Sita McIntosh: Why Indhu Rubasingham is guest editing WhatsOnStage
I’m very proud of the editorial team at WhatsOnStage. With just three full-timers, two chief critics, one video production company and a small unit of part-time reviewers they manage to churn out content that is intelligent, individual and informative on a rolling basis, sifting through the maelstrom of press releases that continuously hit the editorial inbox as well as commissioning, reviewing, filming and of course, writing.
At the beginning of the year we started to discuss how we could step outside of the usual editorial parameters and bring unique voices and different perspectives to WhatsOnStage; viewpoints from people who works in different facets of the industry who could contribute ideas and opinions that we wouldn’t necessarily hear otherwise. And so, the idea of guest editors was born.
Indhu's production of The Invisible Hand was one of the most thought-provoking, intelligent pieces of theatre I’ve ever witnessed
Of course the next decision was who? I can honestly say that "Indhu Rubasingham" were the first words out of my mouth, quickly followed by "but she’s so busy – she probably won’t have the time". Happily, although she was, of course, very busy, she felt she might manage to make time for the project. So after a bit of gentle persuasion over lunch, Indhu agreed to guest edit WhatsOnStage for a week.
I have long been an admirer of Indhu’s work, dating back over 20 years to 1996 when she directed The 'No Boys' Cricket Club at Theatre Royal Stratford East – where she first started as assistant director. Meandering through her CV I realised just how much of her talent I have enjoyed since then; Fabulation, Ruined, Stones In His Pockets, Red Velvet, Handbagged, The Motherf*cker With The Hat to name but a few and then one of my personal favourites, the sublime The Invisible Hand at the Tricycle last year. Quite simply it was one of the most thought-provoking, intelligent pieces of theatre I’ve ever witnessed and scarily relevant in these troubled, divided times.
Born in Sheffield, of Sri Lankan origin, Indhu studied drama at University of Hull and after graduating, won an Arts Council Bursary to work at Stratford East. She then went on to work at the Gate Theatre as associate director and the list of venues she has graced since then reads like a UK theatre database; the Young Vic, Birmingham Rep, Royal Court, Almeida, Chichester Festival Theatre, Hampstead, Liverpool Everyman and the National Theatre.
If there was an award for being a thoroughly nice person, she’d absolutely get that
In 2012 Indhu was appointed artistic director of the Tricycle Theatre and is currently overseeing their capital building project shaped by her vision of making the space a theatre for all. When the building re-opens fully next year it will have an upgraded theatre with a new, flexible stage, fully accessible seating with uninterrupted views from any point in the auditorium, increased capacity and a brand new café space. In short it will be the beating heart of its local community.
© Peter Gibbons
Over the last couple of years Indhu has gone from being one of my heroes to one of my friends. Through my work with Tonic Theatre we have worked more closely in recent months; last year she was one of the panellists at the first ever Tonic Celebrates event and in March we were delighted to present Indhu with a Tonic Award in recognition of her incredible career. That shares mantelpiece space with her Asian Women of Achievement Award, her Liberty Human Rights Award and of course, her recent MBE. Probably more importantly, if there was an award for being a thoroughly nice person, she’d get that too. It’s an honour to know and work with Indhu and I’m beyond thrilled that she has agreed to guest edit our site.
