On a vibrant evening at the Olivier Awards in London, acclaimed actress Lesley Manville seized the spotlight not just for her stellar performance but also for her passionate plea for enhanced funding for regional theatre across the United Kingdom. Fresh off her win as Best Actress for her compelling portrayal of Jocasta in Oedipus at Wyndham’s Theatre, Manville used her platform to address a pressing issue close to her heart: the financial struggles faced by theatres outside the capital. Her call to action reverberated through the Royal Albert Hall, igniting discussions about the state of the arts beyond London’s glittering West End.
A Night of Triumph and Advocacy
The Olivier Awards, held on April 6, 2025, celebrated the finest achievements in London theatre, but Manville’s victory was more than a personal milestone—it was a moment to shine a light on a broader cause. Accepting her award, the 69-year-old actress delivered a speech that blended gratitude with a fervent appeal. “Winning this award is a dream come true,” she said, her voice steady yet brimming with emotion. “But my biggest frustration—my real bugbear—is that regional theatres, the lifeblood of our cultural landscape, aren’t getting the support they deserve.”
Manville’s career, spanning decades and marked by versatility, has roots in regional stages. Early on, she performed with the Royal Shakespeare Company in Stratford-upon-Avon and later took the stage at Bristol Old Vic alongside Jeremy Irons in Long Day’s Journey into Night in 2016. These experiences, she explained, shaped her understanding of theatre’s power to unite and inspire communities far from the capital’s spotlight. “Repertory theatres aren’t funded properly anymore,” she told reporters backstage. “There’s still a stark north-south divide, and it’s time we bridge that gap.”
Her comments come at a pivotal moment for the UK arts sector, which has faced funding cuts and economic pressures in recent years. The Theatres Trust, a charity dedicated to protecting theatre buildings, recently released its 2025 “Theatres at Risk” register, highlighting 43 venues facing closure or severe deterioration. These spaces, Manville argued, are not just buildings but vital hubs for creativity and opportunity—ones that need urgent financial reinforcement to survive.
The Importance of Regional Theatre
Regional theatre has long been a cornerstone of the UK’s cultural identity, nurturing talent and providing accessible entertainment to diverse audiences. From the Liverpool Everyman to the Sheffield Crucible, these venues have launched the careers of countless actors, directors, and playwrights who might never have found their footing in London’s competitive scene. Manville herself credits her early regional roles with honing her craft. “Theatre outside London gave me a foundation,” she reflected. “It’s where I learned to take risks and connect with audiences who don’t always get a front-row seat to the arts.”
Yet, the disparity in funding between London and the regions remains stark. According to Arts Council England, London-based organizations received over 30% of national arts funding in 2024, while regions like the North East and South West often scramble for scraps. This imbalance, critics say, perpetuates a cycle where talent migrates to the capital, leaving regional venues under-resourced and underappreciated. Manville’s advocacy echoes a growing chorus of voices calling for a fairer distribution of resources.
One such voice is Sir Richard Eyre, a veteran director who has also championed regional theatre. In a 2018 interview with The Stage, Eyre lamented the cuts that stifle artistic risk-taking outside London, a sentiment Manville reinforced. “We’re losing the chance to discover new voices,” she warned. “Young actors aren’t being encouraged to tread the boards in places like Newcastle or Plymouth—they’re told to head straight to London or nowhere.”
The ripple effects of underfunding are profound. Regional theatres often serve as training grounds, offering young performers a chance to hone their skills without the high stakes of the West End. “You learn more on stage than anywhere else,” Manville said, recalling her own journey. “There’s no editing, no second takes—just you and the audience. That’s where the real growth happens.” She fears that without proper support, this invaluable proving ground could vanish, leaving a generation of artists without the opportunities she once had.
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Celebrating Oedipus and Beyond
Manville’s Olivier win for Oedipus was a testament to her enduring talent and the power of innovative theatre. Directed by Robert Icke, the modern retelling of Sophocles’ tragedy earned praise for its gripping narrative and stellar ensemble cast, including Mark Strong as Oedipus. The production, which also snagged the Best Revival award, transformed the ancient tale into a political thriller set on election night—a bold adaptation that resonated with contemporary audiences.
Backstage, Manville lauded Icke’s vision, calling the play “a complex relationship brought to life with brilliance.” She described her character, Jocasta, as both a mother and a lover caught in a web of fate, a role that demanded emotional depth and precision. “It’s about family, secrets, and the courage to face the truth,” she said. “Working with Mark and the team was electric—every night felt like a new discovery.”
The success of Oedipus underscores the potential of theatre to captivate and challenge, a potential Manville believes should be nurtured nationwide. Her win was one of several highlights at the 2025 Oliviers, with Giant sweeping three awards, including Best New Play, and Fiddler on the Roof earning accolades for its Regent’s Park Open Air Theatre production. Yet, amid the glitz, Manville’s focus remained on the unsung heroes of regional stages.
Her advocacy aligns with broader efforts to revitalize the arts outside London. Initiatives like the National Theatre’s partnerships with regional venues—such as its collaboration with the Lowry in Salford—aim to share resources and expertise. However, Manville insists that systemic change requires more than goodwill; it demands concrete investment. “We can’t rely on patchy grants or charity,” she said. “The government and funding bodies need to step up and recognize theatre’s worth everywhere, not just in the capital.”
A Call to Action for the Future – Lesley Manville
Manville’s plea arrives as the UK government faces mounting pressure to address arts funding disparities. In recent years, budget cuts have forced many regional theatres to scale back productions or close entirely, a trend exacerbated by the economic fallout of the pandemic. The Theatres Trust report paints a grim picture: without intervention, historic venues risk becoming relics, their stages silent and their communities poorer for it.
For Manville, the stakes are personal as well as professional. She spoke candidly about the joy of performing in regional spaces, where audiences bring a unique energy. “There’s something raw and honest about those crowds,” she said. “They’re not jaded—they’re hungry for stories. We owe it to them to keep those theatres alive.”
Her words resonate with industry leaders like Tom Stickland, a Theatres Trust adviser, who has warned that even prestigious venues like Bristol Old Vic face financial peril without sustained support. Stickland’s research highlights the dual challenge of revenue cuts and rising maintenance costs, a double blow that threatens the sustainability of ambitious programming.
Manville’s call to action also reflects a broader cultural reckoning. As the UK grapples with issues of equity and access, the arts offer a lens through which to view societal priorities. Investing in regional theatre, she argues, is an investment in community, education, and the next generation of talent. “It’s not just about saving buildings,” she emphasized. “It’s about saving the spirit of what theatre can do—bring people together, spark ideas, and give everyone a voice.”
As the Olivier Awards drew to a close, Manville’s message lingered in the air, a challenge to policymakers, funders, and theatre lovers alike. Her victory was a triumph, but her advocacy was a rallying cry—one that could shape the future of UK theatre if heeded. With her storied career as proof of the arts’ transformative power, she stands as both a celebrated artist and a fierce defender of the stages that shaped her.
For now, Manville plans to continue her work, balancing screen roles with her love for the stage. But her focus remains unwavering: ensuring that regional theatre not only survives but thrives. “I’ll keep shouting about this,” she promised with a smile. “It’s too important to let go.”
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