The Belgrade Theatre has revealed the impact it has on its local communities – as well as the regional economy – at an event to mark the first anniversary of its new vision.
The theatre’s leadership team of Artistic Director Corey Campbell and CEO Laura Elliott led the event that welcomed civic and business leaders as well as theatre audiences, artists, funders and supporters into the Belgrade’s B2 studio space for the update.
The event, hosted by former BBC correspondent Satnam Rana-Grindley with contributions from local government, education, community groups and artists, revealed that in 2024, 142,000 audience members attended 425 performances across 113 events.
It announced that more than 10,000 people participated in learning and talent development programmes, including 4,300 schoolchildren from one-third of all Coventry schools.
The Belgrade’s Artist Network now has more than 200 members, providing a free space for creatives in the region and the theatre supported 1,818 artists through its Talent Development Programme.
The Belgrade Theatre’s work generated an estimated £890,000 in ancillary spending for Coventry’s restaurants, shops, bars, and hotels, while 30 per cent of tickets for Coventry residents were issued to lower socioeconomic groups.
The event also showcased the impressive statistics behind the recent in-house production of Romeo and Juliet – which was co-produced with the Bristol Old Vic (where it is currently playing until 5 April) and Hackney Empire (where it will finish its run from 22 – 26 April).
The production featured music by local artists and musicians alongside a community choir and lyrics that came from a collaboration between local company That’s a Rap and students from Coventry Academy (an alternative for 11–16-year-olds experiencing school exclusion).
Invited guests and investors heard how Romeo and Juliet was made with 150 people across Coventry and beyond, including seven young people from Coventry Academy, 40 participants from Belgrade Ensemble, youth drama Hubs, Community academy and media academy and a further 30 developing artists including Belgrade Creative Associates.
In Coventry, the show welcomed 8,120 attendees, with 41 per cent being first-time visitors to the Belgrade, while 33 per cent of audiences were Coventry-based, with nearly 5,500 visitors from outside the city.
Forty-seven per cent of tickets for Coventry residents went to lower socioeconomic groups—significantly higher than the Belgrade’s usual averages.
Chief Executive Laura Elliot added: “While the numbers tell a great story, it’s the overwhelmingly positive feedback and impact our programme has made on our audiences, artists, participants and stakeholders that has been most inspiring outcome of the past year. I’m also really proud we have achieved our first large scale co-created production, Romeo and Juliet, which involved over 150 people in its making across Coventry and beyond. We are taking our learning forward to co-create our next major piece, Nanny of the Maroons, which will be our most ambitious yet with 1,000 community participants involved in all aspects of its production.”
Artistic Director Corey Campbell said: “Co-creation sits at the heart of what I do as an artist, and our ambition is to make the local community part of every show the Belgrade produces. It is only by giving the community a real voice in the creative process that goes into the productions we put on our stages that we can fulfil our aim to be a place for everyone. Home-grown, co-created productions such as Romeo and Juliet and Nanny of the Maroons form an essential part of our offering to the public as part of the rich and varied programme we present year-round.”
Coventry Academy Assistant Head James Heaton said: “The recent project centred around the Romeo and Juliet production has enabled our students to help redefine what Romeo and Juliet means for their generation. The project is a perfect example of how meaningful arts education can be when young people are given the opportunity to fully contribute in a real and authentic way. By reaching out to some of the most vulnerable and disadvantaged young people within the city, it demonstrates the Belgrade’s commitment to creating an inclusive experience for the young people of Coventry.”
During the event, the Belgrade Theatre revealed the first details of the next large-scale co-created production to be directed by Corey Campbell, Nanny of the Maroons, set to premiere in Spring 2027, with tickets going on sale in 2026.
Blending spoken word, music, and magical realism, Nanny of the Maroons will be developed over the next two years in a co-creation process that includes community participation, workshops, and artistic collaborations. Based on the true story of Queen Nanny, a legendary 18th century leader, freedom fighter and Jamaican national hero, this new production will serve as a powerful celebration of heritage, the strength of community, and the true meaning of freedom.
The evening featured a showcase taster of the show, featuring four local singers led by Corah Fowles, an artist who has progressed through the Belgrade from being a participant in the show Big Aunty, through the Belgrade Ensemble, to being a choir mentor in Romeo and Juliet.
The theatre announced it is aiming to raise £150,000 to expand the co-creation participation to 1,000 people—drawn from schools, community groups, and the local artistic community —inviting them to play an active role in shaping the production.
The Belgrade Theatre has enjoyed a remarkable year of success when it comes to its wide range of shows and productions. Its in-house production Swim, Aunty, Swim!, written by local playwright Siana Bangura, received widespread acclaim, winning Best New Play at the UK Theatre Awards and securing Best Playwright at the Black British Theatre Awards.
The theatre’s annual pantomime was another triumph, earning an award for Best Ugly Sisters (2023/24). The Belgrade’s commitment to talent development has been exemplified by its Artist Network, now boasting over 200 members, and its free training programme, Belgrade Ensemble, which has provided early-career performers with opportunities to develop their craft.
Meanwhile, the theatre’s Revealed, a powerful family drama exploring three generations of Black men, not only resonated deeply with audiences but also incorporated significant community engagement, including a photography exhibition at local libraries. These achievements underscore the Belgrade’s commitment to innovation, diversity, and creating theatre that speaks to and for Coventry’s communities.
As a people-first theatre, the Belgrade Theatre remains committed to sharing Coventry’s stories, creating opportunities for emerging artists, and ensuring theatre remains accessible and representative of the city’s diverse communities.