In Conversation with Dulcie Fenton: Empowering the Next Generation of Theatre-Makers
At Barbican Theatre Plymouth, theatre isn’t just made for young people — it’s made by them. As a small but fiercely ambitious organisation, Barbican Theatre has built a national reputation for empowering early-career artists to lead, create, and challenge the status quo. Now, with their latest touring production The Witching Hour, the ReBels Young Company is proving just how powerful youth-led theatre can be. Bracken Jelier sat down with Dulcie Fenton, Executive Producer for Youth, Education and Training, to talk about the making of The Witching Hour, the mission behind ReBels, and why giving young people the tools — and the trust — to create bold, professional work isn’t just important… it’s essential.
Barbican Theatre has a strong reputation for empowering young people through the arts. What is it about this work that excites you most?
My favourite part of working with young people is witnessing their growth; seeing them develop their own personalities, interests, and passions, and become independent, free thinkers. It’s rewarding to know we've created a safe, welcoming space where they feel comfortable being themselves. I especially value the trust they place in us when they share things about themselves and it’s a privilege to be part of their world. One of the best parts of the job is when all of the hard work pays off and you can celebrate the impact of what they’ve created with friends, family and supporters
Why is it so important that young people have not just access to the arts, but leadership and creative ownership within it?
Access to the arts is vital for young people because it can be truly transformative, fostering critical thinking, self-expression, confidence, and public speaking skills. It also has a profoundly positive impact on mental health, offering a safe outlet for emotions and a way to process complex feelings. Through taking on leadership roles, young people have autonomy over their own learning, gaining a sense of independence and pride. They deserve to be heard; their voices carry weight, value, and insight that adults often overlook. Too often, society expects young people to remain voiceless until they emerge fully formed at 18, which is unrealistic and daunting. Giving them ownership over even one area of their lives, like the arts, helps prepare them for what’s next. It's essential that we trust in the vision of young creatives.
You work closely with artists at the start of their careers. What kinds of changes have you seen in the confidence, voice, or ambition of the young people you work with?
I've seen incredible growth in young artists once they discover what drives them. Some who previously struggled to speak to new people have gone on to perform confidently in front of hundreds within just a few months. When young people’s voices are heard and valued, it transforms them, not just in theatre, but in all areas of life. Taking their creative work seriously gives them a powerful sense of ambition and the confidence to push their limits and achieve something truly remarkable.
Tell us about the ReBels Young Company. What makes it different from traditional youth theatre or education programmes?
One of the biggest differences with this scheme is that it’s a paid opportunity. In this industry, it's unfortunately quite common for young people to be expected to give their time and labour for free (sometimes even paying for professional development) without any guarantee of support or progression once the placement ends. This scheme breaks that mould by not only offering fair pay but also providing meaningful, non-prescriptive mentorship. We aim to support young people in developing their own voice, while also challenging them to grow, push their abilities, and build new skills in a supportive environment.
Why is it important that the ReBels are paid for their work? How does this change the dynamic or impact of the programme?
Paying young people for their work fundamentally shifts the dynamic. It gives their contribution real weight and instills a sense of responsibility and professionalism. Rather than being passive participants, they become valued colleagues with a clear role in keeping the whole operation running. It’s also an important step in preparing them for a career in this field. By being treated as employees, they get a genuine feel for what the industry is really like; competitive, unpredictable, demanding, but also incredibly rewarding and full of creative energy. That real-world experience is invaluable in helping them decide if this is the path they want to pursue, and it gives them the tools and confidence to take the next step in their careers.
You describe ReBels as a professional development programme. What kinds of real-world experiences do participants gain, and how does that prepare them for careers in the arts?
When designing Rebels Young Company, my goal was to create a space where young people felt genuinely supported, but also challenged to produce high-quality, tangible work. We set a professional standard from the start, expecting participants to learn essential industry skills such as time management, responding to feedback, working within tight budgets, and collaborating on all aspects of a production. The structure of the program is intentionally fast-paced and high-pressure, reflecting the realities of the arts industry, which is often reactive, agile, and shaped by the current moment. By exposing young creatives to that environment in a supported way, we help them build the resilience and adaptability which are fundamental traits for a sustainable career in the arts. Crucially, we don’t just teach them how to make a show, we give them the tools to tour it, to understand the ecosystem of producing, and to leave the company with the confidence to create and share new work independently. It's about empowering the next generation of artists to take ownership of their creative journeys.
The Witching Hour is a bold, satirical production tackling justice, reputation, and celebrity culture. What drew you to this concept as a platform for young voices?
The concept was entirely created by the young people on the scheme (though I wish I could take credit, it’s such a clever idea!). I truly believe young people are especially perceptive when it comes to the injustices in society. They recognize how ordinary people are often made scapegoats for broader systemic issues. Nothing illustrates this better than reality television. We all consume it, despite how unethically it’s often produced. We assign the roles of heroes or villains based on heavily edited, 30 minute segments designed purely for entertainment. It’s a striking reflection of how we behave in everyday life: making snap judgments based on appearance, background, clothing, or brief encounters. When these small moments accumulate, they can deeply affect people's lives, often unfairly.
This isn’t what people might traditionally expect from a “youth-led” show. Why is it important to challenge those assumptions?
I think when people hear "youth-led," they often assume the work will be lower in quality, maybe even a bit juvenile, and not worth their time unless they know someone involved. But I’m a passionate believer that nothing could be further from the truth. Young people have some of the sharpest minds and keenest observations, and they’re full of raw potential. When given the right support, they can produce phenomenal work. Rebels Young Company is a testament to this, it is tangible proof of the extraordinary quality young people are capable of delivering. It’s so important to challenge these outdated perceptions, because by gatekeeping the arts, we risk missing out on a whole generation of fresh, risk-taking ideas and block exciting new artists from entering and reshaping the industry.
How have the ReBels responded to being part of a touring production? What’s been the biggest transformation you’ve seen in them during this process?
The team have taken to making tour-able work like ducks to water, it was amazing to see how naturally they adapted to creating work that could travel and engage audiences beyond our local community in Plymouth. The Witching Hour has such national relevance with themes that resonate across the UK, so it felt only right to take their voices and stories nationwide. The transformation from the early stages to the final product was incredible. I witnessed a huge growth in skill level, confidence, and the overall quality of the work. Now all together with the cast and able to properly collaborate, experiment, and play, everything is coming to life, the characters, writing, music, and the show as a whole is gaining new energy and depth. I’m really proud of how the team has balanced this project alongside university, jobs, and personal commitments. Many of them are now moving on to new pastures including drama schools, creating new work, or graduating. Truly, the sky’s the limit for them! It’s been a privilege to be a small part of their journey.
What would you say to someone considering coming to see The Witching Hour? Why should they take a chance on a ReBels show?
The Witching Hour is a brilliant show that will make you laugh, bring a tear to your eye, and leave you thinking deeply about the world we live in. Blending witches, history, dark comedy, and social reflection, it’s a must-see for anyone intrigued by who we are as a society (or anyone who just wants to have a good laugh!). More than just a great show, by purchasing a ticket, you're not only enjoying a fantastic performance, you're directly supporting the next generation of BAFTA, Oscar, and Olivier Award winners and helping to sustain creative jobs in the South West
How do you hope Barbican Theatre continues to evolve its work with young people over the next few years?
I hope that in the years to come, we continue to grow and deepen our vital grassroots work with young people and ensuring our training programmes and artist development remain of the highest quality. My vision is for Rebels Young Company to expand its training offer, allowing us to nurture a new generation of young producers, directors, technicians, stage managers, musicians, and more. One day, I’d love to see the Young Company become entirely youth-led, with young creatives taking the lead on mentoring, tour booking, tour management and creative roles, confident in the knowledge that the Barbican team is always there for guidance and support. This whole scheme is about the power and potential of young creatives so let’s make sure the future truly belongs to them.
What’s your dream for a young person leaving the ReBels programme — where do you hope it takes them?
My dream for everyone who leaves the Rebels programme is that they achieve everything they aspire to, both within and beyond the arts and culture sector. I hope they carry with them the confidence, communication, critical thinking, and teamwork skills they’ve developed as Rebels, and that they can apply these in all areas of their lives.
Above all, I want every person who walks through our doors to thrive and to always have a healthy, creative outlet to rely on, whether for personal growth or professional development. What continually astounds me about our young people is the incredible support, kindness, and inclusivity they show. It’s something I hope they continue to nurture, making every space they enter as safe and welcoming as they’ve made the Barbican. If they can hold on to this, I have no doubt the world will be an even brighter place.
For more information on The Witching Hour see https://barbicantheatre.co.uk/whats-on/the-witching-hour/
