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We want to address some of the online commentary about our production of Donbas.
While we understand the deeply-held emotion behind this commentary, much of it is being made without first-hand experience of seeing or reading the play and we must now correct, for the record, inaccuracies that some of the commentary is based on.
For the avoidance of any doubt: we stand in complete solidarity with the people of Ukraine, who continue to endure war, occupation, devastating bombardment and huge loss of life as a result of Russia’s illegal and ongoing war. The people of Ukraine have been paramount in all of our thoughts at every stage in the development of the production, and particularly now as we approach the four-year anniversary of Russia’s full-scale invasion.
Donbas is set in 2022 before the full-scale invasion and aims to represent the bravery of the people of Ukraine. It draws no moral equivalence between the actions of Ukraine and Russia and depicts Ukrainian people standing in defiance against Russian aggression. Our intention has always been to use theatre to help keep the war in the public consciousness, and we have made sure that the play is accompanied by specific calls to action with how to effectively support Ukraine: goodchance.org.uk/donbas-act.
In addition to this, while we understand and value different perspectives, we condemn any harassment targeted against any member of our company. We fully stand by the play, its author and everyone involved in the production.
Donbas is unequivocal in its call for the liberation of a free and sovereign Ukraine and justice for its people.
Theatre503, Good Chance, 45North Productions, Seventh Productions
Over the last 18 months, we’ve been working with Independent Evaluator Liz Moreton, with support from Arts Council England and Queen Mary University London, to evaluate one of our funding models – The Slate. The Slate is an innovative fund that allows us to support our writers and artists with more resource at 503, whilst also working towards a sustainable future. You can read more about it in this Arts Professional article by our Executive Director, Emily Carewe. You can also read the evaluation here.
We are delighted to announce that Olga Braga has been announced as the winner of the 2025 Theatre503 International Playwriting Award for her play Donbas!
The Award ceremony took place at the 503Studio and was hosted by the Chair of our Board James Dacre and our Artistic Director Anthony Simpson-Pike. We had a wonderful time celebrating Olga and the finalists with our wonderful 503 community!
The world premiere production of Donbas will be staged at Theatre503 as part of the Award. The prize also includes £6000, a production licence, and publication of the play by Samuel French Ltd, a Concord Theatricals Company.
Olga Braga is a playwright and screenwriter. Her play Return to Sender was previously a finalist for the Theatre503 International Playwriting Award in 2023 and has received public readings with the New York Drama League, California’s Ravens Theatre Studio, and several UK-based companies including Leeds Playhouse, New Diorama Theatre and Kala Sangam Arts Centre. Her screenplay The Big Blind, a drama focusing on the banking industry, was a finalist for the Sir Peter Ustinov Screenwriting Award and reached the final stage of consideration for the BBC Writersroom. Alongside her writing, Olga performs stand up comedy and has been shortlisted twice for the BBC New Comedy Awards. She has been awarded the Adopt A Playwright Award and the London Library Emerging Writers’ Fellowship.
Olga’s award-winning play Donbas is a stark portrait of survival and quiet resistance, suggesting a path beyond despair, while reflecting a frozen conflict and its echoes in a fractured Western world. After serving time, Sasha returns home to his father Seryoga and new girlfriend Marianca in a war-torn Ukrainian town. Their story intertwines with local soldiers Dmitry and Alexei as they navigate a landscape shaped by conflict and twisted by the rise of extremism.
Donbas was selected from 1377 plays from writers from 49 countries.
The other finalists were:
Annice, A Slave by Joslyn Housley (Evanston, USA)
Dead Skin by Marie Amélie Giron (Paris, France)
Dog Dog Dog by Terri Jade Donovan (Stockport, UK)
Final Boarding Call by Stefani Kuo (New York, USA)
James Dacre, Judging Panel Chair + the Chair of our Board said “Selected from 1377 debut plays submitted by a truly remarkable range of international playwrights, this year’s shortlist hails from all over the English-speaking world and represents an extraordinary diversity of voices, genres and themes. We’re grateful to Theatre503’s literary team and our industry judging panel for committing so wholeheartedly to such a rigorous reading and selection process to help identify the theatrical voices of tomorrow.”
Anthony Simpson-Pike, our Artistic Director said “We are delighted that the judging panel have selected Donbas to win our International Playwriting Award. The competition was fierce and all of our finalists are extraordinary writers with fires in their bellies. Olga’s winning play is exemplary of the work Theatre503 produces – it’s groundbreaking, urgent and boldly theatrical. Donbas speaks to the power of theatre as a unifying force, asking huge, global questions and shining a light on the humanity in all of us. Olga has an incredibly exciting future ahead of her.”
Olga Braga, the Theatre503 International Playwriting Award Winner said “Winning the 2025 Theatre503 International Playwriting Award is such an extraordinary honour. I’m incredibly grateful to Theatre503 for believing in this play, and I can’t wait to bring it to life with such a passionate team. I’m so thankful to be welcomed into a community that champions emerging voices and dares to tell stories, especially at a time when live theatre feels more necessary than ever. The work Theatre503 does is so incredibly important – it nurtures growth, fosters new voices, and I feel very lucky to be part of it. Having seen other plays staged at the venue, to now have everything come full circle with this award feels truly special.”
The 2025 Theatre503 International Playwriting Award has been generously supported by Philip Carne MBE & Christine Carne and Samuel French Limited, a Concord Theatricals Company.
One of the many beautiful and privileged experiences I have had and a big give to theatre was being a part of the show Margaret Thatcher Queen Of Soho. I recall inviting the 503Five to be part of Thatcherwrite, a show I was creating at Theatre503. Jon Brittain, one of those five at the time, jumped at the chance and pitched the idea of working with a friend who did a great Thatcher impersonation.
A fun, comic piece with a powerful political message was born. Addressing the devastating effect of Clause 28 on the gay community and society in general by taking Thatcher on a night out in Soho would prove to be a showstopper every night. Matt’s uncanny performance as Thatcher, along with his razor sharp improvised audience interaction, Jon’s masterful iconoclastic writing and frequent offstage interventions (he was operating the show of course) and a few unbeatable disco classics could not have gone better, but it was about to go bigger.
That tiny 10 minute piece, returned expanded to do a Christmas run, where we really saw a play begin to find its audience. The communities most affected by the Act started to see the show, joyfully trashing its legacy through their vicarious night out with Thatcher. Groups bringing historic protest flags to unfurl on stage for photo opportunities became a common occurrence and as the play went on to numerous Edinburgh and West End runs and into new incarnations it was a pleasure to sit back and watch as audiences far and wide revelled in this glorious opportunity to laugh, sing & dance and ensure that history really did get remade and revealed as farce.
Giving to us, so we can give to the artists, so they can give back to everyone is often the biggest give of all, and a give without which stories like this may never get told.
– Steve Harper, Literary Manager, 2025
Theatre503 has announced Anthony Simpson-Pike as its new Artistic Director, succeeding Lisa Spirling who departs Theatre503 after eight years to join Stratford East as Artistic Director. In a new leadership model for Theatre503, Anthony will share the role of Joint CEO with Executive Director Emily Carewe. They are joined on the Senior Management Team by Literary Manager Steve Harper, recently appointed Carne Deputy Artistic Director Rochelle Wilson, and a Producer to be recruited next month.
Anthony Simpson-Pike is an acclaimed director, dramaturg, and writer whose previous leadership roles include Deputy Artistic Director at The Yard Theatre and Associate Director at the Gate Theatre. His recent work includes directing the Olivier Award winning The P Word (Bush Theatre), co-directing the Drama Desk Award winning Grenfell: in the words of survivors (National Theatre and St Anne’s Warehouse, NYC), directing the Irish Times Theatre Award nominated An Octoroon (Abbey Theatre) and productions at the Royal Court, Stratford East and Young Vic. As a dramaturg, he has developed seasons of work for the Gate Theatre and The Yard Theatre and worked for companies including the RSC, Stratford East, Royal Court, and BAC.
The selection panel for the Artistic Director role included Theatre503 Trustees Eleanor Lloyd, Roy Williams, Tian Brown-Sampson, Naomi Kerbel, Pippa Hill, Ollie Raggett, Zena Collins, Joshua Chua, Cerian Walsh, Erica Whyman (outgoing Chair) and James Dacre (new Chair) with Arts Council England observing.
Anthony Simpson-Pike said: “I can’t wait to get started on working with game-changing writers that are the lifeblood of Theatre503 and I am honoured to build on Lisa’s rich legacy of supporting bold and diverse new writing. Theatre503 holds a vital and unique place in the industry, and in my heart, as the national theatre of debut plays. I have always been inspired by the breadth, ambition and innovation of the stories I’ve seen here. It is a vital space for artists to dare to write their boldest work and for audiences to see plays they couldn’t see anywhere else. Now, more than ever, Theatre503 is crucial to keep the heart of our writing culture beating. Without new writing our landscape of stories will dry up. Theatre503 and the 503Studio are vital engines supporting the most visionary writers of tomorrow today. I am so excited to work with Emily and the outstanding team to contribute to the Theatre503 legacy at a crucial point in the journey, as we launch the studio and put some of our most ambitious plans into practice.”
James Dacre said: “Anthony has already made a significant impact on the London theatre ecology in his career, especially in his nurturing of new writing, championing of young talent, platforming of underrepresented voices and pioneering of unique community engagement initiatives. In an incredibly strong field of candidates, Anthony’s inspiring artistic vision for Theatre503 and 503Studio combined with these remarkable qualities – so brilliantly evidenced in his powerful work as a director and dramaturg – demonstrated his readiness to lead Theatre503 alongside Emily Carewe into its ambitious new chapter, building upon Lisa’s truly remarkable achievements here.”
Anthony joins the company in February 2025, overseeing the final stages of the 2025 Theatre503 International Playwriting Award (to be announced in Spring), the next steps towards opening the 503Studio at Nine Elms, and programming his first season of work – to be staged from 2026 onwards.
Director and producer James Dacre has been appointed chair of Theatre503 in London.
He will take up the post at the end of November, succeeding Erica Whyman, who is stepping down after a decade.
Dacre will lead with the board of 14 and co-chair a panel to find the theatre’s next artistic director, after Lisa Spirling announced her departure earlier this month.
Dacre, who is a former associate director of the theatre, said: “Theatre503 has had a huge impact on my life. Its vision to be the most significant new writers’ theatre in the world is not hyperbole, for it has discovered some of the most important and diverse theatrical voices of the past 20 years. Crucially, it has championed their work with passion and integrity at a vital moment in the trajectory of their careers.
“Its deep-rooted commitment to a writers’ evolution will have an even greater impact next year with the opening of 503Studio in Nine Elms as a world-class centre for creativity, excellence and learning.
“I’m thrilled to be joining such a distinguished board and talented senior team at this exciting time and to be working with outgoing chair Erica Whyman in co-chairing the panel which will select our next artistic director, who will build upon Lisa Spirling’s celebrated tenure.”
Spirling and executive director Emily Carewe praised Dacre’s “long-standing relationship with the history of Theatre503, alongside his incredible career as a leader and director” and added: “We are thrilled to be able to welcome him back to Theatre503, where James originally directed Katori Hall’s Olivier award-winning The Mountaintop and then went on to be associate director, and look forward to continuing this work together.”
Dacre was artistic director of the Royal and Derngate from 2013 to 2023 and recently founded Living Productions, which produces theatre, film, concerts and festivals.
His previous roles include associate director of the New Vic Theatre, Theatre503 and the National Youth Theatre.
Theatre503 today announces that its Artistic Director and CEO Lisa Spirling is stepping down to join Stratford East as its new Artistic Director and joint CEO in Spring 2025.
Lisa has been Artistic Director and CEO of new writing powerhouse Theatre503 since 2016. During her tenure, this small but mighty space above the Latchmere pub in Battersea has staged the work of more first-time writers than any other theatre in the country. Lisa’s belief that no story was ever too big for us to tell has delivered an outstanding line-up of award-winning productions, consistently celebrated voices that hadn’t been heard before, and confidently led to a Theatre503 which is firing on all cylinders.
Erica Whyman, outgoing Chair, Theatre503: “We appointed Lisa at Theatre503 because of her visionary determination to platform the widest possible range of debut voices, to find new ways to make the theatre sustainable and to create a studio dedicated to writers and writing. Through tough and unpredictable times, she delivered all of this whilst producing a string of groundbreaking hits, and she has done it with care, humility, and a fierce commitment to equity. Lisa is a person of immense integrity and passion and I know she will be a tremendous leader of Stratford East. Theatre503 will begin seeking her successor shortly, at which point we will also announce the new Chair of our Board. For now, we are taking a moment to be exceedingly proud of Lisa and all she has achieved.”
Under Lisa’s leadership, Theatre503 launched the careers of leading contemporary playwrights including Nia Akilah Robinson, Mahad Ali, Tearrance Arvelle Chisholm, Safaa Benson-Effiom, Roxy Cook, Matilde Dratwa, Gillian Greer, Danusia Samal, Joel Tan, Andrew Thompson, Ross Willis, Yasmin Joseph and Zak Zarafshan, alongside supporting emerging directors including Jade Lewis, Rebekah Murrell, Anastasia Osei-Kuffour, Josh Roche, Kalungi Ssebandeke and Roy Alexander Weise, among many others.
In 2023, Lisa was included in The Stage 100 for her impact at Theatre503. Recent accolades for Theatre503 include: an Olivier Award for Jon Brittain’s Rotterdam; a nomination for The Stage Award for Fringe Theatre of the Year; winning London Pub Theatre of the Year; numerous Off West End Theatre Awards (Offies); and in 2019, two of the four Evening Standard Theatre Awards for Most Promising Playwright nominees were Theatre503 writers.
Alongside former Executive Director Andrew Shepherd, and more recently Emily Carewe, Lisa has led with radical candour, ingenuity and integrity, embodying the values and mission of the theatre. This has led to lasting changes, including embedding Equity and Inclusion into every aspect of the organisation; creating new income streams including an online Writers’ Programme and the Theatre503 Slate (philanthropic co-producing transforming how shows are funded); and eradicating hire fees for incoming productions. She has also realised her long-standing dream of a home for debut writers by securing the lease for the 503Studio at Nine Elms, which will create a world-class centre of playwriting excellence, in the newest cultural quarter in London.
Lisa’s productions as Director for Theatre503 were The Boys Are Kissing by Zak Zarafshan, Wolfie by Ross Willis, Milk and Gall by Mathilde Dratwa, and In Event of Moone Disaster by Andrew Thompson.
Lisa Spirling, outgoing Artistic Director, Theatre503: “It’s hard to express how much Theatre503 means to me as it has had such a significant impact on my life. It has been my theatrical home from home for nearly 20 years and for the last 8 years I’ve had the honour of guiding this exceptional team as we endeavour to discover, enable and launch to the wider world extraordinary debut writers and the creatives that bring their words to life. As Theatre503 embarks on its next adventure – the realisation and opening of the 503Studio at Nine Elms – it is time to pass on the baton and to welcome in new collaborators to embody the values and the vision which makes Theatre503 so very special.”
Roy Williams, Trustee, Theatre503: “I wish Lisa nothing but the best as well as huge love and respect. Her eight amazing years at Theatre503 has put the theatre firmly on the map and confirmed its status as a powerhouse of new writing. Nothing is a greater testament to her work launching incredible playwrights than seeing two Theatre503 alumni programmed in the upcoming season at Stratford East.”
You may have seen that recently we announced there would be a 2-day take over of the shell of our 503Studio space in June with a series of in-person writers masterclasses covering a range of playwriting themes. These will run alongside our usual online playwriting courses and masterclasses.
We are inviting writers into the shell of the space we are building for them. It is the perfect moment to share where we are at, where we are going – and how you can get involved!
For context, back in 2021 we announced that we’d won our bid for a cultural anchor unit within the new Nine Elms development in Battersea. The 503Studio will be a development hub for early career writers – think the NT Studio but where every play being developed is a debut.
This is the biggest project we have ever undertaken and in embarking on the journey, we know it would take as long as it takes, as with so many capital projects that have come before us.
We often describe this as the most expensive gift we’ve ever been given. What we won was the shell of a building – the outside walls and 320 square metres of space in between them, with £1.3m needed to fit it out to be the centre to playwriting we dream of. The developers, Galliard, awarded us with just under 20% of the funding total, and we are in the thick of raising the rest and planning for our future.
Whilst we’ve been fundraising, we’ve finished the design process with our brilliant architects t-sa. We’ve gone to tender on the build. We are ready and raring to go.
Because of this, we took a bit of the funding we have and we laid down the floor. The same floor that will be there when it’s open fully. We’re taking a phased approach to the build and activating the space as much as we can along the way.
Through Phase One, we’ve reached a stage where we can invite you, our brilliant writers, friends and stakeholders, into the 503Studio for activities like these masterclasses. The next phase will be to install everything we need to hire the space out to others for rehearsals and rehearsed readings. After that will come the creation of the rooms and rehearsal spaces on the ground floor, and finally the mezzanine level with its library and digital suite. With a 99-year lease, the 503Studio will become a permanent home for dramaturgy, script reading, courses, rehearsals, and importantly – community.
We are incredibly excited and we are also being realistic. We know it’s going to take us a while to raise the outstanding £646k – it’s the biggest project we’ve ever had! But we aren’t willing to sit on pause whilst that happens.
For Theatre503, the 503Studio not only represents a huge opportunity for us to deepen our connection and work with writers, but also our journey to financial sustainability. The reality is that as a 64-seat unsubsidised fringe theatre that punches well above our weight, many elements of our current financial model are less viable than we’d like. Because of the quality and scale of the work we produce, we spend almost ten times the Box Office potential on the production costs of a play and are dependent on the brilliant support of our friends, patrons and stakeholders to help bring the work to life. Alongside this, and like so many across the sector, we’ve seen our success rate with Arts Council project grants drop from 80% to less than 10% over the last 18 months – not only affecting us as an organisation, but the individual producers working with us.
What it means is that it’s slow progress – but progress IS being made. We have crossed the 50% line of our target, and at the same time we’ve also been given the keys to the shell of the building and we’ve been itching to start using the space. Everytime we step inside those walls, our vision of what the 503Studio will be in its biggest and best form becomes clearer.
The 503Studio represents a future where debut writers have a home.
You are always told to live in a home before you make changes – you understand how the building works, and I like to think that’s what we are doing here. We are opening up the doors to this huge, beautiful space that is brimming with potential (just like the writers we work with), and we are bringing you in to play, learn, experiment and more.
So that’s what this takeover weekend represents – a sneak preview, and first look.
We can’t wait to welcome you as we open the doors to our future.
Emily Carewe, Executive Director
May 2024