An Evening with Sir Lenny Henry Tickets

The Bush Theatre today announces An Evening with Sir Lenny Henry, a fundraiser for the theatre which will take place at the west London venue for one night only on 25 January 2025. Alongside many arts organisations, The Bush, despite its sold-out performances, two recent West End transfers and a vital community of supporters, finds itself on a financial precipice due to rising costs, and real-terms shrinking funding.

Lenny Henry, whose playwriting debut August in England was produced by The Bush in 2023, has generously agreed to host ‘An Evening With…’ with readings from the play alongside a Q&A session about his career and journey with the Bush, chaired by culture writer and podcaster Nancy Durrant.

The venue works hard to develop pathways for talent development, many of which are in jeopardy. One valuable initiative is the annual Open Submissions call-out for scripts which provides an opportunity for writers without agents or connections to have their work read. The Bush receives over 1,000 scripts each year and through this path has found new members to engage in their various development programmes, including the long-standing Bush Theatre’s Emerging Writers Group (EWG). The Bush EWG has nurtured talented writers including including Benedict Lombe (Lava and Shifters), Beru Tessema (Wolves on Road) and Coral Wylie (Lavender, Hyacinth, Violet, Yew which opens next February) to develop award-winning main house productions and relies on Open Submissions to find fresh talent.

However, this year the open script submissions scheme has had to adapt significantly. Lack of funds, and consistent raising costs, means the theatre hasn't been able to engage script readers and the programme is now at risk of dissolving. The Bush uniquely focuses on British and Irish writers with Black and Brown voices to the fore, and this vital link in the development of the theatrical canon risks being broken.

Alongside this are further initiatives including workshops, access to the theatre’s literary team for writers, funded research and development periods for script development, employment opportunities for Assistant Directors, and community access to spaces around the building. The Bush has long been celebrated as a home for new writing and talent development, bringing to the public attention names including Waleed Akhtar, Simon Callow, Michaela Coel, Monica Dolan, Richard Gadd, James Graham, Arinzé Kene, Jonathan Harvey, Lucy Kirkwood, Benedict Lombe, Stephen Poliakoff, Alan Rickman, Simon Stephens, Jack Thorne, Phoebe Waller-Bridge, Julie Walters, Tyrell Williams and Victoria Wood.

Richard Gadd, whose international hit Baby Reindeer had its first London performances at Bush Theatre said, ‘The Bush Theatre is an incredible hub for new writing, going above and beyond in terms of supporting new voices in the industry. Everytime I go there, I am genuinely overawed by the breadth of talent they uncover and champion to the world. More often than not taking huge chances on first time writers looking for their first break in the industry. These opportunities are becoming rarer and rarer in an increasingly cautious industry operating in a cost of living crisis, which is why it is so important that spaces like the Bush Theatre exist. Of course Baby Reindeer would be nothing without the support they showed it early on in its development.’

Benedict Lombe, who developed and opened her play Shifters at the Bush before transferring to the West End this year said, ‘The Bush has given space to artists and stories simply not witnessed on other stages. And in doing so, continues to shift the very fabric of the "canon". From being on their Emerging Writers Group, to having both my debut (Lava) and follow-up play (Shifters) on their main stage - they have championed my voice, supported my craft and repeatedly proven that they invest in the long term development of artists - not just schemes. It remains one of the few places I have never been told that my work is a "risk". Places like the Bush are a lifeline for artists. We must ensure their survival for future generations’.

Lenny Henry said, ‘Right now, the arts just aren’t getting the help they need, which is disastrous considering the huge amount they contribute to daily life and to the public purse. Innovative places like the Bush Theatre are vital to the local economy and also the development of new work, which is one of the reasons why I chose to do my debut play with them. Without the new writers, performers, backstage and technical staff that venues such The Bush bring to the fore, much of the theatre, films, and television we take for granted simply wouldn’t exist. It’s so important that these spaces thrive . I stand with everyone at The Bush and hope they get to continue their important work.’