Artistic director Indhu Rubasingham

• INDHU Rubasingham is no doubt a wonderful artistic director and a tireless worker in the cause of Kilburn’s theatre. Some would say to the point of obsession. Another trait it seems, is a belief that she “owns” the theatre and its heritage.

The “It’s our Tricycle…” campaign claims there is a broader “ownership”. That it’s about the “community cultural asset”; the 38 years over which local theatregoers, members, supporters, donors and fund-raisers have given of their time, effort and support to help the Tricycle survive and flourish; even to be rebuilt, twice; and to build the name, Tricycle, to one of international acclaim.

Add the other sources of public support from Arts Council to Brent Council and there are an awful lot of “stakeholders” out there who can reasonably claim a big slice of moral “ownership”.

Many now feel estranged and angry they weren’t consulted. This quite visceral anger can be felt whenever the protest group sets up its stall – as at Queen’s Park Day last Sunday. Without prompting, queues formed to sign the petition to return the Tricycle name and to proclaim outrage at the change foisted on them.

Although Ms Rubasingham is a creative talent, she could never claim to be a marketing guru. She goes by gut feel. While that may work as artistic director it can be disastrous in marketing. Get branding wrong and you can stir up anger and resentment for the long-term. “Kiln” was, she says, “bubbling in her head” since the refurbishment began in 2016 – now that’s what I call “gut feel”.

I have seen the theatre’s claimed “brand research and consultation” methodology and it is utter poppycock. I have worked in marketing and advertising for 50 years as a development and communications strategist on major brands.

It is quite possible to relaunch a modified brand to reach new customers without alienating existing ones. But this is only possible if the prime mover is open minded. In this case it would seem Ms Rubasingham has painted herself into the stubborn corner of “if the Kiln goes I go”.

Yet if she had consulted with the theatre’s passionate local supporters at any time over the last two years she could very easily have come to another conclusion and reopened as “The NEW Tricycle, a theatre transformed”; leaving her all the options she wanted to relaunch and begin the “new chapter” in the theatre’s evolution she yearns. But even this “new chapter” gives the theatre’s local stakeholders concern.

It is already clearly moving away from its transparent and accessible, inclusive, local, diverse, creative, edgy, bench-and-scaffolding, community-led past. It is moving into a swankier, West End-priced, red plush-seated auditorium, bourgeois middle-class, more commercial and “luvvy”-led future – viz the guests to the Gala Opening.

Not very divers and not very local. That’s another reason its stakeholders are feeling alienated. I think Ms Rubasingham should stick to her artistic career rather than pushing her luck any further in marketing.

She’ll not lose face by admitting she may have been a little too stubborn in this case and back down with good grace. I’m sure the “Our Tricycle…” brigade would forgive her instantly. And she’d reclaim one hell of a lot of enthusiastic supporters.

DUNCAN McAUSLAND
NW6