Stepping in at a pivotal moment for UK stages, newly appointed Theatres Trust CEO Joshua McTaggart sets out his priorities for the sector. In this Q&A, he talks widening access, backing community-run venues, tech-enabled storytelling, placemaking and policy reform—while gearing up for the Trust’s 50th year in 2026 and a long-term vision to 2050.
As the new CEO of Theatres Trust, what are your top priorities for leading the organisation in its next chapter?
I have joined Theatres Trust at a really pivotal time, as this is arguably one of the most challenging periods for theatres since Theatres Trust was founded in 1976. As a UK-wide organisation, it is really important to me to get out and about across the four nations and really understand what is happening on the ground for theatres, their hard-working teams, and their committed audiences. Having spent over a decade leading and running theatres myself, I want to make sure I keep my finger on the pulse of the sector given that my day-to-day is no longer directly in a cultural building. Given 2026 marks Theatres Trust’s 50th anniversary, another significant priority for me is launching a year-long programme that celebrates five decades of making sure everyone has access to theatres on their doorstep, while building the foundations for our next strategic plan that will take us into 2030 and beyond.
How can theatres innovate their programming and engagement strategies to attract new, younger audiences without alienating long‑standing patrons?
I often talk about “the audiences of tomorrow”. But it’s not a case of “young vs long-standing patrons”. For me, the real question is “How do we break down the barriers so that anyone, no matter their age or lived experience, feels able to – and wants to – step through the door of a theatre”. I am confident that theatres across this country are already showcasing work that has a wide appeal and brings in a great mix of audiences, so I’m interested in how Theatres Trust can support the sector to engage with the people who think “Theatre isn’t for me”. I’ve never heard anyone say, “Music isn’t for me”, so I wonder why this is sometimes the case for theatre. I think we have a real opportunity to remind communities that theatre is not one homogeneous entity. The artform ranges from panto through to Shakespeare, opera through to jukebox musicals, solo shows to casts of hundreds. We should be proud of this variety and not be afraid in reminding our communities that one local theatre building hosts hundreds of different performances throughout the year. I want Theatres Trust to be the beacon organisation that helps people across the country realise that their local theatre has something for everyone, and they are places for discovery no matter your age.
What hybrid or digital‑adoption models do you see as most promising for expanding theatre’s reach and resilience?
Whether it’s the live video feed of Rachel Zegler on the balcony of the Palladium in Jamie Lloyd’s “Evita” that is catching the press’s attention, or a grassroots venue installing an updated lighting desk so that it can use the most advanced programming systems, theatre has always been the home of innovative digital creativity that changes the way we see the world. Ultimately, theatre is a storytelling artform, and audiences go to the theatre to be transported into a world of imagination and inspiration. Therefore, technology in theatres must first and foremost serve the story being told on the stage. So, it’s important we are updating and equipping our theatres so that they can handle the ambitions of our creative and production teams. There is no one ‘silver bullet’ to make theatres resilient or expand their reach, but if our artists are unable to use their technology of choice, then we begin to limit their storytelling abilities. Each theatre will have its own approach based on its size, scale, and operating model, and Theatres Trust guides a number of theatres each year through small and medium-scale capital works that ensure the internal technological systems are fit for the future of on-stage storytelling.
What role should theatres play in addressing social issues and how can Theatres Trust support that?
We know there’s a mental health crisis in this country, especially facing our young people, and in the years since the pandemic we are seeing a concerning rise in those suffering with isolation across generations. Theatres are not just spaces for entertainment; they are places where communities can gather, connect, and share. Theatres, and those leading and programming them, have long been at the coalface of addressing social issues, but have not received the credit or recognition for this work. Perhaps the question is not what role theatres should play in addressing social issues, but how can we make sure that communities (and funders and government for that matter) know how their theatre is already addressing local issues, and how they might get involved. There is definitely a role for Theatres Trust to play in championing that work, and I am excited to amplify how theatres are making their local area a better place to live.
How do you plan to support smaller community‑run theatres that may lack the resources of commercial or subsidised venues?
The theatre ecosystem is wide and varied, which is what makes it so special and unique. One of Theatres Trust’s key roles is ensuring that smaller-scale organisations and those run by volunteers have the opportunity to thrive and grow. We already run a number of capital grant programmes focussed on sustainability and accessibility, which are always oversubscribed given the great need for investment in theatres. However, one of the most important ways we support smaller venues is through our free-to-use expert advice service, which any theatre – no matter its size or scale – can access. Although many theatres already benefit from the support given by our sector specialists, we have an opportunity to make sure more theatres, especially those that are community-owned, amateur, and volunteer-led, know that Theatres Trust is on hand to advise on any issue, from business planning to capital projects.
Inclusivity is central to Theatres Trust’s mission. How will you ensure theatres across the UK better reflect and serve their diverse local communities?
I believe that inclusion is already at the heart of theatres, but that is not to say there is not room for improvement or growth. The world is currently divided and a challenging place, but each night theatres open their doors to shine a light on that world and together we share in a story of what might be instead. Theatres must continue to work hard to firmly open their doors to their local communities and build on the important work already being done to ensure the stories on stage represent the breadth, depth, and diversity of lived experiences in people’s lives. But there are other questions to ask when it comes to inclusion. Are our tickets affordable for a whole family? Is our venue easy to get to if you don’t drive? Do we provide the right information, so audiences feel safe and included? Inclusion begins on stage, but it must extend to the whole operations of a venue. Theatres Trust is continually evolving our advice to theatres to make sure together we are managing and building theatres that continue to put inclusion at the centre of everything our sector does.
Placemaking is often overlooked in arts funding. How can theatres act as anchors for town and village regeneration, and what guidance will you offer?
I am hopeful that ‘placemaking’, or as I like to term it “Making places better”, is becoming more recognised by Local Authorities, as well as regional and national governments. I also think funders are getting more confident at understanding that if we make better places for people to live, work, and visit, then we grow local economies, improve people’s health, and reignite local civic pride. Last weekend the government announced a commitment to High Street regeneration, including protecting venues likes pubs and music venues from the negative impacts of poorly insulated new-build residential properties. These support mechanisms and protections will also need to be extended to theatres if we are going to see a true renaissance in our towns and villages. Theatres Trust already works very closely with local, regional, and national governments with regards to investing in theatres, especially those that may be temporarily or permanently closed, to ensure local areas benefit from regeneration opportunities. We have already seen some great success stories this year alone, with Soho Theatre Walthamstow opening an 800-seat theatre in the restored former Walthamstow Granada that had been closed for 25 years, and the former Bradford Odeon reopened as the 3,000-seat Bradford Live despite being slated for demolition in 2009.
The current economic climate is challenging. What immediate support or policy changes would you like to see to help theatres stay open and well managed?
Theatres Trust already works closely with the government and DCMS to advocate for the needs of the sector when it comes to policy and protections. But immediacy should not be the intention of policy. Policy is about long-term impacts that have lasting change. This change will only come if policy reflects the diversity of our theatre ecosystem, and every local authority has a cultural strategy that represents the needs of theatres in their local area. This strategy must then be embedded and protected in the Local Plan, the framework for planning decisions in each local area. We need to get the local conditions right for investment, growth, and the cultural ecosystem if theatres are to weather the current economic climate. Culture doesn’t exist in a vacuum, so we need to also think about investing in skills and training for the sector, ensuring arts and culture are championed on the national curriculum, and local authorities equip and resource culture teams who understand the needs of theatres.
As you step into this national advocacy role, do you have a long‑term vision for ensuring that everyone in the UK, regardless of postcode, has access to inspirational live performance?
My emerging vision is very much focussed on the long-view. At Theatres Trust, we are starting to talk about what we want the theatre sector to look like and operate like by 2050, and begin to better understand the role Theatres Trust has to play in turning that vision into a reality over the next 25 years. It is very unlikely that I will still be at Theatres Trust in 2050, but for me leadership is about charting the long course and laying the foundations for the next CEO to come in, respond to the external environment, and continue a refreshed path to 2050. We will be launching the specifics of the first phase of that journey, to 2030, at the end of our 50th anniversary year, and I have been really inspired by the conversations I’m already having with colleagues and stakeholders. I know the renewed vision we launch in 2026 is going to represent an ambitious journey for theatres and the sector, but I am confident it is a journey people will be excited to go on.
