatre…

“Support is always amazing and very, very welcome. If you can afford to support us financially, you can make a donation here: https://uk.virginmoneygiving.com/donation-web/charity?charityId=1004040&stop_mobi=yes

Or you can sign up to ‘Give As You Live’ which allows us to receive money when you pay for things online without any additional cost: https://www.giveasyoulive.com/join/blue-elephant-theatre?utm_source=charityfr&utm_medium=post&utm_campaign=FRFathersDay&utm_content=08jun2020

Please follow us on social media and share our initiatives - and read our Elephant Tips as we seek to amplify the work of emerging artists we know and other local opportunities.”

*Thank you to Niamh de Valera and to all the staff at Blue Elephant Theatre

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