How the British Theatre Playhouse remains relevant to Singapore's arts scene

In the heart of Singapore's vibrant cultural scene lies a rare theatrical gem that has been captivating audiences with the magic of British theatre for almost two decades. 

The British Theatre Playhouse (BTP), founded in 2004, has not only brought the flair of London's West End to the shores of Southeast Asia but has also become a beacon of artistic excellence and social responsibility.

The journey of the BTP began with the visionary collaboration of its founders, Cecilia Leong Faulkner and her former husband, John Faulkner. John had honed his craft in the illustrious West End as an actor and theatre producer, where his intimate knowledge of the industry would prove instrumental in shaping the ethos of the BTP. Cecilia, who leads the company to this very day, would mould the company’s branding, positioning, sponsorship, marketing, and vision, which she has accomplished with pep and vim.

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At its inception, the BTP recognised the absence of British theatre in Singapore and the surrounding region, embarking on a mission to fill the void left by the departure of British actor and producer Derek Nimmo, who had once brought uproarious comedy plays to Southeast Asia in partnership with British Airways. 

The company’s initial focus on classic British comedy was met with resounding success, as audiences revelled in the familiar wit and humour that only British theatre could specifically deliver. 

From “Private Lives” to the iconic “The Mousetrap”, the company's repertoire became a testament to not only its dedication to authenticity and excellence but also to its curated understanding of its audience. The productions brought over by the BTP weren't just performances; they were a celebration of the profound impact British theatre had on global culture.

As the company matured, it diversified its offerings to include British plays with music, musical theatre, and musical concerts from London's West End. One of its most celebrated triumphs was the world premiere of “Buddy vs The Killer”. The electrifying musical theatre production featured West End star Billy Geraghty, known for his riveting portrayals of 'Buddy Holly' and 'Jerry Lee Lewis'. The musical not only rocked the historic Jubilee Hall Theatre at Raffles Hotel but also resonated across borders, as it captivated audiences in Indonesia and Malaysia.

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In today’s mass commercialisation of entertainment, the BTP has sought to evolve vertically, not laterally — always keeping its unwavering commitment to its audience as a key priority. Above all, the company prides itself on engaging with its patrons and tailoring its productions to their preferences. 

With the world shaken up by the COVID-19 pandemic and climate change, the BTP took the initiative to act on its plans for digital transformation, with the organisational goal of addressing and reducing its carbon footprint.

A clever design arrived in the form of the BTP academy, done in conjunction with Robin Kermode, an English actor and communication coach. The academy teaches a range of communication skills, from understanding the significance of engaging body language to knowing the idiosyncrasies of bringing out one’s best qualities when presenting. 

This approach of maturing and fusing commercial sensibility with audience desires has been pivotal in the BTP’s cultivation of a dedicated following that continues to grow.

Furthermore, the BTP's dedication to ESG (environmental, social, and governance) and social responsibility has elevated it beyond being a mere theatre company. 

Cause-related marketing has become a cornerstone of its ethos, exemplified by its collaboration with various non-profit organisations and charities. The BTP’s "Art for Charity" event originated from Cecilia’s request for the then-British High Commissioner to Singapore, Sir Alan Collins, to be the company’s patron. To her delight, Sir Allan accepted and graciously supported the idea of a charity gala event, inviting the late former Prime Minister Lee Kuan Yew and his wife, Mrs Lee, amongst other dignitaries.

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This marriage of art and philanthropy only comes about via the BTP's profound belief in the power of the performing arts to shape futures. By allocating a significant portion of the proceeds from select performances to charitable causes, the BTP is clear in its intention of nurturing the potential of young minds and paving the way for future generations of actors, playwrights, and creatives.

In a strange era where culture knows few boundaries but prose takes growing precedence over poetry, the British Theatre Playhouse is proof of the enduring magic of theatre and its ability to bridge gaps, inspire change, and enrich lives. As the company continues to weave its narrative, it not only rekindles the spirit of British theatre in the heart of Southeast Asia, but also ignites a legacy of creativity, compassion, and camaraderie that resonates far beyond the stage.