Staging ‘potentially incendiary’ work ‘essential’ in a polarised society, says David Byrne
Staging contemporary, difficult and “potentially incendiary” theatrical work is “essential” in a polarised society, according to artistic director of London’s Royal Court Theatre David Byrne.
Speaking to Arts Professional at the launch of the venue’s 70th anniversary programme yesterday (28 October), Byrne said most of the plays in the theatre’s upcoming season “just wouldn’t go on show elsewhere because they’re too difficult”.
“We often get plays sent to us by other theatres saying this play is too spicy for us to do, but the Royal Court might be interested,” adding that appetite for risk is “part of the attraction” to the venue’s investors and stakeholders.
“What we want are the people who come on board knowing the risk but are up for the adventure and want to be part of the future of theatre,” explained Byrne.
“What we do at the Royal Court is needed more than ever in a polarised society, because yes, we may ruffle some feathers, and yes, putting contemporary work on stage is potentially incendiary and difficult to hear, but it’s essential that it happens.”
Leading the way
While the Royal Court’s legacy allows it to support and fund new material, Byrne recognised the same is not true of the nation’s regional theatres, which may struggle to attract support for untested work.
Bryne said the current challenge is fundraising for “those theatres and artists in parts of the country where they can’t attract investment and they don’t have that legacy”, warning that more funding is needed for the UK to become a “truly creative and cultural country”.
“It’s the theatres… which aren’t able to command six-figure gifts from donors that really need support and investment,” said Byrne.
Noting that the Royal Court benefits from a “flotilla of people” ensuring it can “[keep] to our ambition and [continue] to grow with our imagination and verve for audiences”, Byrne added, “It’s our job to show in abundance and to lead the way about what is possible at the Royal Court.”
He continued: “Both the executive director, Will Young, and I started in grassroots theatre, and we know how challenging fundraising is at that level, but we’ve got a bigger stick now.”
“If we want a nation of playwrights, theatres need investment to make art available in those communities where it isn’t in abundance.”
David Byrne spoke at the launch of at the launch of the Royal Court’s 70th anniversary programme
Advocates for new writing
At the launch, the theatre unveiled the Jerwood Royal Court Commissioning Scheme, which will award six grants of up to £ 6,000 each year to create brand-new play commissions for writers and producers.
There will also be a new National Young Playwrights Award Festival in 2026, following on from the London pilot of the award, which will accept work from teenagers across the country.
“A focus on and support for new writing was what really attracted me to being artistic director at the Royal Court,” said Byrne.
“I see the job as being in service, not just for playwrights on our stages but for playwrights everywhere in the UK and around the world.
“All our initiatives are to really invest not just in playwrighting here, but in a community everywhere. We see it as our real responsibility, duty and pleasure to be advocates for the writing.”
‘Always about the incendiary new plays’
The theatre’s 2026 Jerwood Theatre Downstairs season will include two world premieres, two European premieres and two Royal Court revivals, including Tilda Swinton returning to the stage after more than 30 years.
Additionally, the programme includes Godot’s To-Do List, a comedy written by then 18-year-old Leo Simpe-Asante, which was discovered by the Royal Court’s 2025 Young Playwrights Award.
Meanwhile, Jerwood Theatre Upstairs will host four world premieres from open script submissions sent to the Royal Court alongside a transfer produced by the Maxim Gorki Theater in Berlin.
Since its founding in 1956, the Royal Court has accepted any scripts written in English for equal consideration and has read over 3,000 each year.
“Our priority will always be new work and new players, and that’s where my appetite will always be,” said Byrne.
“So while Royal Court revivals are treats, and it’s nice to put them in as a bit of volcanic rock next to the new work to give them a bit of context, we are always about the incendiary new plays and finding those new voices.”
