Close-Up: An Interview With Head Of The Offies Denholm Spurr

Drag-artist superstar Divina De Campo will host the 15th anniversary Offies on Monday 17th March at Westminster Hall. A night celebrating everything the Off-West End offers, performances will include the legendary London Gay Men’s Chorus, the award-winning Mischief Theatre, Tony Award-winning Frances Ruffelle and Divina De Campo themself.

We spoke to head of the Offies, Denholm Spurr, to find out more…

The Offies have grown in importance over the years, especially in spotlighting Off-West End productions. How do you see the impact of this recognition on the wider theatre industry?

This is a great question because it allows me to actually shout about the amazing achievements of my predecessors, which I am incredibly humbled by. When the OffWestEnd project was founded by Sofie Mason in 2005 the independent theatre scene in London was almost unrecognisable from what we have today. Unlike our colleagues across the pond where Off-Broadway had been defined, represented and recognised for many decades, theatres beyond the West End SOLT venues in London were a hodgepodge of undiscovered spaces across a wider geographical area and on a multitude of scales. The term Off-West End was barely even used and in the rare cases it was only to describe the biggest venues in our sector: the Donmar, The Almeida, The Young Vic etc. The rest was give a mixture of names such as fringe, pub theatre, or even labelled as amateur.

Over the course of the next 12 year Sofie (later with Diana Jervis-Read alongside) helped define Off-West End as a an equal to Off-Broadway, platformed all the amazing venues in one hub website before anything like that existed and created a literal unified map of our sector. The Offies were introduced in 2010 to recognise the unrecognised and find the real diamonds in the rough. Since then, London’s independent sector has boomed with us covering twice as many production at twice as many venues: roughly 600 per year at 150 spaces. Venues themselves have also expanded by an average of over 100% amongst our cohort which massive theatre building investment projects.

Geoffrey Brown lead the organisation from 2017 and oversaw a period of coverage growth where the Offies become an national organisation, also recognising the work at fringe festivals across the UK. He was also a big fan of a spreadsheet and help collate valuable data which was especially useful when he championed our sector during the COVID-pandemic and lobbied the government for support.

Today Off-West End is in a golden age with productions we recognise directly feeding — dare I say sustaining?— the commercial sector: last year there were over 20 shows running in the West End that were transfers from Off-West End venues, most recipients of accolades from the Offies. There have also been tremendous TV and Film successes such as Baby Reindeer and Fleabag. Our sector is the maternity ward of British theatre. But it’s not all rosey. There are serious issues in terms of funding and whilst talent and value trickles up into the commercial sector the ecology loop hasn’t been closed and we have yet to see substantial trickledown. This presents an existential threat to our sector and is already denying many a viable route into the business. OffWestEnd shares this financial struggle and continues to fight on nonetheless. I really hope we will be able to be as proud of our sector in 20 years from now and keeping the Offies alive will be a key part of achieving that.

Why did you think of reshaping of the awards and why is it so vital to keep supporting new talent in this space?

Again I was hugely inspired by our friends across the pond. The Obie Awards — Off-Broadway’s Offie equivalent — removed fixed categories in 2022. Our new model is a development of that system and abolishes the previous category model replacing it with eight Areas of Exceptional Contribution. These areas are more like groups, intentionally broad to incorporate all potential disciplines ensuring no creative goes unrecognised. Design for example can go to a set designer, or costume, make up artist, even hat maker.

Whereas before we had to constantly expand out categories and play catch-up with our diverse and innovative sector, this new system allows us to be responsive to the evolving nature of OffWestEnd as and when it happens; often seen new art forms and disciplines enter the field, from Drag Queens to DJs!

It also elevates our under-recognised specialisms like Theatre of Young Audiences, Cabaret and Opera to sit alongside our traditional awards as indistinguishable equals. This approach is vital if we want to continue to see the exponential growth of our sector which has pushed the boundaries of what theatre and entertainment can be. The model that existed in 2010 was perfect for then, this new model is designed for the now.

What do you think about producing an event that celebrates both diversity and innovation in theatre?

Incredibly proud. Innovation and diversity are both key parts of my personal brand and to be producing an event which significantly platforms and elevates both is a real moment for me. I am the first Managing Director of OffWestEnd from a working-class background, the first with hands-on experience of independent theatremaking, the first with a hidden disability and neurodivergent to boot: people like me don’t even up in arts leadership roles because access to the arts and particularly the gatekeeper roles is so closed or financially impossible. Standing on Central Hall Westminster stage at the Offies on March 17 will be a real milestone for me personally but also I hope an opportunity to be role-model and advocate for other creatives like me hoping to make their way in this challenging business. Don’t give up!

As a prominent figure in both the Off-West End, what do you think the Off-West End can teach the larger theatre community?

OffWestEnd theatres are affordable, sustainable, accessible and incredible.. Affordable because anyone on any wage (including the unemployed) can afford tickets somewhere Off-West End with pay what you can events and average ticket prices around £20, it’s real value for money which is a world away from the exorbitant prices we see in the West End today and it’s only getting worse. The sector is also inherently sustainable: often reusing and recycling sets and resources, sometimes out of the necessity sometimes through a concerted effort which is part of the independent ethos. These theatres are also on your doorstep making then infinitely accessible, with incredible community engagement programmes and access provision that the austere and old-school West End venues lack. And finally incredible because you can get a unique front row seat to art in motion, with the newest innovative art forms platformed alongside the next generation of commercial success stories.

To be honest, we could teach the larger theatre community all this, but it’s what makes OffWestEnd so bloody special that you might as well come find see for yourself. And what better way than to attend our new showcase-style entertainment awards event this March. The Offies will be hosted by drag royalty Divina de Campo and feature performances from a host of amazing acts that show off the breadth of talent whilst recognising the best of the best work that was made this year. You don’t wanna miss it!