Diverse programme of political shows at the State We’re In Festival – interview with Artistic Director of Camden People’s Theatre Rio Matchett

As Camden People's Theatre celebrates its 30th anniversary, new Artistic Director Rio Matchett steps into the role during a very exciting moment: the return of The State We’re In Festival. Originally staged in 2015, this year’s festival captures the urgency of our current political climate through bold, boundary-pushing performances tackling democracy, social care, and public life in the UK. From a hip-hop inspired critique of the social care system to an unflinching exploration of Black women’s maternal health, Rio reflects on the power of theatre to entertain, provoke, and invite audiences into meaningful yet sometimes uncomfortable, conversations.

Here, she shares her vision for Camden People's Theatre and the festival lineup that she hopes will spark interesting and important dialogue.

Camden People’s Theatre has a rich history of promoting new work and taking artistic risks. How do you think your previous experiences, like your work at Leeds Playhouse will influence your new role as Artistic Director?

I learned so much from my work at Leeds, particularly in developing my skills making accessible theatre with the disabled community, and in pushing my own dramaturgical rigour. My work is also really informed by my own lived experience I guess, both in terms of the challenges but also the impact of the opportunities I've had. As Artistic Director, I intend to keep this civic consciousness at the heart of the programme, across artist development, new work, and strategy. CPT is known for being the place new artists in London can cut their teeth, and a place where established artists can take genuine risks. Maintaining that is more vital than ever, particularly thinking about things like the closure of the Vaults Festival - it's a space that's vital to the wider ecology.

The State We’re In Festival tackles critical questions about the UK’s democracy, politics, and public life. What motivated the decision to bring this festival back, after its first incarnation in 2015?

The festival was programmed by my predecessor Brian, but I believe one of its key drivers was knowing we were in an election year! It's a milestone year for CPT as we mark our 30th birthday, and throughout that life, the organisation has remained committed to boundary pushing conversations. Of course, that often means making and programming work engaged with the political climate, so we're fully embracing that in this year.

I know you weren't involved in curating this year's line-up given you've only just begun at CPT but what themes or works in the festival resonate with you personally?

Yes, I can't believe I've only been in the role ten days! It's been an amazing time to join the organisation. I've enjoyed the breadth of work, there are shows which tackle really specific issues with nuance, and there are shows engaging in big, sticky questions. Shows like The Daisy Chain are a great example - it was written by one of our Front of House team, Princess Bestman (an amazing example of how CPT pushes back on some of the industry's hegemonies!), it's a critique of the children's social care system, but explored through this amazing mash up of Ted-Talk and hip-hop gig theatre. It speaks to the specific challenges faced by young people in social care, but also to really universal questions about how young people become happy and fulfilled adults (or why they don't!), and how we can better engage with those questions as a society.

Many of the shows featured, like The Food Bank Show and A Citizens’ Assembly, blend personal stories with political issues. To what extent is it theatre’s responsibility to educate as well as entertain?

I think it's theatre's responsibility to be truthful rather than to educate - the word educate invites a kind of didacticism which doesn't make for good performance in my opinion, but when a story is rooted in authenticity and empathy, it can't help but challenge and audience. And entertainment has to be there too, that's the craft of a well-wrought show. The more you can make an audience laugh, the darker the places they'll go with you, and the more complicated the questions you can get them to engage in.

Zakiyyah Deen’s Why A Black Woman Will Never Be Prime Minister is a powerful headliner. Can you give us the lowdown on this piece?

Zakiyyah and the team have made something incredible (which has been totally reflected in all the five star reviews they've scored!). Why A Black Woman is a perfect example of what CPT can do - they commissioned this show, from a writer who's never had a full length play professionally performed, supported that artist to build a team around them, and co-produced the show to enable that artist to get the best financial result possible. It's a crucible of a play, combining abstracted party politics with a visceral exploration of the problems with Black women's maternal health care. Zakiyyah's writing sparkles, she moves between dialogue and monologue and poetry so effortlessly, and there are so many laugh-out-loud moments in the performance. It also doesn't pull any punches - this is a play that's very clear on who and what the problem is. The brilliance of the play is totally reflected in its critical reception, and as of today I think there are only around a dozen tickets left for the run, so there's a very good chance it will sell out!

Anything else you’d like to highlight/tell us about The State We’re In?

I think probably the diversity of the programme, both in terms of specific themes, but also format and tone. We have proper serious plays, but also a lot of comedy, variety, immersive performance art, and music. It's a misconception that political work is always heavy, and I truly think there's something everyone will be glad to have seen!