We’re kicking off our 10th year with new exciting participatory sessions and inspiring professional development programme. Keep an eye out for our season guides and see the whole programme here.
There’s something for everyone this season, with experimental and playful new sessions in the mix as well as some old favourites. Starting in September, INCUBATE is a new programme of professional development support for creatives working in Blackpool. This pick-n-mix programme of workshops, talks and skill sharing opportunities will take your creative career to the next stages.
Stay in the loop as we continually introduce fresh activities on our website – ones that you won’t find in the guide. Make it a habit to explore our website frequently so you don’t miss out!
Rob Mason is representing Blackpool in Southbank Centre’s New Poets Collective 25/26, a UK-wide Artist Development scheme which has so far nurtured and developed four cohorts comprising poets from across the UK.
He reflects on New Poets Collective Writers’ Retreat, which took place in Blackpool 30 January – 2 February 2026…
It’s been a while since I’d been writing properly, so this appointment has been a really exciting opportunity to wholeheartedly dive back into something that has brought me a lot of joy.
At the time of writing, we’ve had two online sessions and spent a marvellous weekend in Blackpool together which we shall focus on shortly. During this time, we took part in workshops and activities all grounded in theory and practice related to writing and performing poetry. One such activity involved receiving messages from the previous cohort of which “journal it all” or words to that effect came out and that struck a chord.
So here we are…. I don’t like putting myself in boxes as a creative. I do a lot, so it’s restrictive. It’s also a handy metaphor for my ADHD riddled mind, and whilst handy, also leaves me wondering if I’ve ever fully committed to anything other than being a nuisance in my life. I guess I’m committed to Blackpool, in a big way and so this is a chance to share the town with the UK and beyond, right?
Ok, I’m in. Let’s go.
The first online session was at the back end of November last year, followed up with one soon after in the second week of December. There were introductions and icebreakers, in depth discussions about crisps and group poetry readings in the form of a workshop, with breakout groups and a small writing task.
It was great to see everybody’s face and hear the varied accents. The cohort has quite the geographical spread, from The Hebrides, over to Bangor in Ireland, down to the Southeast Coast, back up the East Coast to Dundee back across The Hebrides and all that lies in between.
After the first online meeting we were tasked to write about something new we experienced; tasted, heard, smelt or experienced. Grand, I get up to all sorts all the time, love me food, right northern bastard. For the next week I did nothing other than the usual mundane stuff. But alas, it’s my birthday at the start of December.
For my birthday I got super flu. Or to be exact, a few days before. I was levelled. Went for a pint on my birthday, and that was the highlight. Couldn’t eat, couldn’t do anything that required any sort of exertion. Thank the lord my thumbs worked.
I managed to get a poem written for the next session, and at the time of delivery I wasn’t quite happy with it, but reading it back a week later, I think it really captured the mood of that week.
Today is a New Day
I’ve never been this old before, never been this bald. I’ve never been this tired, the world hasn’t ever felt so poor.
We’re in yesterday’s tomorrow. Today, is a new day. If there one thing we know about sunshine, is it’s the best time to make hay.
Capitalise, carp diem, Grab it by the short and curlies. Go for it, make the jump. Accelerate along your journey.
It’s the first time I’ve been a human. I’m winging it like everyone else. If at first, I don’t succeed I might just hop the fence.
Good days are spent earning, Great days imagining what clouds are. The money is unimportant, If they form into your avatar.
A spectacular show performed, Daily against baby blue backdrops. No two clouds ever appearing the same, Before disappearing behind mountaintops.
The sunset has never been duplicated, Although many with pen and brush try. Not that I’ve ever needed a copy, Having always lived at the end of the line.
Disappearing over yonder, With the promise of a new dawn. Not many things are guaranteed like that, Out here on the front lawn.
With the horizon as my infinity pool, The sky, the paintings on my wall. I am happiest and content, Needing nothing new at all
Having found my peace with the poem, it seems that I might be a poet after all. Keeping that magic alive now becomes the challenge. Thankfully for the next two years my writing will have purpose and direction and there shall be plenty more to come…
All my life I’ve been writing, poems, short stories, plays and even thirty thousand words of a novel and cruelly abandoned the main protagonist going round and round a roundabout trying to decide which way to go. She’s still there, just as almost everything I’ve ever written is stuffed in a drawer, or stored on a memory stick; there are even a couple of floppy discs somewhere – I’d probably need the help the of Science Museum to access those now.
Why was all this stuff tucked away and forgotten? Because I was scared. There is something so exposing about writing, especially poetry. The work is a piece of you and often a piece that’s wounded and tender to touch. The fear is not just that the work won’t be liked or thought not very good, but that you will be mocked. Over the years I got a bit braver, sent in the odd piece to a small magazine or competition – felt like every rejection, or more likely empty silence, chipped a piece off my soul. I went to a few creative writing classes, but it seems the world was full of people ready to tell you how to write, but not what to do with the stuff you’ve written.
Then one day I picked up a leaflet in my local vape shop, for The Old Electric, and after much agonising, I joined a playwriting class. At this point I had pretty much given up on writing – really what was the point? In my mid-fifties, I was sure I’d long since missed the creative boat. There was another part of me that just thought sod it, now or never, and most importantly, why do I give a flying fandango what other people think? At first, it just seemed nice to be in a room with other creative people who cared about what they were doing. One thing has led to another and since then I’ve done things I never imagined.
The latest thing is Performing Poetry Skills. This workshop lead by the fabulous Liz Wilkinson, has been a revelation. I do worry that the title of this workshop sounds very serious and a bit stuffy, but it is anything but that. The purpose is serious, to get the participants to a point where they have the skills and the confidence to present the work they have sweated blood over, in the very best light. This doesn’t mean we can’t have fun while we are acquiring those skills. Voice exercises and tongue twisters are a bit like I imagine learning yoga is. The point is to become linguistically lithe and limber and to have a voice that will do what you want and be in your control, to use it as a dancer uses their body, as a medium of expression.
Of course, using the body is at the heart of it, which surprised me a bit. How you move and how you stand are important and not things I’ve ever thought about before. I’d always seen myself as a person who’s all up in their head and drags a body round with them under protest. Doing the exercises in the workshops has revised my opinion on that, now I see that if I want to put my thoughts in other people’s heads then the body has got to get with the program too. The workshop is not about judging your poetry, it’s not about judging your ability to perform. There is no gatekeeper telling you you’re not good enough. You may not be the best there is, but it helps you to be the best version of yourself. Now when I find a few lines on a yellow piece of paper that’s been folded up to use as a bookmark or buried in a pile of ancient bank statements, I find myself thinking, what can I do with this? Is this worth dusting off and polishing up? How could I perform this?
Meeting and working with a group of people who have the same aspirations has been another incredibly positive experience. Writers work alone most of the time, and some may not need to be with others. I’ve found being with other people who write and want to share what they write, is nourishing to my own creativity. Even if what they are doing is entirely different from my own work, I find I get home charged up, sometimes positively giddy and full of ideas I didn’t have when I dragged myself out of the house on a wet and windy Monday night in November. I could have been at home watching Mastermind under a fleecy blanket, but I’d hate myself by eight o’clock for letting the opportunity to grow slip through my fingers. Well very soon, I’m off to my workshop and I’m excited and enthusiastic. I can feel my skills getting better, my reading clearer and more expressive. I’ve stopped worrying about all the stupid stuff, “I don’t look like a poet.”, “I don’t dress like a poet”, “I don’t sound like a poet,” all that tosh is banished. By playing, laughing and working with Liz and the other participants, I’ve got myself to a place where I’m ready to stand in front of a room full (well your average poetry reading a third to a half full) of people and put my words out there.
I had my flu jab today. It occurred to me when I’d watched the helpful little videos on the display cycle round twice that the workshops are also inoculating me. Acquiring the skills to read well and the support of Liz and the other open and generous people in the group has strengthened me and provided defence against the fear of making a fool of myself, that has kept me silent far too long.
Time to get brave.
Performing Poetry Skills, every Monday evening 6.30-8pm at our temporary pop-up space at 4 Edward Street, Blackpool, FY1 1BA. Get booked on using the link below!
It’s been a busy start to the year at The Old Electric! We kicked things off the season with Ride The Lights (nothing says “summer in Blackpool” like a crocodile, a monkey, a unicorn and a pirate pedalling furiously down the promenade covered in fairy lights), before diving headfirst into our shadow puppetry workshops all over Blackpool in preparation for Lightpool.
A huge thank you to KinCraig Primary School, Park Community Academy, Magic Club, Claremont First Steps, Revoelution, Blackpool School of Art, Abingdon Street Market and Palatine Library for having us across September!
Abingdon Street MarketClaremont First Steps
Palatine LibraryMagic Club
We rocked up at Fresher’s Fairs at both Blackpool & the Fylde College campus and Blackpool School of Arts to say hello and spread the news of our brand new participation programme — and last weekend, we got introspective with the Men In Focus exhibition at our pop up on Edward Street. Basically: we’ve been everywhere, doing everything, and occasionally remembering to have a biscuit break.
We’re charged up for Lightbox at Lightpool later this month, running from 17th October until 1st November, where all those glorious shadow puppet projections will finally step into the limelight, joined by live movement magic choreographed with the wonderful House of Wings and members our very own Community Theatre group, ThESPs.
So buckle up, Blackpool — the lights are on, and we’re just getting started…
Blackpool’s leading creative community hub The Old Electric is back this Autumn with a bold new programme of creative workshops and courses offered completely free of charge. From Playwriting to Prop-making, this season has something brilliantly creative for everyone to get involved with – whether you’re a regular arts participant or interested in trying something new for the first time…
Workshops will be delivered from The Old Electric’s temporary space at 4 Edward Street, just off St John’s Square, with many more activities and events popping up across Blackpool throughout the rest of the year.
After leaving their previous site at Springfield Road, the organisation has reinvented their popular programme of activities and events and will be taking over new spaces with pop-ups in Blackpool Libraries, Abingdon Market, and their new hub at Edward Street between now and Easter 2026.
TheOE has big plans over the next few months, and will be presenting ‘Lightbox’ at Lightpool in October, a Family Festival of performances across Blackpool Libraries this December and, after the success of ‘Memoirs of a Blackpool Mermaid’ at The Winter Gardens in July, their community theatre company Th’ESPs is planning their next production. They also continue their collaboration with Think Forward in supporting The Men’s Exchange.
Melanie Whitehead, Artistic Director of The Old Electric, said “This company was formed out of consultation with our communities and we are always seeking new ways to respond to their communal creative needs. It’s been such a whirlwind few months for us all, but so many people have shared with us their feelings about how important it is to have regular opportunities to connect creatively with others in playfulness, to develop artistic practice and to have safe, social spaces where their confidence can be nurtured; this programme aims to continue to support that.”
“We are so grateful to Blackpool Council and all the organisations and individuals who have shown us support in navigating this transition period, we’re working on what might come next and we’re excited by the possibilities…to find out more, keep watching this space – or, even better, show up and get involved – we’d love to hear from you!”
The Old Electric’s programme of free creative workshops starts on Monday 1 September, running on weekday evenings at 4 Edward Street, Blackpool, FY1 1BA. To book your place and find out more, visit https://theoldelectric.co.uk/take-part/.
“All changes, even the most longed for, have their melancholy; for what we leave behind us is a part of ourselves; we must die to one life before we can enter another.” (Anatole France)
We are mixed with excitement and sadness to let you know that, at the end of April, we’ll be closing the doors to 23 Springfield Rd, for the final time.
I’m sure you appreciate that, after all the love, sweat and tears that we’ve collectively poured into the fabric of this building over the last 5-years, this decision has not been taken lightly, and that we’ve tried our darnedest to seek out other outcomes.
That said, we know that The Old Electric is not built of bricks but out of communities and creativity.
All that we’ve achieved together over our time here adds up to more than just a building.
The space that we made from collaboration and camaraderie that became a place for creation still remains very much in our hearts and our intentions as we turn the page to embark on new chapters.
We’ll be working in a few different places and spaces for the immediate future, and some of our programmes will shift (back) online quite easily, but, as ever, we have big plans… We know that partnerships are at the heart of our future and that, in this way, we’ll be able to build even more exciting cultural pathways for our creative communities in Blackpool – that’s the bit we’re excited about!
Our community theatre company will continue to produce bold, ambitious, challenging work and our next show: Memoirs of a Blackpool Mermaid is still going ahead and we CANNOT WAIT to have you with us!
Please do check our website and social media for specific programme updates and get in touch with us on info@theoldelectric.co.uk if you have any questions, concerns or would like to reach out with an offer to work together in the future…
We are so incredibly grateful to everyone for their ongoing support and kindness.
With love and electric sunshine Melanie and TheOE Team
Watch our special video reflecting on the last five years.
Over the past two weeks, Isla and Pheobe have been gaining hands-on experience at The Old Electric, learning about the different aspects of how our theatre operates. They’ve seen firsthand how we bring shows and creative opportunities to life. Throughout their placement, they’ve developed new skills, worked alongside our team, and discovered what goes into running a community-focused venue. Here, they share their reflections on their time with us.
As we bid farewell to an incredible year filled with inspiring performances, impactful workshops, and unforgettable moments, we’re thrilled to unveil what’s in store for our new season at The Old Electric! Each season brings something special, but this one promises to be our most exciting yet.
Here’s our January to July brochure guide—your roadmap to an electrifying season of events and workshops! Save the dates now, because it’s never too early to plan for an unforgettable start to the year.
OurWhat’s On section is your go-to hub for a full overview of upcoming shows, participatory activities, and community events. Whether you’re looking for powerful performances, creative workshops, or engaging community initiatives, you’ll find it all there.
We’re continually adding new performances and activities that you won’t want to miss—and some aren’t even in the brochure! Keep an eye on our website for the latest announcements and exclusive events. Make it a habit to check back regularly and stay in the loop.
Please note that the events listed on our website are accurate at the time of publication but may be subject to change. We recommend checking back closer to the event dates for any updates or revisions to the schedule.
We are recruiting a dynamic Business Manager to help steer our organisation through an exciting phase of growth. The role will focus on income generation, marketing, financial management, and building partnerships that align with the venue’s mission to bring creative activities to those least connected to the arts.
Key responsibilities include setting sales targets, securing income through space hires, ticket sales, and sponsorships, and creating marketing campaigns that boost revenue. The ideal candidate will have at least three years of business or sales experience, be adept at fostering relationships, and have strong financial management skills.
The position offers a unique opportunity for someone passionate about Blackpool’s cultural development. Applications close on 8 November, with interviews scheduled for December.
For more details and how to apply, please read our application pack below.
When writing a play with Blackpool as its thematic backbone it’s difficult not to fall into the potholes of stereotype, nostalgia or poverty porn. Setting a play in a town celebrated for its legacy which has been scraped over the coals in recent years would have been easy to dip my ink into its fall from grace.
Having grown up in Blackpool I’ve always known my perception of the town is very different to how it is often portrayed. It IS the prom queen with smeared lipstick but that’s what makes it home.
But the story I wanted to tell was not cemented in the long-told tales about Stags and Hens, the ‘Good old Days’ and that time Jimi Hendrix played here. Instead, I wanted to concentrate on the heart of what makes it the formidable underdog– the people.
For years I’ve watched the volunteer litter pickers trekking across the Golden Mile and have always been fascinated by their seemingly altruistic motivation. What makes people freely contribute their time to a cause that has no thanks, no payment, no recognition?
Bluebells and Dirty Nappies follows two of these volunteers who begin their journey as strangers. Delving into their own ‘call to action’ and just what keeps them moving forward. A two-hander following Norma – a Sandgrownian with tenacious pride and hope. And Chrissa – a young woman returning to a place she used to call home, but the key no longer fits in the door.
Following a national callout for actors and an incredible response, I was delighted to finally meet everyone in the room on the first day of rehearsals. With Wendy Patterson (Norma), Lauren Nicole Mayes (Chrissa) and Melanie Whitehead (Director) the room already felt creative. A powerful collaboration of women who had questions and ideas and from the first day I could already feel the first breaths of life of these characters jump from the page. The theatre space of The Old Electric also felt serendipitous, with its high-raked seating and balconies, which twins the piers the play is set left me with a candy floss glow of excitement.
Bluebells and Dirty Nappies is my first full-length play and I am honoured to have the opportunity to collaborate, play and dissect alongside such an incredible group of women. It’s currently at the start of its exciting journey – all I ask is that it sends me a postcard.
Book your tickets to see her show Saturday 27 July at 7pm here.
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Christina Bradley
“Hi I’m Chrissie. I’ve been involved with The Old Electric since 2020 when we took over the building and called it our new home. I’ve also been part of The Electric Sunshine Project since 2016. I have learned new skills, been taken out of my comfort zone in our productions and have thrived in confidence. I’m also the Housekeeper of this magnificent building and take pride in maintaining her majestic beauty. I love to see our audiences enjoying our performances.”
Ruth Collinge
Hi, I’m Ruth and I have been part of the OE volunteer team since we took over the building in 2020. I’ve been a member of the Community Theatre since 2018/19 and I love being part of the OE and its fantastic work. I’ve had experiences and met people I couldn’t have done anywhere else!!
Luke Berryman
Hello I’m Luke and I have been with the Old Electric since 2020. I joined the community theatre group all the way back in 2016. I love the variety of shows we put on, and how we give voices to LGBTQ+ stories.
Lindsay Mullholland
Hi I’m Lindsay and I’ve volunteered for the Old Electric and been involved with the community theatre since before it opened. I’ve challenged myself, grown in confidence and made loads of new friends since joining. It’s a magical gem of a place.
Soozie Walmsley
“I’m Soozie and I’ve been involved with TESP and The Old Electric since we got the theatre in 2020. I love making people feel welcome to our special place and sharing the experiences and opportunities that this magical place offers.”
Anthony Dixon
“Hello! I’m Anthony and I’ve been volunteering since June 2024 and I love the variety, meeting people, and making their experiences as excellent as it can be.”
Liz Burley
“Hello there, I’m Liz. I moved to Blackpool in 2023 and have discovered a very special place: The Old Electric Theatre. A very warm, welcoming atmosphere. I love British Sign Language, and hope we can enhance diversity within the Deaf community. I started volunteering in October 2024.”
Jamie Foster
“Hi, my name is Jamie. I started volunteering in October; I have been a part of The Electric Sunshine Project since 2016 and have been in nearly all their performances since then. I love being part of the community theatre at The Old Electric – we are a great bunch of people.”
Jeanette Dervish
“My name is Jeanette and I have been involved with the Old Electric since 2022. When I heard about The OE I was very excited to hear that at last we had a community theatre in Blackpool. I love meeting new people especially from the arts and the creative world – and ushering for the plays means that I get to watch new plays and meet up and coming artists!”
Dominik Knight
“Hi, my names Dominik. I have been volunteering at The Old Electric since May 2024. I like meeting new people, enjoy helping out, and learning new things along the way.”
Imogen Cardwell
Hi, I’m Imogen. I found The Old Electric by chance in July 2024 when I was looking for opportunities to volunteer and be involved with the local arts scene. I’ve been blown away by how friendly and welcoming all the other volunteers are! It’s a very special place, and I’m so happy and grateful to be part of it.
In January 2025, Imogen joined the TESP Board of Directors too! https://theoldelectric.co.uk/about/
Frank P
Dr Frank Peschier is the literary manager of Headlong and a freelance dramaturg, critic and lecturer from South London, based in Liverpool. She currently oversees commissions and in house dramaturgy including forthcoming work from Cordelia Lynn, Winsome Pinnock, Joel Tan and James Graham. Previously she was New Works Associate at the Liverpool Everyman and Playhouse Theatre where in 2021 she was highly commended for the Kenneth Tynan Dramaturgy Award, highlighting her ‘artistic leadership and passion in platforming and celebrating voices that are often left unheard’. She writes about theatre for publications including Exeunt and The Stage, and has taught performance theory and contextual studies for BA and MA programmes at LIPA, Liverpool Hope, AUB and UAL. She is passionate about new writing, creative access and shaping brilliant experiences that bring people together. She is equally passionate about books, aerial arts and a seriously good vodka martini.
www.frankpeschier.co.uk @FrankPeschier
Melanie Whitehead
Since graduating from Goldsmith’s College, University of London, with a BA (Hons) in English and Theatre Studies, Melanie has worked with young people in a diverse range of fields including for 8.5 years at the Royal Shakespeare Company and 4-years at the National Theatre for whom she oversaw regional learning partnerships for both War Horse and The Curious Incident of the Dog in the Night-time. She has been an Educational Consultant for Touring Consortium Theatre Company, produced and directed Blackpool Grand Theatre’s first NT Connections Young Company projects and managed participation projects for NW organisations such as The Lowry, LeftCoast, Tameside Borough Council and Fleetwood Festival of Transport.
She has a Masters in Applied Theatre and Post Graduate Certificate in the Teaching of Shakespeare as well as a Chartered Institute of Marketing Post Graduate Diploma in Marketing. She has also been on the Board of Directors previously for Geese Theatre and the dukes, Lancaster.
In April 2013, she bought a derelict warehouse in Blackpool to turn into a family home and it was here that she used on street and desk based research to found The Electric Sunshine Project cic, a company inspired by the town’s historical connections to enterprising showcasing of creativity via the illuminations. In 2019/20 she led the organisation to taking it’s first home in The Old Electric through an ambitious Lottery Communities funding bid.
Nick Wood
Nick was an actor and then a teacher. He left teaching when he got his first commission from Nottingham Playhouse. He has written over 30 plays, including: WARRIOR SQUARE, NO PLANET B, A DREAM OF WHITE HORSES, ABOUT A BAND, A GIRL WITH A BOOK, and MIA. He has been commissioned by, amongst others, Radio 4, Eastern Angles, Derby Theatre, RSC, Theatre Solo, Crucible Theatre. For several years he was an RSC Education Associate Practitioner – writer on six regional tour community projects, worked in schools, led teachers’ Insets, and was a member of the team for the Davidson College RSC residency in North Carolina. He’s a member of Equity and on the Theatre Committee of the Writers’ Guild.
Frank Peschier
Dr Frank Peschier is the literary manager of Headlong and a freelance dramaturg, critic and lecturer from South London, based in Liverpool. She currently oversees commissions and in house dramaturgy including forthcoming work from Cordelia Lynn, Winsome Pinnock, Joel Tan and James Graham. Previously she was New Works Associate at the Liverpool Everyman and Playhouse Theatre where in 2021 she was highly commended for the Kenneth Tynan Dramaturgy Award, highlighting her ‘artistic leadership and passion in platforming and celebrating voices that are often left unheard’. She writes about theatre for publications including Exeunt and The Stage, and has taught performance theory and contextual studies for BA and MA programmes at LIPA, Liverpool Hope, AUB and UAL. She is passionate about new writing, creative access and shaping brilliant experiences that bring people together. She is equally passionate about books, aerial arts and a seriously good vodka martini. www.frankpeschier.co.uk @FrankPeschier
Iskandar إسكندر R. Sharazuddin
Iskandar إسكندر R. Sharazuddin it is a British-Bruneian theatre artist. He is an Associate at Headlong Theatre and the Joint Artistic Director of Ellandar Productions, a British East and Southeast Asian (BESEA) theatre company producing new writing and work by and about a BESEA lived experience. An award-winning writer, he received the Tony Craze Playwriting Award from Soho Theatre and has been long-listed for the Bruntwood Playwriting Prize and shortlisted for the Off West End Adopt a Playwright. https://www.headlong.co.uk/iskandar-r-sharazuddin
Martha Pailing
Martha Pailing is a writer, spoken word and performance artist. Her writing often blends personal material with fictional characters to create absurd and tender narratives. Website – https://www.marthapailing.com
