NEXT STEPS FOR THE KEY THEATRE: LOOKING TO A BETTER FUTURE
/PETERBOROUGH CULTURE FORUM
On Monday 10 January 2022 members of the Peterborough Culture Forum met again to continue our discussion about Peterborough City Council’s decision, using emergency powers, to close The Key Theatre. An earlier discussion was held on Monday 20 December, where the Forum identified the value of The Key, which is summarised in a blog post HERE. Both sessions were chaired by Kate Hall, Jumped Up’s Creative Producer.
The discussion started with another sharing of updates of developments since 20 December, and these are summarised here:
i) PCC will be selling the site, after a valuation by specialists, though it is unclear as to which financial year this has to happen. The priority is to retain the building as cultural facility, and for it not to become redeveloped for flats etc.
ii) No covenant has been found as yet restricting activity on the site or the building.
iii) Kindred / Key Youth Theatre and The Chalkboard have had licences agreed for operation upto at least March 2022
iv) There have been 7 expressions of interests in running services in the building, not all are arts or theatre organisations or currently run venues.
v) The petition on the PCC website is close to 4500 signatures and there is very strong and vocal support in the Save The Key Theatre Facebook group.
vi) A meeting was held with the Theatre Trust, who are familiar with Peterborough due to the history of The Broadway Theatre (now The New Theatre), and were aware of the situation at The Key. They want The Key to remain operational as a venue for performance. They are seeing the challenges faced by The Key in other venues of similar sizes and set-ups across the country, and will be bringing groups together to explore what new models of mixed-income streams could be feasible, as running as a traditional theatre of this size without subsidy is not considered possible.
vii) BBC Look East is interested in this story and will be / has interviewed Kate Hall and others it.
viii) The Culture Strategy Group has met to discuss how the closure of The Key Theatre impacts of the new Culture Strategy and is awaiting PCC’s next steps.
ix) A large number of organisations, from voluntary / amateur drama and dance groups to touring companies to the university/college have been seeking alternative venues for their events and shows. Some have already reolocated including to The Cresset and The Undercroft. Organisations asked for advice on how to be kept updated by The Key on their bookings.
x) Sarah Haythornthwaite, Director of Peterborough Presents CPP, has put a call out to the CPP network for advice and models, the broad view was that there are not existing models for venues without subsidy.
xi) Jamie Fenton, Partnership Manager for Sport, Culture and Leisure at Peterborough City Council shared an update that the council is in advanced negotiations with an operator to take on running The Key for a 12-month period, before a permanent solution could be found. Other details sit within City Culture Peterborough but the intention is to honour the programme in place.
xii) Harrison Fuller fsaid staff and kit from Young Technicans’ Academy are available to support companies who have relocated.
xiii) Toby Wood from the Civic Society has spoken to Toby Jones from ARU (new university being bult next to The Key) and have agreed that the future of The Key is important in relation to the Embankment Masterplan (result of consultation due at the end of January 2022.)
Next steps:
1) Can we collectively help those needing new venues for their events and projects?
2) City Culture Peterborough asked to update community groups as to what is happening with their bookings.
The Forum then looked to the future. After a brief read of the new Culture Strategy, particularly the Outcomes in pages 5 & 6 HERE the Forum went into breakout groups, and then reported back their vision for a more sustainable future for The Key. Ideas that came forward included:
1) Fundraising skills and capacity to be added to The Key Theatre team, including bids to Arts Council England and Heritage Lottery Funding, as well as commercial sponsorship and private donations. And community focused funding to support groups to use the building.
2) In addition capacity is needed for there to be the creation of projects and initiatives from where income can be generated and audiences developed.
3) A new formula needs to developed for amateur / community groups who are unlikely to be able to bear increased costs at The Key under a new operator as they already deliver 70-80% ticket sales (which is above national average) and already find it difficult to balance the books. One possible option could be a “season” of community theatre which may be attractive to sponsors / angels, and a source of income for the building.
4) Using the space better – back-to-back bookings through the day, use of the upstairs as a cabaret bar, and other innovations.
5) Tying into provision for the university, from lectures to socials i.e. as a Student Union.
6) Utilising the setting of The Key’s riverside environment, which is attractive for those looking to socialise, hot-desk and also for health and well-being.
7) Friends of The Key Theatre, similar to the Friends of the Lido or Eastern Angles’ Copperfield programme. whereby people pledge a monthly amount. A straw poll in the meeting set this rate at £5-£10, which is full donation with no additional benefits. The comment was made that the level set would be very reliant on what the future operation of The Key was going to be, that this money would make positive change not just replace PCC funding or to prop up a commercial venture. It could also relate to a particular benefit / activity - such as providing a subsidised ticket for low-income audiences.
8) A fundraising campaign, similar to the buy-a-brick campaign, including Gift Aid if a charitable trust, that The Cresset ran or The Save The Green Backyard campaign, to create an endowment for The Key Theatre.
9) Build a relationship with the new communities living on Fletton Keys – what do they want?
10) Innovation in programming led by specialists: Party vibes and club nights, innovative poetry events including music and open mics, cabaret, music, programming for multiple cultures especially as they are not provided for elsewhere,, ballet and dance as the space is really suited to it, talks, developing the city’s music scene, use of the studio as creative space linked to other venues’ programming, programming in the social spaces including hot-desking.
11) Accredited training in technical theatre.
12) Visible, credible and positive leadership and a positive welcome to everyone who comes across the threshold.
The city needs the theatre to have LEADERSHIP, that the uses of the space are FLEXIBLE, and that it’s values need to be CONDSOLIDATED. It is a KEY entry point for residents and visitors, and reflects the character of the city. It may feel isolated now but with the development of the Embankment is can be the much-needed cultural hub, where, uniquely in Peterborough artists and audiences can truly connect. And that there needs to be a LONG-TERM commitment to create this success, otherwise we will just be back here. having this conversation again in 12-18 months time.
Those present included:
Kate Hall, Creative Producer, Jumped Up Theatre (Chair)
Sarah Steenhurst + Ruth Campbell, Metal
Di Fox, Mask Theatre
Sarah Haythornthwaite, Peterborough Presents
Keely Mills, Peterborough Presents / Eastern Angles
Charley Genever, Peterborough Presents / poet
Ivan Cutting, Eastern Angles
Helen Gould, Writer
Toby Wood, Civic Society
Jamie Penton, Peterborough City Council
Jack Heaton, Arts Council England
Andy Saunders – various amateur groups
Penny Hansen – the Cresset / YMCA Trinity Group
Steph Peachey – Festival Bridge, PHACE CIC, Cultural Strategy Steering Group
Russ D-B, freelance sound engineer / Westwood Musical Society
Louise Thirwell, Project Development Officer (Arts)
Stuart Haw – CAT Researcher
Alan Ribakovs, Chair of Westwood Musical Society
R. Nicholls – Peterborough Adult Education College
Harrison Fuller, Young Tech Academy
Apologies:
Matthew Bradbury, Nene Part Trust