Old Vic 12 development scheme inducts second batch of creatives
The Old Vic in London has announced the recipients of its Old Vic 12 development programme for its second year.
The cohort comprises three directors, three producers and three writers, alongside a designer, movement director and composer.
The scheme, which ran for the first time last year with funding from the now defunct IdeasTap, is aimed at supporting the next generation of theatremakers and will nurture the participants over the course of a year.
After receiving 1,300 applications, the Old Vic has appointed directors Chelsea Walker, Lekan Lawal and Jesse Jones, producers Molly Roberts, Tobi Kyeremateng and Aaron Rogers and playwrights Joe White, Rebecca Crookshank and John O’Donovan.
Designer Fin Redshaw, movement director Rachael Nanyonjo and composer Cassie Kinoshi have also been selected for the programme, during which time the 12 participants will be given funding to create three new plays as a collective.
They will also receive mentoring and networking opportunities over the year.
The scheme was introduced last year by artistic director Matthew Warchus, who said supporting the next generation of theatremakers was “one of the most important and effective contributions to our cultural future we can make”.
“The Old Vic 12 sees emerging creatives engaging with people at the top of their profession across a range of theatrical disciplines. It’s hugely inspiring to see how much all parties get from the mutual exchange of ideas. The presence of these early-career creative minds in our midst through the year is extremely energising,” he added.
The scheme was initially funded by IdeasTap founder Peter De Haan’s charitable trust, and is now supported by a range of backers, including the Andrew Lloyd Webber Foundation, Tina Alexandrou, Cate Blanchett and Andrew Upton, and Ian Powell.
We need your help…
When you subscribe to The Stage, you’re investing in our journalism. And our journalism is invested in supporting theatre and the performing arts.
The Stage is a family business, operated by the same family since we were founded in 1880. We do not receive government funding. We are not owned by a large corporation. Our editorial is not dictated by ticket sales.
We are fully independent, but this means we rely on revenue from readers to survive.
Help us continue to report on great work across the UK, champion new talent and keep up our investigative journalism that holds the powerful to account. Your subscription helps ensure our journalism can continue.