As the campaign to reinstate The Actors’ Centre grows in intensity, with a lack of comment from the Seven Dials Playhouse’s trustees and CEO, it is concerning to hear that another London theatre is struggling with financial pressures. The Seven Dials Playhouse has been known by other names, but the ones that most people will be familiar, are The Actors’ Centre, and the Tristan Bates Theatre. Did you know that this theatre was once a thriving centre for actors to attend workshops, try out their work, and hone their acting skills using the previously named Tristan Bates Theatre as their launchpad? As we mull over the future of this theatre space, let us look back at why the theatre is now in this position.
In 1978, The Actors Centre was founded as a charity by Clive Swift, Dame Sheila Hancock, John Alderton, and William Hobbs, and the founding Patron was Sir Laurence Olivier. In 1994, the current home of Seven Dials Playhouse, No 1A Tower Street was bought with help from Anthony Hopkins, with the intention of using the building as a creative home for actor’s training, workshops, with seasons of work from emerging and established companies. Sir Alan Bates became Patron and raised funds to establish the Tristan Bates Theatre in memory of his son. And this was how The Actors’ Centre functioned, providing actors with a hub and community, to continue their training, and to share and develop ideas. Here is a link to a YouTube video, where actors involved with The Actors’ Centre explain why the centre is so important.
Then, the pandemic hit, and like many institutions that were just keeping their heads above water, they saw membership numbers fall, but this was understandable, as many actors had little to no work. There was some money coming into The Actors’ Centre from membership fees, a small number of online workshops, plus donations, grants, and money from the Government’s Recovery Fund, totalling £461,000.
It is at this point that I should mention that in October 2019, a new Chief Executive was appointed, Amanda Davey, whose job it is to manage the day-to-day running of the charity, including its financial management, and submit any future ideas to the charity’s Board of Trustees for consideration and approval. It was an unfortunate time to take over the management of The Actors’ Centre, as any plans Davey may have had to make her mark, came at a time when the pandemic would hit the industry badly. Looking through the accounts, this not-for-profit business had kept its head above water, with a good turnover, but not a great deal of profit, as you would expect from a not-for-profit business. Their largest asset is the building, which had a mortgage, and large debts charged against the property (source: Companies House). Let us remember that this building was bought by money raised by actors.
In the accounts dated the 31st March 2021, the Trustees Report states that ‘they intend to implement a new business model’ – this was well into the pandemic and followed an appeal to raise funds to help to keep The Actors’ Centre afloat only the year before. It is at this point that the Trustees decided to re-brand The Actors’ Centre. The institution that had a well-loved name within the industry, which had received funding and support from beloved actors to support young actors who were making their way in this tough industry. There appears to have been no consultation to members who only found out about the changes after the decision was made. Financially, at a time when the charity had overheads and debts to pay; they paid a re-naming consultant, and management consultants to assist in the re-branding, costing the charity approximately £65,000.
If you wish to look at the Seven Dials Playhouse’s accounts, you will not see anything after the 31st March 2022, as they extended their accounts deadline by six months until 30th September 2023, which means that their latest set of accounts was due on the 30th September 2024. On the 10th September 2024, the Trustees submitted a request to shorten the previous accounts deadline to the 29th September 2024, thereby gaining another three months grace from submitting their accounts. Accountancy quick-step is at play here, to hold back information being published into the public domain – it is perfectly legal to do so, but one has to wonder why this was implemented.
In addition, in July 2024 the Seven Dials Playhouse put their building on the market for approx. £4m, with an understanding that they can rent the building back for £300,000 p.a for 15 years. The Trustees are also behind with their charity commission report submissions, and I also understand that the Charity Commission are investigating the situation of the sale of No 1A Tower Street, the charity’s financial position, and its governance. I believe that the building’s lease has now been sold, so the above comes into effect, and a new challenge faces the Trustees, after managing the charity with only a small rent to pay, they must now find £300,000 per year on top of any other running costs of the theatre. At the expense of the financial security of the theatre, there is a property investor somewhere taking home 14% rental income each year, albeit with a substantial risk of the theatre defaulting in future.
From an operational perspective, there has been a sharp decline in shows being produced at the theatre, the autumn programme is sparse with a handful of shows and a few comedy nights.
So…where do they go from here?
Will they finally allow the group ‘Actor At The Centre’ who have been campaigning for the return of actor training, to bring in actors and much needed funds back into the building again? Will they find sponsorship or significant donations? It is sad to think that such illustrious names as Sir Laurence Olivier, Sir Alan Bates, Sir Ian McKellen, Dame Sheila Hancock, and Sir Anthony Hopkins (to name but a few); who all involved themselves with The Actors’ Centre over the years, have been deemed to be no longer relevant. What we do not want to see is another boarded up theatre/training space, the sale of the building has bought the Trustees some time but is this just putting off the inevitable. Let us hope that the Trustees plan is a good one, and that with the new injection of funds, they can attract community back into the theatre. After all, theatre is made by the people, for the people!
N.B. All figures quoted in this article, are freely available from the Companies House, and the Charity Commission websites.
If you would like to support the campaign to bring back actor training to No 1A Tower Street, then you can sign the petition here – https://www.change.org/p/return-ongoing-professional-training-for-actors-to-the-actors-centre
Written by Caroline Worswick
Deputy Editor
North West End UK