I recently joined a Zoom call with Oldham Coliseum‘s CEO, Martina Murphy, and Creative Director, Nick Bagnall, to catch up on plans to reopen the Fairbottom Street venue. We had previously spoken earlier in the year, but this interview covers the most recent developments at this historic venue in the North West of England – and my home town.
Oldham Coliseum opened in 1885 and was forced to close in 2023 and was set for redevelopment. It is now set to be back in business as a theatre building in 2027, and continues to programme work across the town.
On the day I publish this, news has been announced of a new initiative launched by the theatre’s guest curator, actor Julie Hesmondhalgh.
‘Pay it Forward‘ invites audiences who can afford a ticket to the upcoming production of Macbeth to “bring someone with you” by paying for another person’s seat.
The initiative has already struck a chord: more than £1,000 was donated in its first 24 hours.
There’s a lot happening at Oldham Coliseum. What’s the latest?
Martina: The building has been delayed. More asbestos has been found, so we’re working really closely with the council, and it should now open in 2027.
We’ve also started looking at the co-op. We’ve commissioned Co-op UK to look at what type of model we could use, so we’re exploring how the different organisations can keep their individual identities but work together for something bigger.
We’ve also just done Khushi – Festival of Happiness – which was wildly successful. It was joyful, just beautiful. I think it’s the best we’ve done as a team, and I can feel the journey back to the building now.
And Nick, you’ve been in the creative director role for a few weeks. How’s it going?
Nick: It’s been an absolute joy. There’s a lot to learn and a lot to do.
I’ve announced my first show, Macbeth, which we’re doing in Liquid and Envy nightclub. We’re rehearsing in September, and it runs through October and November.
There are some really exciting actors involved, and the venue itself is going to be really intriguing.
We’ve also got a lot happening outside the building. There’s You’re My World, which we’re developing and taking out into clubs, and an autumn/winter pop-up season with work including Testament, with Saints on a Bridge, and Lost Dog.
So there’s real impact in the fact that we’re making lots of work, and good work, while we’re out of the building. The plan is to keep moving until we can say: ‘Here we are, we’re back in the building.’
When we last spoke, you were hoping to have an event in the building next spring. Has that changed?
Martina: It’s been moved back. We’re hoping it’ll be finished around summer, and then we’ll do some test events before the big production.
It’s about testing the organisation, testing the building, but also giving something back to Oldham. The people who supported us and the people who campaigned to keep the building get something that’s for them.
Diversity was a big part of our last conversation. Is that still central to the vision?
Martina: Yeah. We have this big thing about ‘every story matters’. It’s about who has ownership of stories and who’s allowed to tell them.
Historically, people like me and Nick have been the gatekeepers, and we’re trying to open the doors and put different perspectives on the stage, because Oldham is incredibly diverse.
Khushi was a really good example. It was a celebration of South Asian art, but it wasn’t just for South Asian audiences. Who doesn’t want happiness? Who doesn’t want joy? Who doesn’t want drumming?
We’ve got to stop talking about things in terms of division and start looking at what joins us together. Fundamentally, we love to gather as human beings. We truly enjoy being in the company of each other.
You’ve also talked about creating a wider cultural campus around Yorkshire Street.
Martina: The vision has always been to put the back of house on the High Street. It comes from this sense of: if you can’t see it, you can’t be it.
When I was a kid, I had no idea how many jobs existed backstage. I knew about actors and directors, but that was about it.
So the cultural campus is about putting the wardrobe, scenery department and box office on Yorkshire Street. The idea is that it’s the people’s theatre, and the people should have some kind of ownership of that.
We still run it as an organisation – otherwise that’s chaos! – but it brings more voices to the table.
Nick, you’re from Scarborough. What drew you to Oldham?
Nick: I’ve been in and out of Oldham over the years, but I really fell in love with the place while working with some local artists.
I think I understand these towns. Scarborough feels very similar. There’s a vibrant sense of community, but towns like Scarborough, Wigan, Burnley and Bury have slightly lost something.
I think we’re suddenly losing touch with the arts, and that’s politically and socially really significant. The idea of making work in a town like this feels really important.
Martina: What’s interesting is that we’re both from northern towns, and most working-class kids from northern towns don’t get to become creative directors.
There’s a real sense of what happens when people with different lived experiences and different backgrounds come together to create something new.
Going back to ‘if you can’t see it, you can’t be it’ – I went to college here. I did performing arts at Oldham College. So when I go there now, I’m not just saying, ‘You can do this job.’ I’m showing them: ‘You can do the job.’
It’s still weird to me that we’re in these positions. It’s still weird!
Are you worried about the rise of Reform in Oldham and its attitude towards the arts?
Martina: What was really interesting when we were going through the building process was that, even though the political space is quite divisive, everyone collectively agreed: the people of Oldham should have a theatre.
The one thing everyone can agree on is that the people of Oldham deserve to have their theatre back. And the next generation of Oldhamers should have the same experience that I had growing up.
The fact is that the building’s been gone for nearly four years – you can see the ripple effect on the High Street, the town centre and the nighttime economy.
This building is a beacon, a lighthouse. It shapes the way we see ourselves and the way people move around.
I don’t even have to argue the economic or social value anymore, because it’s obvious.
It’s the heart. It’s where people gather. It’s where people share their stories. We talk about the ‘third space’ – it used to be churches and community centres. We need those third spaces.
There are a lot of other developments happening in Oldham too.
Martina: We need to start looking at what’s right with a situation. The Loom is an incredible space, and it’s going to be really interesting over the next few years to see how everything starts to come together.
Then you’ve got Northern Roots, Sports Town and all these different organisations. It feels like we’ve got a generational moment where everybody in a position of leadership is genuinely trying to do the best for the town, not the best for themselves.
Nick, what can you tell us about your plans beyond Macbeth?
Nick: I’m not going to tell you exactly what I want to do because I’m still very early in the process.
The one thing I will say is that we need to gain a level of trust with our audiences over the next 12 to 18 months, so that when we move back into the building we have audiences crying out to come and see our work.
The work needs to be of a great standard, with very good production values and great storytelling. It needs to connect to the here and now in Oldham.
But it’s not just about putting plays on. It’s about community engagement, impact, audiences and hard-to-reach audiences. A little show can have huge impact; a massive show can have massive impact.
I could easily programme a season of plays, but I think it’s more important that people in Oldham are getting stories that have resonance for them.
Martina, was that part of why Nick got the job?
Martina: Absolutely. It was a massive recruitment process. Ninety-six people applied, 19 got first interviews and we got that down to three.
Nick was unanimously chosen by the team and board because of that sense of the collective. He can talk to you about Shakespeare and text and literature, but he’s also someone who doesn’t project onto you. He dialogues with you.
Artistic directors of old were basically, ‘This is my world, and you’re just part of it.’ That’s long gone.
We’re in a dialogue. We’re no more important than the audience. The audience is more important.
Oldham Coliseum audiences are renowned for shouting back at actors, and I love that. I love the fact that people have that type of ownership.
You said before that you didn’t want somebody with an ego.
Martina: I’ve always talked about egos and empaths.
Egos tend to do really well because they can talk about themselves, project power and people listen because it’s their authority.
Empaths are always trying to do the collective good and value the people. That’s harder.
It’s much easier to say, ‘This is what I want to do. This is how I’m going to do it. Come along or go.’
It’s much harder to say, ‘This is my vision. How does it work with you? How do you engage with this? How do you feel about it?’
That’s a much harder leadership gig.
What would you say to people who are waiting for the Coliseum to come back?
Martina: This next 12 months really is an invitation for people to come and tell us what they want from the building and what they want from the team.
We’ve taken over a year to build a team back from nothing, and now we’re in a position where the team and organisation can deliver what we need to deliver.
We’re also putting everything we’ve got into the next NPO process, because that’s massive for us.
But ultimately, people need to come with us on this journey.
We’ve been doing things in parks, shopping centres, libraries- everywhere. I don’t want to open the doors in 2027 and have it be the first time anyone’s engaged with us.
So, come with us. Vote with your feet and buy tickets.
We only exist because of the public. Unless the public gets behind it, it doesn’t work.
We’re temporary custodians. This has been going on for more than 180 years. We’re just putting a chapter in the story.
This generation needs to support it, buy tickets, come and see the shows, and tell us what they want.
Follow Oldham Coliseum on their website – https://coliseum.org.uk/
Macbeth runs from 23 Oct to 7 Nov at Liquid and Envy Nightclub – https://coliseum.org.uk/whats-on/macbeth/.
My thanks to Ben McKnight, Julie Hesmondhalgh and Harriet Grubb, as well as the interviewees, for facilitating this feature.