BURY ST EDMUNDS ANNUAL REPORT
Sparking positive social change
Courageous storytelling
APRIL 2025 - MARCH 2026
Steve & Steff For Ever, 2025 (Fiona Scott-Petrie)
THEATRE ROYAL
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
WELCOME This year saw the culmination of our 5-year ambition to return to site-specific theatre in the streets of Bury St Edmunds in order to build on the success of 2020’s outdoor production of A Christmas Carol. We commissioned East Anglia-based writer, Ian Jarvis, to write Steve & Steff For Ever, a new play using headphone technology to enable audiences to follow an immersive love story across the town. This ‘love story to Bury St Edmunds’ was an enormous hit, with tickets selling out for the entire run. This was followed by Rapunzel by Chris Hannon, our most success pantomime to date. To meet the audience demand for our pantomime, the production ran for an additonal week this year, resulting in a 10% increase in box office revenue. Alongside the pantomime, our Christmas Cabin continues to be our most significant audience development tool, attracting 40% new audiences. This year’s Christmas Cabin script, The Little Train, was written by East Anglian playwright Tassa De Paris. Across the summer we staged Sword in the Stone by Eilish Mullane. The production showcased the skills of our in-house team: written, directed and produced by members of our Creative Learning Team, with lighting and sound design by members of Technical Team and brilliantly performed by a cast of 22 young people from across our region. The year ended with our production of And Then Come the Nightjars by Bea Roberts. This was the third play in our ‘Best Plays of the Last Ten Years’ series and again showcased a female, contemporary, British playwright. David Hounslow and Antony Eden’s performances were universally applauded as was the stunningly detailed set, designed by Jessica Curtis. As part of our commitment to support local grassroots organisations, this year saw Theatre Royal work in partnership with Bury St Edmunds 4 Black Lives to deliver Sounds of Courage, a lively, joyful evening of music, dance, poetry and song celebrating bravery, boldness and Black History, with special guest Andi Oliver. April saw us deliver the second edition of our Bloom community participation festival. An additional week of participatory workshops for all ages helped the festival to achieve a 32% increase in audiences. Alongside all of this excellent work on our stages, we have also been driving innovation in other areas of the charity. This year we invested significantly into a Demand Management System which has transformed our Box Office and ticketing systems. With new seating plans, new pricing structures and new ways of managing demand, we expect to see meaningful increases in Box Office income in the next financial year and beyond.
Owen Calvert-Lyons, Artistic Director & CEO Theatre Royal Bury St Edmunds strives to foster innovation, creativity, and imagination through performance and education in the settings of our beautiful Georgian theatre, throughout West Suffolk and in schools across the county. We provide a welcoming and inclusive experience with a broad range of programming designed to entertain, stimulate, educate and encourage all the diverse audiences who come to join us. We were particularly pleased with tickets sales during the year, and in particular for our pantomime, Aladdin, and our in-house production of A Tryal of Witches which achieved national critical acclaim. Each exceeded targets and helped the theatre to achieve an overall growth in audience numbers enabling us to exceed financial targets for the year. As a National Portfolio Organisation (NPO) we are very grateful for the support received from Arts Council England. This support has enabled us to be adventurous with our programming and to continue to develop outreach projects and audience development in under-represented areas. We are also grateful to our partner Greene King, and the many corporate and individual supporters who enable the theatre to continue to thrive.
Sarah Kemp, Chair
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THE YEAR IN NUMBERS
71,726
TICKETS SOLD
92
PRODUCTIONS*
35% PERCENTAGE OF NEW BOOKERS
73
9,776
And Then Come The Nightjars, 2026 (Tom Soper Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
CREATIVE LEARNING PARTICIPANTS
SCHOOLS ENGAGED
448
PERFORMANCES*
*This figure does not include workshops and off-site fundraisers.
82
2025/2026 NPS SCORE 3
STEVE & STEFF FOR EVER Written by IAN JARVIS Directed by OWEN CALVERT-LYONS
1,464 TICKETS SOLD
95 NPS SCORE
Steve & Steff For Ever, 2025 (Fiona Scott-Petrie)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
A romcom adventure like no The audience were swept off other! Imagine strolling through their feet by Steve and Steff the heart of Bury St Edmunds (played by Joshua Diffley and on a warm summer evening, Anna Soden) an unlikely couple caught up in a hilarious love thrown together by fate, whose story unfolding all around first date and ‘will-they-won’tyou. Steve And Steff For they’ relationship unfolded Ever transformed the town across the town. into a stage, turning familiar landmarks, bustling businesses, This production captured the and secret side streets into imagination of residents and the backdrop for romantic tourists alike, with sell-out disasters, laugh-out-loud shows across the run. Steve encounters, and unexpected and Steff For Ever was our first moments of magic. outdoor promenade theatre since 2021’s A Christmas Carol. Audience members wore headphones, so every line of dialogue, sound effect, and ‘It’s something new and it’s musical cue were delivered something wonderful, and directly to their ears, creating I can’t recommend it highly an immersive and unforgettable enough. ’ theatrical experience. – Suffolk On Stage
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COMMISSIONING & PRODUCING CIRCLE Ian Jarvis’ Steve and Steff For Ever was funded by our Commissioning Circle. For the last four years, this programme has supported the theatre’s artistic programme expanding our capacity to commission new plays by providing crucial financial support. Circle members accompany the play on its journey from ‘page to stage’ with unique access to the writing and creative processes involved in producing plays. 2026 saw a slight change of branding - from a Commissioning Circle to a Producing Circle to enable us to continue to support the development of new plays and also to support the staging of some of the truly wonderful plays which alreadyt exist. Our ‘Best Plays of The Last Ten Years’ series, brings extraordinary plays to the East of England, to ensure that such plays do not remain the preserve of London audiences. And Then Come The Nightjars was the next instalment in this series. Rather than a retrenchment of ambition (selecting an extant play rather than commissioning something new) this is a separate expression of our ambition; a determination for our theatre to stage works which have previously been staged at the National Theatre (Home, I’m Darling), The Royal Court (The Children) and The Bristol Old Vic (And Then Come The Nightjars).
And Then Come The Nightjars, 2026 (Tom Soper Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
These plays are just as expensive to produce and so still require additional support there is just as much need for financial support in order to stage these plays and the Producing Circle helps us to do this. In return, Producing Circle members enjoy special access to the production process and accompany the play from initial design meetings through to opening night, at which they are our special guests.
‘Sharing the embryonic journey of the play, from the first readings to the final rehearsals. Meeting the Playwright, the Director, the production personnel, and the cast. Sharing the many complexities of transferring this classic storybook onto the stage. Bravo, Theatre Royal!’ - Commissioning Circle Member
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RAPUNZEL Written by CHRIS HANNON Directed by OWEN CALVERT-LYONS
26,738 TICKETS SOLD
87 NPS SCORE
Rapunzel, 2025/26 (Tom Soper Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Theatre Royal’s legendary inpaced quest to find the house pantomime returned for legendary Golden Tulip, the Christmas 2025 with Rapunzel, only thing that could save her. featuring an original script and a cast of familiar favourites and The cast featured Lowri Sara exciting new talent. Drawing Jones as Rapunzel, Julie Stark over 26,000 audience members, as Gothel, Ewan Grant as it toppled 2024’s Aladdin as our Sammy, Lizzie Buckingham as best-selling pantomime to-date Jinx, David Monteith as Mr and earned a nomination for Mayor, Ruby Ablett as Lassie Ruby Ablett’s ‘Best Comedy and Alasdair Buchan as the Performance’ at the UK unforgettable Rusty McBusty Pantomime Awards for the and her cousin Gert De Pert! second year running! Written by Chris Hannon, the ‘Rapunzel the best panto in production followed Rapunzel a long time. Trully excellent as she finally escaped the tower from start to finish. The actors, where she had spent her life dancers, story, music, costumes dreaming of the world beyond. - a brilliant 10 out 10’ Pursued by the wicked witch Gothel, Lassie (The world’s first – Audience review talking dog) and the hopelessly love-struck shepherd Sammy, her journey became a fast-
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THE LITTLE TRAIN Written by TASSA DEPARIS Directed by DAVID WHITNEY
3,001 TICKETS SOLD
74 NPS SCORE
Christmas Cabin, 2024 (Fiona Scott-Petrie)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Theatre Royal’s Christmas imaginative design to capture Cabin returned for its fourth the excitement and wonder of year with a festive, interactive the festive season. mini-performance created especially for children aged Written by Tassa De Paris, 2–7 and their families. This designed by Amy Yardley and enchanting in-house production directed by David Whitney, transformed Santa’s workshop the production was performed into a place where imagination by Greg Hanson and Georgia and play took centre stage. Richardson, creating a When Fudge the elf discovers memorable Christmas outing a much-loved toy train that has for little ones and their grownfallen into disrepair, Santa and ups alike. Fudge realise they can’t restore its magic alone. ‘This was just the perfect thing With the help of their young to start the school holidays. audience, they set out on a Just the right amount of time heartwarming adventure to fix although felt like we’d been in the toys and celebrate the joy of the cabin for hours. Interactive play before Christmas arrives. with jokes, singing and magic Performed in the cosy setting spells- it was just wonderful of the Christmas Cabin, this morning.’ delightful experience combined playful storytelling with – Audience Feedback, 2024.
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AND THEN COME THE NIGHTJARS Written by BEA ROBERTS Directed by OWEN CALVERT-LYONS
2,213 TICKETS SOLD
85 NPS SCORE
Our in-house production of Balancing sharp comedy with And Then Come the Nightjars heartfelt emotion, And Then was a tender, witty and deeply Come the Nightjars examined moving drama set against the the impact of the epidemic devastating backdrop of the on rural communities while 2001 foot-and-mouth epidemic. offering a poignant reflection on friendship, grief and hope. Written by Bea Roberts and directed by Owen CalvertMichael and Jeff were brought Lyons, the play explored an to life wonderfully by David unlikely friendship between Hounslow and Antony Eden. Michael, a stubborn Devon farmer devoted to his prizewinning cattle, and Jeff, the ‘This is a play, first and troubled vet assigned to cull his foremost, about beautiful and herd. enduring male friendship; about the bravado and As the crisis tightened its grip language men use to talk on the countryside, the two around their deepest feelings, men found unexpected solace and how that actually in one another, using humour to translates into a connection navigate profound personal and that is rather special. That is collective loss. where the magic lies in this story.’
And Then Come The Nightjars, 2026 (Tom Soper Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
– Suffolk on Stage
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SWORD IN THE STONE Written by EILISH MULLANE Directed by DAVID WHITNEY
717 TICKETS SOLD
72 NPS SCORE
Our Summer Young Company took audiences on a magical adventure with a bold new adaptation of the Arthurian legend.
Summer Young Company, the production showcased the talent and commitment of young performers aged 11 to 18.
Sword in the Stone, 2025 (Neil Baxter Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Written by Eilish Mullane, the Following three weeks of production follows Merlin as rehearsals and professional their powers begin to fade and guidance from industry darkness threatens to take hold. professionals, the cast With time running out, Merlin brought fresh imagination must find a pure heart capable and confidence to our stage, of drawing the sword from the giving audiences a memorable stone. Their search leads them celebration of young creativity. to Art, a down-on-their-luck teenager who proves to be an With grateful thanks to Celia unlikely hero. and Anthony Earl for their wonderful support of this As Merlin and Art set out to production defeat the monstrous Nimue and her forces of evil, the ‘Everybody cared for production combined plenty of everybody, even if you didn’t magic and humour with a story see people often, they’d look about courage, friendship and out for you.’ discovering the hero within. Performed by Theatre Royal’s – Summer Young Company
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Steve & Steff For Ever, 2025 (Fiona Scott-Petrie)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
HOW WE ARE FUNDED Theatre Royal is a Registered Charity (Charity Number 242977). Our building is owned by Greene King and leased to the National Trust. Theatre Royal Bury St Edmunds is run as a charity by a management company (Bury St Edmunds Theatre Management Limited). An Arts Council England National Portfolio member and supported by all three tiers of local government, through core and project funding, our theatre plays a crucial role in the cultural landscape of the region.
£251,199
£115,881
In 2025-2026: 55% of our income came from our charitable activities (all of our events, Creative Learning programme activity, heritage programme, our own productions and support for our local amateur groups) 12% of our income came from core grants (Arts Council England, West Suffolk Council and Suffolk County Council) 15% of our income came from support from the private sector through our fundraising activity – including donations, sponsorship, individual giving and fundraising events
£2,458,629
£284,543 £101,516 £13,545 Front of House Sales £278,284
£1,356,000 Trading £57,661
11% came from our Front of House sales 4% came from Other Income 2% came from other Trading Activities Less than 1% came from investments
These figures are based on 25/26 draft accounts.
In 2025/26, our expenditure, on all of our charitable activity, was £2,509, 079.
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FUNDRAISING INCOME £78,871 FUNDRAISING EVENTS £1,000 TRUSTS & FOUNDATIONS (CORE)
£59,436 SPONSORSHIP
Sword in the Stone, 2025 (Neil Baxter Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
£115,881 TRUSTS & FOUNDATIONS (PROJECT)
£445,951 IN TOTAL
£190,763 INDIVIDUAL GIVING
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SUPPORTERS
Ginger Jones And The Sultan’s Eye, 2025 (Neil Baxter Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Funders & Trusts
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SUPPORTERS Theatre Patrons Dame Judi Dench DBE and Sir Derek Jacobi CBE Honorary Life Patrons Sir Jeremy Isaacs, Mrs Judith Shallow DL, Mr Colin Blumenau, Mrs Patricia Thompson CBE
Rapunzel, 2025/26 (Tom Soper Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Ambassadors Sir Terry Waite CBE, Mrs Gina Long MBE, Mrs Emma Fisher LRSM. Patrons & Major Donors Joan Abbs, Matthew Abercrombie, Nancy Ackland-Lang, George Agnew and Adrian White, Alix and Robert Ashton, Gary Avis MBE, Robert and Sally Baxter, Countess Helen Benckendorff, Christine Bird, Sarah Birrell, Derek Blake MBE, Stephen and Stephanie Bourne, Joy Bowes, Marie Brown, Mary Burr, William and Lynn Cardale, Sir Geoffrey and Lady Cass, Richard Chaplin, Christine Clark, Sian Couture, Louise Cramp, The Croft Family, Rev. David Crofts, Jane and Michael Crowe, Yvonne Curtis, Lady Mary Damerell, Piers Day, Nicholas Denyer, Nicki Dixon, Ian and Alison Duncan, Celia and Anthony Earl, Fenella Eddell, Chris Eyden, Andrew Flatt, Emma Fisher, Vivien Gainsborough Foot, Sarah George, Jayne Gittus, Adrian Grady, Judith Grandi, Michael Harrington Spier, Zach Helm, Gillian Hodge, Stephen Hubner, Tim Holder, Trevor and Sarah Howard, Debbie Hudd, Eric and Hazel Humphreys, Karen and Antony Hurden, Gillian Jessop, Linda Keenan, Nicholas Knight, Lucy Knox, Fiona Langley, Nicholas Law and Susan Tanis, Barry Lingwood, Andrew Long and Gina Long MBE, Elaine Lovick, Janet Martin, John Meers and Jo Holden, Julie Merrick, Nic and Kat Metcalfe, Martin and Sylvia Moss, Marguerite Nice, Irene and David Overman, Riccardo and Michaela Parfitt, Jeffrey Parker, Nicholas Pearson OBE and Fiona Pearson, Mark Pendlington DL, Heather Phillips, Steve Pickles, DMP Training UK Ltd, Mary Porch, Sue Rawlinson, Michael Redgrave, Mike and Kate Redmond, Karen Ridgeon, Jo St Clair Roberts, Susan Roberts, Alice Robertson and Will Carter, Paul Romaine, Nic Rumsey, Michael and Margaret Rustin, Michael Shallow and Judith Shallow DL, Graham Showell, Charles and Suzanne Simpson, Sue and Dick Soper, Simon Spence KC, Jo Stark, Sha Starr, Steven and Kimonie Stroud, Stephen Talbot-Hadley, David Taylor, Nick and Rosemary Thomson, Vincenzo and Debbie Truncellito, Fiona Unwin, Julia Wakelam, Scott Watts, Vincent Watts, Christine Webber, Peter Wenban and Sarah Wenban CBE, Deborah Williams, Theatre Royal Friends Committee. Correct at time of publishing, August 2026
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Act Your Age (Dan Cole Media)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
THE TEAM
20
FULL-TIME EQUIVALENTS
84
PART-TIME (INCL. CASUAL STAFF)
124
FREELANCERS
123
8
BOARD MEMBERS
VOLUNTEERS THE BOARD Sarah Kemp (Chair), Joanna Bradbury, Danny Braverman, Emma Fisher, Jo Howlett, Liz Michie, Sumathi Sundram,Karen Thomson
14
PARTICIPATION 74
YOUTH THEATRE SHOW PARTICIPANTS
1191
TOTAL WORKSHOP AND SHOW AUDIENCE
Every week, 100 young people step into Theatre RoyaI’s Youth Theatre. This is a vibrant, creative space for 8-16 year-olds to discover their voices, build lifelong confidence and form meaningful friendships.
that Ginger Jones has lost her imagination! The 12-16s performed Wellington 24 by Rachel Harper, an upbeat and empowering wartime tale about teamwork, collaboration and beating the odds. It’s 1943, World War II rages on, and the men are gone. It’s left to the ‘women in the workmen’s boots’ to pick up the pieces in the factory. On this particular day, they’re attempting to build a Wellington bomber in recordbreaking time: under twenty-four hours.
Wellington 24, 2025 (Neil Baxter Photography)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Bloom Festival 2025 is an expansive theatre festival taking place over 2 weeks, celebrating the power and creativity that comes from participating in theatre. Developed and delivered in partnership with our community partners and leading industry professionals, Bloom Festival combines free or “Pay What You Can” In total, 1191 people accessed the performances and workshops for the Bloom Festival performances and community. The festival showcases workshops. the work of our participation programme, including professionally produced productions from our Youth ‘I really enjoyed this year’s bloom; Theatre. The workshops range in this experience both helped me to content including: playwriting, family meet and connect with new people singing, arts and crafts, stage combat and it helped to kindle a love for and puppetry. theatre acting.’ This year our young artists brought powerful stories to life with two dynamic plays. The 8-11s performed Ginger Jones & The Sultan’s Eye by Nick Lane, about a girl with a vivid imagination. Her school enters a storytelling competition; they turn to Ginger for inspiration . . .except
– Participant
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COMMUNITY ENGAGEMENT This year, our community engagement programme During the festive season, we expanded our community reached new heights, creating meaningful opportunities programme through a series of creative activities for people of all ages to connect, express themselves and connected to our pantomime production. In November, engage with creativity in ways that were both enriching we partnered with Crafty Foxes and Joy Connection and accessible. Through a diverse range of participatory to deliver inclusive bauble-making workshops, inviting projects, creative groups and community partnerships, participants to come together and create handcrafted we continued to strengthen our role as a welcoming decorations in a relaxed and welcoming environment. cultural hub at the heart of our community. These activities sat alongside a gallery exhibition developed in collaboration with Art Heads. One of the year’s highlights was the continued success of Act Your Age, our creative group for people aged In March 2026, we collaborated with the agricultural 55 and over. A vibrant and welcoming space filled with mental health charity YANA during our production of laughter, friendship and discovery, the group encourages And Then Come the Nightjars. participants to rediscover their playful side through drama, improvisation and creative exploration. Across all of these activities, our community programme demonstrated the power of creativity to bring Community participation was central to our production people together, foster new relationships, and create of Sword in the Stone. Working in partnership with Joy opportunities for participation that extend far beyond Connection, families collaborated to create Merlin’s the stage. By working alongside valued partners and Forest, an imaginative community artwork inspired placing community voices at the centre of our work, by the themes of the production. Alongside this, we we continue to build an inclusive cultural environment launched a community writer call-out, inviting local where everyone has the opportunity to engage, voices to contribute creative responses to the story. contribute, and feel a sense of belonging. The resulting work was proudly showcased in our foyer throughout the show’s run in August, celebrating the creativity and talent within our local community.
RESTORE project, Act Your Age (Dan2024 Cole Media)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
Our Writers Room continued to thrive as a supportive peer-led community for aspiring and established writers alike. The group provides a space for participants to develop their craft, exchange ideas and learn from experienced guest playwrights who generously share their knowledge and expertise.
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DOORSTEP THEATRE FESTIVAL The Doorstep Theatre Festival is a touring rural arts festival designed to make high-quality arts accessible to young people across Suffolk. This is one of our flagship programmes. Doorstep provides schools with the opportunity to host a performance from leading theatre companies making amazing work for young people. Following the performance, schools have the option to take part in enrichment workshops led by Theatre RoyaI’s Creative Learning Team. We offer this programme at a heavily subsidised rate to schools. Teachers are invited to a CPD session to explore how the themes within the performances and workshops can be carried into the classroom. This year we programmed three shows, one for EYFS and KS1; A Square World by Daryl & Co, a KS2 production of Olive Branch by Vanhulle Dance Theatre and a new SEN production of Once Upon a Flowerbed by Moonbeam Theatre.
‘The children really enjoyed both performances. All of the children showed visible engagement, excitement and reaction (positive) to both performances.’ – Teacher, Wetheringsett C Of E Primary School
Photograph by Karen Self
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
3,444
YOUNG PEOPLE ENGAGED
379
TEACHERS ENGAGED
18
SCHOOLS VISITED
‘The whole event was totally inclusive for our students. The time given and patience shown to our children was incredible. – Teacher, Riverwalk School
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TINY PLAYS, BIG IDEAS Tiny Plays, BIG IDEAS sends playwrights into Suffolk primary schools, teaching children to write their first play. A selection are performed by professional actors on the Theatre Royal stage. Children learn about plot, character, storytelling, drafting, and staging in two onehour workshops. Teachers attend a 2-hour CPD session exploring project aims and providing tools for continued classroom work. This year, 429 pupils from 13 West Suffolk primary schools learned to write their first play.
and deepen relationships with local primary schools, including those in areas of low cultural engagement. Schools benefit from innovative projects, helping them to understand the value of creativity. The project provides schools with life-changing experiences that inspire and engage children.
Tiny Plays, BIG IDEAS (Dan Cole Media)
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
‘Our school was encouraged to get involved in Tiny Plays because of my previous experience running the project at my last school. I had witnessed firsthand the incredible impact it had on students—their creativity, confidence, and enthusiasm for writing—and I knew it was something I had to introduce in my new school to give our pupils the same inspiring opportunity
The project was a huge success, empowering children to express themselves creatively. The work emphasises each child’s unique perspective and storytelling ability. – Teacher, Barnham Primary School No themes or creativity restrictions are imposed, allowing children to tell their stories. The project ‘The children were encouraged to write with creativity brings live performances to rural West Suffolk schools, and imagination. Seeing their peers’ words performed breaking geographic, economic, and social barriers. by professional actors was an exciting and empowering CPD sessions link schools and artists, ensuring cultural experience for the class. Overall, the project was a education access and participants are directed to our brilliant celebration of creative writing and storytelling. participatory programmes. The project promotes future family based arts and cultural events, increasing – Teacher, Lavenham Primary School awareness in networks that might not attend otherwise. Playwrights and facilitators are East Anglia-based, with extensive experience. This year’s playwrights were James Mcdermott, Martha Loader and Kitty Morgan. All four professional actors (Yani Green, Tim Fitzhigham, Georgia Richardson and Neha Eapen) are also from East Anglia. After the success of this and our other community work and projects, Theatre Royal continues to be a leader in the field of Creative Learning. The project allows us to build
479
PUPILS ENGAGED
13
WEST SUFFOLK PRIMARY SCHOOLS ENGAGED
18
Theatre Royal Bury St Edmunds Annual Report Apr 2025 - Mar 2026
SUSTAINABILITY Our mission is to become a low-carbon exemplar, energising and empowering our audiences, staff and peers to respond to the challenges of the Climate Emergency. To steer this ambition, we have established an Environmental Board Sub-Committee, which guides our environmental work and helps set the direction for the organisation as a whole. Over the past year, we’ve made tangible progress across the building and our operations. Low-energy lighting has been installed in our theatre offices, with further rollout planned, and we are implementing energy-saving technologies more broadly; including an LED lighting rig, insulated windows, and a new electric van. Alongside this, we have switched to 100% green-certified gas and electricity, cutting the carbon footprint of our energy use at source. Our bar offer is now sourced almost exclusively from local suppliers. This year alone, we sold 16,320 locally sourced ice creams, amounting to 2.04 tonnes — a small but telling measure of how deeply sustainability is embedded in even the everyday details of a visit to our theatre.
We measure our progress rigorously, using Julie’s Bicycle toolkits to track our carbon footprint and set year-on-year reduction targets. This data-driven approach extends into how we buy: our environmentally conscious procurement process ensures that the products and services we choose have a low environmental impact. On stage, we apply the principles of the Theatre Green Book across all of our productions, and we partner with the East Anglia Producing Consortium to develop new models for low-impact touring, work that looks beyond our own building to the wider footprint of the sector. Finally, we’re proud that 19% of our audience already travel to the theatre on foot, a reflection of the community we serve and a reminder that sustainability isn’t only about buildings and technology, but about the choices our audiences make too.
21%
OF AUDIENCES TRAVEL SUSTAINABLY
50%
OF THEATRE ROYAL TRAVEL TO WORK SUSTAINABLY
118,877
kwh OF ELECTRICITY USED
19
Richard, My Richard, 2024 (Tom Soper Photography)
Printed by Lonsdale