Programming the Future: Hope Street's Emerging Artists

Prior to an enlightening half-hour phone conversation with project producer Laura Cockett, I will readily admit to underestimating both the scale and merit of Liverpool's Hope Street Emerging Artists Programme. “And it costs nothing at all to participate?” I ask, finding the idea of a free, five-month training programme specifically for developing artists simultaneously incredulous and admirable. “Nothing at all?”

I end the call with new-found regard for an organisation that to my knowledge – and I have done my research on this one – has no counterpart in providing intensive, tangible experience for those looking to forge a career in a multitude of artistic disciplines.

“We are interested in taking risks,” says Cockett. “We want to do things differently.”

Celebrating their 25^th anniversary last October, Hope Street have long demonstrated a commitment to the development of fresh talent, running various forms of emerging artists programmes and aiding the evolution of new art forms. Responsible for the initiation of some of Liverpool's most groundbreaking theatre companies (including the force behind Physical Fest, Tmesis), Hope Street’s reputation for success is indubitable.

The only cultural organisation in the UK that trains, nurtures and develops emerging artists irrespective of age, educational background or artistic practise, the Emerging Artists Programme welcomes a diverse range of applicants: “Our 2012 programme included somebody with a physics PhD who wanted to move his life in a different direction. The programme prior to that included a grandad!”

This year’s programme is comprised of 25 emerging artists who occupy a number of roles, including a musical designer, participation coordinator, film-maker and digital artist. “The roles vary each year,” explains Cockett. “This year we have recruited a digital artist – a role we have not worked with before. We recognised the growing relevance of the role and the value it brings to an artistic project and found a way to support and facilitate it within the programme. We are always very careful that we do not create roles that we cannot provide real development for.”

Attached to each programme are a number of artistically ambitious public performances, carefully devised to offer not only maximum development potential for the emerging artists but audience enjoyment. This year’s programme is compiled of an immersive theatrical experience at the Bluecoat, a carnivalesque performance at Everton Park and a ‘live-action adventure game’ that weaves its way through Liverpool’s most iconic buildings, all three events invite their audience to relinquish their inhabitations and connect with the action.

“All of the pieces are site-specific,” says creative producer John Leyland, “and that can be a tricky way to work. We have a responsibility not only to the development of our emerging artists but also to the public – the performances must be high quality and accessible.”

For the many merits of such an interactive programme there are the inevitable difficulties. “In a black box theatre space you are in control of your environment. It is much more malleable in that sense. Working site-specifically it is about finding things that are unique and incorporating and responding to those elements appropriately. That is the challenge for our emerging artists.”

Providing 12 months' additional support and aftercare to programme participants, including free rehearsal space, loan of equipment and costumes and mentoring, Hope Street remains long after the production has ended.

“We retain lifelong relationships in some ways,” says Cockett. What more could you ask for?