Launching 50
Launching our Fifty Friday series with a journey back to where it all began – meet Mary Ward and Jo Collins, the visionary co-founders of Chickenshed, united by a passion for inclusivity and creativity.
A Chicken Shed
In the early days, we found our humble home in local church halls, but the magic expanded when we moved into our Chicken Shed.
Knowing we needed a proper rehearsal space, Jo Collins approached Lady Elizabeth Byng, the steward of the 2,500-acre estate of Wrotham Park, known for being the backdrop of Vanity Fair and Bridget Jones’s Diary!
Jo was invited for tea and scones, and as she left, Lady Elizabeth generously offered a disused Chicken Shed, covered with feathers and straw. When Jo asked ‘How much?’, Lady Elizabeth’s answer was simple: ‘It’s yours.’
That Chicken Shed was our home for several years, until Lady Byng’s passing.
The First Christmas Show
We thought we’d time-travel to 1994 when ‘Night Before Christmas’ took our stage for the VERY FIRST Chickenshed Christmas show.
Crime Of The Century
Reflecting on #InternationalEducationDay, we celebrate a potent tool in social change and the fight against knife crime and gang violence.
Since 2008, COTC has toured schools, prisons, universities and pupil referral units. It continues making a powerful impact today.
‘Crime of the Century’s’ themes sadly remains relevant in 2024, and our education team takes it to schools nationwide.
"If the 21st Century will be remembered as the time we let our children kill each other, Chickenshed will be remembered as the theatre company who had the guts to ask how and why."
1973 The Year That Rocked
It was 50 years ago that Rock was brought to life, a musical that played a key role in starting Chickenshed.
Jo Collins remembers the original Rock production fondly, having written the original music with Anthony Filby and the script written by Sally and Peter Heath. It was a huge success and everybody came.
“I’ll never forget the first performance. I’d never played in a theatrical setting before and I didn’t understand the multi-layers that you could have, as opposed to just playing music. I’d only ever done concerts or gigs. Having other people sing your music was just wonderful. I directed it, more or less, and a few other people helped out. I remember going home that night, so high. I kept phoning people. I couldn’t stop talking about the effect it had on me. The buzz, the applause, the audience reaction - it was just unbelievable.”
