Liverpool is said to be “bucking a trend” that other regions in the country can’t
Diane Belding, Theatre Director at The Empire.(Image: Andrew Teebay)
Liverpool’s theatre scene is reportedly a cut above the rest, and it hasn’t slipped under the radar, according to those in the know.
While there’s an influx of fresh writing and diverse talent, the underlying issue of funding cuts and the struggle to rekindle audience interest post-pandemic cannot be ignored. To say it’s a lively yet unstable period would hit the nail on the head.
Despite these challenges, the city is brimming with talent, boasting years of experience, ready to confront these issues head-on. Take, for instance, Liverpool Empire’s theatre director, Diane Belding.
The 60-year-old, living in Halewood, has savoured the industry from every possible job role it has to offer. Since beginning her career three decades ago, she’s worked front-of-house, as an assistant, in the box office and even indulged in the technical side of things.
Diane Belding, Theatre Director at The Empire as it celebrates 100 years(Image: Andrew Teebay)
However, Diane, originally from Grimsby, said the industry is thriving more than ever. She told the ECHO: “Liverpool has a traditional theatre set up, and that’s what attracted me. It’s a beautiful city with an iconic theatre. It was a pinnacle moment of my career to come here and get my role back in 2012.
“We need to look at the bigger picture, and that is, this is our 100th birthday year. We’ve had this vision for some time now that we wanted to make this a really spectacular year for the city and for our programme. It’s been in the works for years now.
“The theatre industry is doing well, and thanks has to be given to the people of Liverpool. The people in the city are really keen and passionate about cultural and live entertainment, and they have supported us every step and every show of the way.”
The Empire has had an impressive line-up of award-winning shows as of late(Image: Andrew Teebay)
The Empire enjoyed a record-breaking year in 2024 in more ways the one. Diane said the occupancy numbers “were off the scales”, with nearly 600,000 people attending a show over the 12-month period. There were also fewer dark days than ever, with only a handful of days not hosting any form of entertainment.
Diane said: “We’ve built such a strong relationship with first-class producers. People like Cameron Mackintosh, Disney, and Andrew Lloyd Webber all have great reputations with us.
“They trust us, and they know the Liverpool audience will deliver. They have such confidence in us, and this is how you end up with the likes of Hamilton for five weeks. We have been surpassing their expectations over the last few years.
“Each audience member contributes to the overall experience of the show, and that’s what a producer wants. They are very aware that Liverpool audiences are second to none – they are kind, responsive, and always come with a warm welcome. It doesn’t go unnoticed.”
Anthony Proctor from the Epstein Theatre.(Image: Andrew Teebay)
Diane wasn’t alone in her sentiments. Anthony Proctor had similar praise for a Liverpool audience. The 39-year-old, from Maghull, told the ECHO it was one of the things he was most looking forward to when he and his team reopen the Epstein Theatre later this year.
The long-standing venue shut for two years, and it was touch and go for a while, whether it would ever welcome customers through its doors again. However, as reported, this is no longer a fear as the 112-year-old venue will be reborn with a grand opening night on Friday, September 19.
The general manager of the Hanover Street venue, said: “Liverpool has always been a bit more individualistic – people are always going to go and live their lives. They are looking for that shared experience, and the theatre offers that.
The iconic Epstein Theatre will reopen in September 2025(Image: Andrew Teebay)
“We hear all these negative things about the ups and downs of the industry, but the reality is that it has been the heart of Western culture for hundreds of years – it’s part of the fabric of society.
“I really do believe that people really value going out and being in a big crowd and part of an audience. It’s a fantastic experience to sit through. I go to the theatre a lot on my own, but I never feel alone in the theatre – I’m sitting with 1000 people.
“We love being told a story as a society – that’s something that’s ancient. It’s a wonderful thing – it just shows that with the technology we have developed, but as a society, we haven’t changed that much. That’s why these old plays still resonate because they speak to our humanity.”
Anthony said the “overwhelming” reaction alone to the initial news that the theatre would be reopening highlighted the city’s admiration for the art form and how keenly its absence was felt by audiences and performers.
Director and writer Stephen Fletcher recently finished directing the critically acclaimed run of Shirley Valentine at Liverpool’s Everyman
Writer and director Stephen Fletcher said the city’s theatre offerings were “the best antidote” to negative stereotyping. The 44-year-old, from Runcorn, believes the challenges of the arts funding cuts have only strengthened professionals in their craft.
The LIPA graduate, who now lives in the city centre, said he has had to chop and change his role “just to stay afloat and survive”. He added: “We’ve all had to get clever in creating our work. But in these times, the best work comes out. You make things happen in tough times and adversity, and produce great work.
“It has always felt like the arts have always been targeted and challenged regardless. There’s very little of it in schools compared to other subjects. It’s not a massive part of the curriculum at all. The arts have been challenged in every way, but we are still standing.”
Director and writer Stephen Fletcher regularly has shows at the Royal Court Theatre(Image: Colin Lane)
Stephen argues that films on stage – such as Stranger Things, Back To The Future and Matilda – have made a massive impact. He said there is already a given audience for that production, and therefore it’s a successful formula every time.
He said: “There’s no real surprise about how successful they have been. There’s a guarantee you are going to have a good night because you know what to expect and you know how it plays out.
“Streaming plays from the theatre onto TV, like Jodie Comer’s Prima Facie, has also brought theatre into people’s living rooms. Technology has been massive in keeping the theatres alive. It’s been decades since I graduated, and I’ve seen so much happen, but we are doing something right if it keeps doing this well. Often, the talk can be that regional theatre is suffering, but Liverpool is bucking that trend.”