About Us  
Ian Richardson
David Suchet
Zoë Wanamaker
(July 2006)
(July 2007)
(July 2007)

"I  find the highest merit in your aims."


"I  applaud your Company and Artistic Policy."


"I  think the work you do is wonderful...."

Artistic Policy
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Our main goals in producing theatre are to entertain and to serve the author.
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The text must and will always come first. By staying true to the written word we may unlock the writers imaginative force, thus breathing life into the gods men and monsters that inhabit the play and visceral world that has been crafted for us. We cannot and will not impose themes upon a play. Adaptation and interpretation can only come after long rigorous study into the author and his work. Our starting point must be what the writer gives us for free.
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Our work begins and ends with truth, truth in love, pain, lust, envy, revenge and the surge of human desire that litters every page.

Put simply, all our work is underscored with a human heartbeat.
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    Andrew Jarvis                  
      A Jarvis
"The passion and professionalism which your artistic direction brings to Hollow Crown is most impressive. You show great courage in your vision for the Company … and the ethos by which the Company stands.

I believe utterly in the philosophy and aims of the Company. That philosophy runs in the tradition of Poel, Granville-Barker, Agate and all those who believe that text is where the central truth lies.

My enthusiasm and support for your venture is total. I applaud your vision."

Winner of the Manchester Evening News Theatre Award for Best Actor
in a Touring Production

- Richard III -
( English Shakespeare Company 1988)
Andrew Jarvis    
Company Philosophy

We hope to return to traditional production values where the play is more important than the sum of its parts or players.

The primary driving force behind our ambition stems from our belief in acting as a tradition that should be ‘handed down’ from generation to generation: each successive generation absorbing and refining the techniques of the actors who have gone before. We feel that the steady decline of the long-established repertory theatres has created a discontinuity in succeeding generations of emerging talent - to the detriment of the industry as a whole. It has almost totally removed an invaluable level of a young actor’s training and, considering that very often it has been down to ‘financial obligations’, is probably the greatest loss to the profession. It is our aim to draw upon the pool of latent talent that exists within the industry to facilitate the transfer of those skills before they are lost forever.

Additionally, the dominance of television and film as a ‘young’ actor’s way into the profession has created a generation of actors who are largely unprepared for the demands of stage work, and in many cases lack the basic skills necessary for the ‘largesse’ of the stage, resulting in poor performance and an inability to meet the demands made by many playwrights. A generalised style of  acting has developed which aims to suit all, but which serves no-one, and has a detrimental effect when playing ‘period-pieces’. All too often productions aim for a truthfulness and reality based on the world today and not that of the period in which the playwright was writing. For instance, Shakespeare’s ‘truth’ is different to Sheridan’s, as Pinero’s is different to Pinter’s.

Our great theatrical heritage proves the self-perpetuating nature of the industry. We hope that our efforts will contribute towards the preservation of those skills necessary to future generations

Education Policy

Education forms the keystone of Hollow Crown’s activities; in order to raise audience awareness of our work and their expectations of the ‘theatrical’ experience.

Without an audience our activities are pointless; as a company we exist for them. To this end our work has to be targeted to provide works of interest both to the existing ‘theatre-going’ public and more especially to attract and encourage new audience members. We believe our repertoire of both ‘popular’ and rarely performed works from established writers will provide the attraction.

Additionally as a company we must be prepared to take our work to potential audiences, particularly to schools and colleges, from where our future audiences will evolve, and not rely on them coming to us. Hollow Crown will provide a number of activities to achieve these goals aimed at maximising opportunities for this, particularly themed talks / workshops and Education Packs for specific productions. Regional Tours will be undertaken to maximise audience potential.

With our commitment to raise audience awareness and expectations we recognise that achieving this necessitates an equivalent raising of production and most particularly performance standards. We believe our adoption of the repertory principle will facilitate this. It is envisaged that each production will provide new challenges for, and demands on, the acting company. To this end the Company aims to provide workshops with leading exponents of the industry and to employ established directors to unlock the full potential of our actors. All actors will be encouraged to recognise weaknesses in their skills base and to actively pursue training and personal development through their work.