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The next meeting of the trust will be on the 10th of September 2015 with applications to the Secretary by the 10th of August 2015. Applications must be sent in hard copy by post to the Secretary at the address of the Trust. Email submissions will not be accepted at this time.

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Unity Theatre grew out of the agitprop street theatre in the East End of London in the early 1930s lasting until it was destroyed by fire in 1975.

Once established, in a converted chapel in Kings Cross (built entirely with voluntary labour), Unity became the inspiration for a national upsurge in drama on social and political issues, since it was the only theatre in London throughout the 1930's, 1940's and early 1950's producing plays on these subjects.

Alongside shows specially created for Unity, it drew on the repertoire of world theatre, including innovative productions of works by Clifford Odets, Sean O'Casey, Lope de Vega, Jean Paul Sartre and Arthur Adamov. It was the first theatre in England to stage a play by Bertolt Brecht and it helped popularise the plays of Maxim Gorky.

Unity's strength lay with its audience drawn mainly from the trades unions and organised labour movements, but amongst its supporters were many eminent personalities e.g. Bernard Shaw, H.G. Wells, Sybil Thorndike, Beatrix Lehmann and Paul Robeson whose appearance with Unity, followed by international acclaim for the political pantomime Babes in the Wood, marked the peak of the theatre's fame.

With the outbreak of war, Unity was the first theatre to open in London once the ban on public entertainment had been lifted and it maintained a permanent repertory of plays, satirical revues and musicals throughout the five years of hostilities. It also sent out small groups of performers who, often in hazardous conditions, provided valuable shelter and factory entertainment for those winning the war at home.

Unity emerged from the war at the head of a national drama movement that was concerned with the lives of working people. Soon however, many of the developments pioneered by Unity, such as vernacular drama, Living Newspaper and biting satirical shows, were accepted by the theatrical mainstream and television.

Many well-known theatre people - Lionel Bart, Alfie Bass, Michael Gambon, Bob Hoskins, David Kossoff, Warren Mitchell, Bill Owen and Ted Willis among them - learned their skills at this influential theatre which was the working people's most sustained and successful contribution to British drama and one of the most important and enduring initiatives in popular culture this century.

The Trust

The Trust

The Trust was set up as a charity in the spirit of the traditions of the theatre and its history. The purpose of the Trust is:

To advance the education of the public by fostering, promoting and increasing the interest of the public in the art of drama and in the co-related arts

The trust is governed by a Board of Trustees.

Unity Theatre Trust. UK Registered Charity No.210387

The Trustees

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Harry Landis - Chair
Trained at the Central School of Speech and Drama, Harry is the Chairman of Unity Theatre Trust, Ex President of the Actors Union Equity, Executive member of the Equity Trust Fund and an Ex Artistic Director of Marlowe Theatre in Canterbury. He has performed in West End Plays, at the National Theatre, acted in many films, TV plays & series, and been a freelance director, drama teacher and a Member of the Lawrence Olivier Award panel. He has also acted and directed at Unity Theatre for many years.
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Maureen Coman - Vice Chair
Ever since going to Unity Theatre with her parents, Maureen has been interested in the drama and Unity, where she later worked in stage management and secretary during the1989-1995 revival. A qualified counsellor/therapist she combines her profession and working in fringe theatre production with plays involving social issues. An active member of the Committee of Unity Theatre Trust since 1995 and fully supports the Trust's aim to keep the spirit of Unity Theatre alive and to help organisations with similar objectives.
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Clive Gehle - Trust Archivist
Involved with Unity Theatre since 1979 and a member of the Trust since 1995. Originally trained as an actor, he also works as a member of the education team at London's Theatre Museum, and has also been a curatorial assistant on two major exhibitions "Paul Robeson" and "The Redgrave's". He was library assistant at the British Theatre Association for 11 years.
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Andreas Michaelides - Secretary
Andreas trained as an accountant and joined the Trust as such in 1973. He is the author of "How to Manage Your Money, if you have any", a booklet on finance for community and charitable organisations which has sold over 15,000 copies. He has been the Secretary to the Trust since 1995.
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Maggie McCarthy
Maggie has worked in Theatre, TV, film and radio since leaving The Rose Bruford College in 1967. She has also taught at numerous schools and colleges including The Royal College of Music. She has always been an active member of Equity and is delighted to be involved in the work of the Trust. Maggie joined the Trust in 2008.
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Ann Mitchell
Trained at the pioneering E15 acting school under the guidance of the late Joan Littlewood, going on to work in theatre, television, film and radio. Ann is perhaps best known for her portrayal of Dolly Rawlins in Lynda la Plante's first, and ground breaking series, Widows. Her work also includes direction, writing and teaching. She is a Patron of Clean Break, a theatre & training company for ex-female offenders, and of The Landmark, an HIV and AIDS trust. Ann has been a Trustee since 1999.
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Katie O'Donoghue
Trained at the Unity Theatre School, later appearing in Unity classics such as Winkles & Champagne, Mother Goose and God Bless The Guv'ner. Under Gertrude Rubenstein she trained as a classical singer and appeared in Blitz at the Adelphi Theatre London, Oliver at the Piccadilly Theatre London (and UK national tour) and the Imperial Theatre Tokyo. She has worked in both film and television and has been a Trustee since 2003.
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Kayel O'Donoghue
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Dike Okoh
Studied writing for theatre on the MA Musical Theatre programme at Goldsmiths College. His musical “Scandinavian Heart” was recently performed as part of the Camden fringe festival. As a composer, he has also worked for EMI music publishing (UK) and has written for various projects including for 20th century Fox’s television programme, ‘The Simpsons’. Dike currently teaches philosophy at the Mary Ward settlement and has been a Trustee since 2014

Grant, Applications, Guidance Notes and Conditions of Grant

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UNITY THEATRE TRUST GRANTS

The next meeting of the trust will be on the 10th of September 2015 with applications to the Secretary by the 10th of August 2015. Applications must be sent in hard copy by post to the Secretary at the address of the Trust. Email submissions will not be accepted at this time.

Since 1989, the Trust has awarded over £600,000 in grant aid to projects meeting the criteria

The average grant given in 2014 was between £500 and £1,000 with a maximum of £2,000

You can apply for a grant online through this website.

PLEASE READ THESE GUIDANCE NOTES AND CONDITIONS OF GRANT BEFORE COMPLETING THE APPLICATION FORM.

The Grant Application Form is available in the download section below.

1. Brief history and traditions of Unity Theatre and the Trust.


Unity Theatre grew out of the agitprop street theatre in the East End of London in the early 1930's. Once established in a converted chapel in Kings Cross (built entirely with voluntary labour) Unity became the inspiration for a national upsurge in drama on social and political issues, since it was the only theatre in London throughout the 30's, 40's and early 50's producing plays on these subjects. Alongside shows specially created for Unity, it drew on the repertoire of world theatre, including innovative productions of works by Clifford Odets, Sean O'Casey, Lope de Vega, Jean Paul Sartre and Arthur Adamov. It was the first theatre in England to stage a play by Bertolt Brecht and it helped popularise the plays of Maxim Gorky.

Unity's strength lay with its audience drawn mainly from the trades unions and organised labour movements, but amongst its supporters were many eminent personalities e.g. Bernard Shaw, H.G.Wells, Sybil Thorndike, Beatrix Lehmann and Paul Robeson whose appearance with Unity, followed by international acclaim for the political pantomime Babes in the Wood, marked the peak of the theatre's fame.

With the outbreak of war, Unity was the first theatre to open in London once the ban on public entertainment had been lifted and it maintained a permanent repertory of plays, satirical revues and musicals throughout the five years of hostilities. It also sent out small groups of performers who, often in hazardous conditions, provided valuable shelter and factory entertainment for those winning the war at home.

Unity emerged from the war at the head of a national drama movement that was concerned with the lives of working people. Soon however, many of the developments pioneered by Unity, such as vernacular drama, Living Newspaper and biting satirical shows, were accepted by the theatrical mainstream and television.

Unity Theatre was destroyed by fire in 1975.

Many well-known theatre people - Lionel Bart, Alfie Bass, Michael Gambon, Bob Hoskins, David Kossoff, Warren Mitchell, Bill Owen and Ted Willis among them - learned their skills at this influential theatre which was the working people's most sustained and successful contribution to British drama and one of the most important and enduring initiatives in popular culture this century.

The Trust

Unity Theatre Trust was set up as a charity in the spirit of these traditions. The main objectives of the Trust are to advance the education of the public by fostering, promoting and increasing the interest of people in the art of drama and co-related arts.

2. Grant aid

In the main, the Trust will fund drama and theatre related activities, but in addition, it will also fund projects in film, TV, video, music and dance. The Trustees reserve the right to include other areas if an application merits it, as long as the application falls within the Trust's charitable aims.

3. Eligibility

The Trust usually funds projects or activities carried out by organisations. Individuals sponsored by organisations are also eligible to apply for a grant. Applicants are expected to have raised a large proportion of the project’s costs for which they are applying for a grant.

4. Application forms

A grant request will only be considered on completion of an application form supplied by the Trust.

5. Financial conditions

All successful applicants must keep detailed accounts in relation to the disbursement of the grant received and make these available to the Trust for inspection at all reasonable times. Any unused grant must be returned, unless prior permission has been given by the Trust for any other use.

6. Monitoring

In their efforts to monitor the effectiveness of their grant strategy, the Trustees expect all recipients of grant to inform the Trust of the success or otherwise of the activities for which the grant was given. They also expect to be invited to the performance of plays or events the Trust awards grants to. No grant may be used for any other purpose than that for which it was approved for without the prior permission of the Trust

7. The charitable aims of the Trust

All applicants, by accepting receipt of any grant, agree not to contravene the charitable aims of the Trust as summarised in (1) above

All successful applicants will be asked to confirm in writing their agreement as above before any grant is released.

8. Logo

All recipients of grant must acknowledge the support of Unity Theatre Trust by using the supplied logo, "SUPPORTED BY UNITY THEATRE TRUST" on all publicity and correspondence.

9. Grant dates

There will usually be FOUR decision dates in any one year:

Jan - Mar, Apr - Jun, Jul - Sep, Oct - Dec, unless the Trustees deem it necessary to consider any application outside these dates. If you want to know the exact date of the Trust meeting where your application will be considered, please do not hesitate to contact the Secretary to the Trust who will be too happy to advise you.

For meeting these dates, applications need to be received 30 days prior to the planned meeting.

10. Administration of grants

The Trustees will inform successful applicants how their grant will be administered but it will usually be done as follows:

On receipt of confirmation by successful applicants that the will abide by all the conditions requested by the Trustees, the grant will be released in full.

Unity Productions from 1936 to 1994

1936 to 1948

1936

Private Hicks

Waiting for Lefty

Where’s that Bomb?

1937

Opening of new Workers Theatre Programme

Plant in the Sun

Not for us

Cannibal Carnival

Aristocrats

1938

Plant in the Sun/Bury the dead

Busmen

Babes in the Wood

Case of the Baffled Boss

Trial of a Judge

Señora Carrars Rifles

Bury the Dead

“Crisis Czechoslovakia”

1939

Give me Liberty

Harvest in the North

Colony

Orchestral concert

Sandbag Follies

Turn up the lights

1940

Jack the Giant Killer

Distant Point

Match Girls

“Old Time Music Hall”

4th Anniversary Fair

The Star Turns Red

1941

Distant Point

Till the Day I Die

In the Spirit of the Revolution

1942

Sabotage

Get Cracking

Let’s be Offensive

1943

Buster

Grand Review

“India Speaks”

One Third of a Nation

Sword of the Spirit

Salute to the Gentle Sex

Spanish Village

1944

All Change Here

Green and Pleasant Land

The Rochdale Pioneers

Comrade Detective

One More Mile

Winkles and Champagne

Shop Window

Alice in Thunderland

1945

The Yellow Star

Late Extra

Juno and the Paycock

Swinging to the Left

They came to a City

God Bless the Guv’nor

1946

Gold is where you find it

Lower Depths

Citizen Kane

Buster

The Star turns Red (Revival)

Boy meets Girl

All God’s Chillun Got Wings

Awake and Sing!

Casey Jones

Star Parade

Pardon my Greek

This Trampled Earth

The Shepherd and the Hunter

1947

Dragnet

Out of the Dust

What Happens to Love

Golden Boy

Enemies

Stars on Parade

The Match Girls

The Russian Question

Black Magic

1948

The Star Turns Red

What’s Left

All Star Variety Show

Winkles and Champagne

The Whole World Over

Lions After Slumber

Six Men of Dorset

All Star Concert
1949 to 1960

1949


The Townshends

Cousin Elwyn

Plant in the Sun/Where’s That Bomb

The Jolly George

Thirteenth Anniversary Variety Concert

The Ragged Trousered Philanthropists

1950


The Circling Dove

Buster

Hell is what you make It

Winkles and Champagne

How I Wonder

Longitude

1951

The World of the King

“Here Goes!”

Hawthorne Grove

Mother Goose

The Germans

The Cradle will Rock

1952


Barrier Across Europe

The Wages of Eve

The Candy Story

Strangers in the Land

Mild and Bitter

Christmas Bridge

The Bridge of Life

1953

Three in a Row

Turn it up

No!

The Rosenbergs

Cinderella

1954

Timid People

Reedy River

Shoemakers Holiday

The Land of the living

The Dockers Tanner

Montserrat

1955

The Road to Life

Pillars of Society

The Shadow of the Swastika

The Russian For Yes

The Women of Troy

Peace Meal

1956

Othello

Nekrassov

Widowers Houses

Polly

World on Edge

The Exception and the Rule

Hold the Line

1957

Burlesque

Paul Robeson Concert

Mind the Baby

Cyanamide

Match Girls

TV & Labour Movement Conference

The Biggest Thief in Town

Wally Pone

1958

The Ganze Macher

The Crucible

Tripe and Onions/The Green Eyed Monster

Robin Hood and His Merry Men

Call me not Naomi

Heartbreak House June

Mother Courage

1959

Take it as Red

Puerto Franco

God Bless the Guv’nor

Anna Christie

The Risen People

Rocket for the Governor

1960

Shakespeare’s Lovers

Lady Audley’s Secret/Music Hall

Androcles and the Lion

Bloomsday

The Offshore Island

The Big Win with Cage Productions

Drama in the Making

The Seagull

You Won’t Always be on Top

Ragged Trousered Philanthropist

Misadventures of Mr Pickwick
1971 to 1994

1971

The Chinese Machine

Robert Owen

It’s Never too Late

The Farmworker

Captain Swing at the Penny Gaff

The Dragon

In Place of Strife

They made a present of Mornington Crescent
1972


Waiting for Lefty

Bull Durham or the Great Turd and How to Keep it Rolling

Summerfolk

Rent or Caught in the Act

Pins and Needles

Burlesque

Huis Clos and A Matter of Convenience

1973


“Festival of Poets”

L’Avare Et Cie

The Concert at Saint Ovide

Partitions

“C.A.A. Showcase”

One Way Trip

The Way of the World

By my Life

At Enormous Expense…

Tom Barker of Camden - and the World

“Old Time Music Hall”

The Reign of Terror and the Great Money Trick

New Positions

“…And play on the flutes of their own vertebrae”

How we knocked ‘em in the Old Kent Road

1974

Widower’s Houses

The Tolmer Square Show

Case for a Rebel

Janet Rosenberg, Dear Mr Kooning and The Inhabitants

The Recruiting Officer

Vietnam - “The Post-War’ War

The Jump

Storm Warning

The Tigers are Coming O.K. ?

The Police and Saxon

Memories

“The Collier Laddie” A Legend of the Coalfields

Before your very eyes

Ten Nights in a Bar Room

“NCCL 40th Anniversary Show”

Common will against the Giant

1975

Right Turn Triple Bill

The Bureaucracy Show

The Nuns

The Cocoa Party

1977

“God’s Just a Copper”

Waiting for Lefty

1979

God Bless The Guv’nor

1980

The Ragged Trousered Philanthropists

Mad Tom or the Man of Rights

1981

Then and The Clyde is Red

1982

“Reminiscences of Unity Theatre”

Then/Bikini Fable

New Positions

1983

Come Fry with me

Comprehensive Cut

1984

“A Tribute to Laurie Davies”

“Workers Theatre - National Theatre - Platforms at the National”

1990

“May Day Social”

“Unity Social”

1991

What’s Left Now

1992

Major Minor a Topical Revue, with A Small Price

1994

Horseman Pass by
1961 to 1970

1961

The Visions of Simone Machard

Beer and Skittles

The Lower Depths

The Recruiting Officer

And him Stretched

Affluent Athenian

1962

Aladdin

Hedda Gabler

1963


Spring ‘71

Away

Circus

The Man who bought a Battlefield

All Star Charity Show

Gala Cabaret and Dance

The Fury of Philip Hotz/The Scavengers

Unity Theatre and the Unions

See a Man falling

Port and Lemon

Good Woman of Setzuan

Life of Kaggs

Three in One

High Jinks of Bishop Saull

School of Wives

East Lynne and Music Hall

A Doll’s House

People Like Us

The Deviates

1964

The Caucasian Chalk Circle

Its Ours

Earoles

A Memorey of Two Mondays/Oh Freedom

The Glass Menagerie

Everything in the Garden

The Licence

Squaring the Circle

1965

Chicken Soup with Barley

Little Malcolm and his struggle against the Eunuchs

Yegor Bulichov

Julius Caesar

There’s a Megabutton on my Living-room Floor

Christmas Palace of Varieties

God Bless the Guv’nor

Sweeney Todd and Music Hall

1966


Death of a Salesman

Playboy of the Western World

Inherit the Wind

1967

John D Muggins is Dead

The Country Wife

Gala Performance

The Don’t Just Sit There Show

Antigone

The Feather Pluckers

Armoured Train 14.69

1968

The Rent

Vietreview ‘68

Harold Muggins is a Martyr

Say Uncle

Billy Liar

Dirty Work at the Crossroads

1969

The Diamond, Bone and Hammer and Along the Shoughs of Ulster

Strike

Rag to the Bull

The Frogs and Co... Axed

Epitaph for George Dillon

The Mother

Festival Music Hall

Cinderella

1970

Unity Theatre Artists/The Co-operation

Triple Bill

Jack and the Beanstalk

A Case for Euthanasia

The Agony

The Demonstration

The Bolsheviks

South Africa 70

The Misadventures of Mr Pickwick

Contact

The Secretary
Unity Theatre Trust
37A Dunsmure Road
London, N16 5PT
England

ObscureMyEmail

Tel: +44 (0)20 8802 6437

Terms of Use & Privacy Policy

Website Privacy Policy & Terms of Use

1. Privacy Policy

The Unity Theatre Trust is very respectful about the privacy concerns of the visitors to any of its sites on the Internet.


As a general policy, no personal information is automatically collected from visitors to its sites. However, certain non-personal information of visitors is recorded by the standard operation of Unity Theatre Trust's Internet servers. This information is primarily used to provide an enhanced online experience for the visitor. Information tracked includes the type of browser being used by the visitor (e.g., Netscape, Internet Explorer), the type of operating system (e.g., Macintosh, Windows) in use by the visitor and the domain name of the visitor's Internet service provider (e.g., BT Openworld, Blueyonder, Compuserve).


By having this information, web pages optimized for a particular visitor's computer may be automatically available to that visitor. Other uses of this information include internal review of the number of visitors to the sites but only in an aggregate and non-personally-identifiable form. E-mail addresses and other personally identifiable data about visitors to this site are known to Unity Theatre Trust only when voluntarily submitted. Personally identifiable information that may be collected in connection with visitors voluntarily filling out on-line forms or subscribing to newsletters is retained by Unity Theatre Trust and not sold or otherwise transferred outside the company. This information is used to better understand visitors' use of our sites and to support transactions made on the sites. We sometimes also use e-mail addresses and other personally identifiable information to contact visitors who communicate with us. For example, we might direct e-mail to visitors who provide us with their e-mail addresses for specific purposes such as receiving e-mail newsletters. Each e-mail newsletter always contains instructions on how to discontinue receipt of the newsletter.

Unity Theatre Trust Web sites may place a "cookie" in the browser files of a Unity Theatre Trust site user's computer. The cookie itself does not contain any personally identifying information.
The cookie could enable Unity Theatre Trust to relate a user's use of a Unity Theatre Trust site to information that the user has specifically and knowingly provided.


Users should be aware that when they voluntarily disclose personal information (e.g., user name, e-mail address, phone number) on any bulletin boards or chat areas that may be in operation, the information can be collected and used by others and may result in unsolicited messages from other people. To the extent that any of our sites accessible through www.unitytheatre.org.uk may have additional practices, these practices will be explained at that site.

2. Terms of Use


Please read these Terms Of Use carefully before using this site.

By using this site, you signify your agreement with these Terms Of Use. If you do not agree with any of the below Terms Of Use, do not use this site.

The Unity Theatre Trust reserves the right, in its sole discretion, to modify, alter or otherwise update these Terms Of Use at any time and you agree to be bound by such modifications, alterations or updates.

2.1 Trademarks, Copyrights and Restrictions


This site is controlled and operated by The Unity Theatre Trust, 37A Dunsmure Road, London, N16 5PT, England. All material on this site, including, but not limited to images, illustrations, audio clips, and video clips, is protected by copyrights which are owned and controlled by Unity Theatre Trust, or by other parties that have licensed their material to Unity Theatre Trust. Material from unitytheatre.org.uk or any web site owned, operated, licensed or controlled by Unity Theatre Trust may be accessed copied printed and downloaded in an unaltered form, with copyright acknowledged, on a temporary basis, only for personal study and strictly for non-commercial use. Written permission from the Trust must be obtained for any other use including reproduction in any form, display in any form, performance or transmission by any means.

Applications for permission as required above should in the first instance, be addressed to-

The Secretary to the Trust-
by E-mail at: secretary@unitytheatre.org.uk
or by Mail to: 37A, Dunsmure Rd., London N16 5PT, England


2.2 Linked Sites


Unity Theatre Trust, whether or not affiliated with sites which may be linked to this site, is not responsible for their content. The Linked Sites are for your convenience only and you access them at your own risk. Those sites may have their own Terms of Use and Privacy Policies and you should consult them independently.


2.3 Disclaimer


The materials in Unity Theatre Trust's Web Sites are provided "as is" and without warranties of any kind either express or implied. To the fullest extent permissible pursuant to applicable law, Unity Theatre Trust disclaims all warranties, express or implied, including, but not limited to, implied warranties of merchantability and fitness for a particular purpose.


Unity Theatre Trust does not warrant that the functions contained in the materials will be uninterrupted or error-free, that defects will be corrected, or that Unity Theatre Trust's Web Sites or the server that makes them available are free of viruses or other harmful components.
Unity Theatre Trust does not warrant or make any representations regarding the use or the results of the use of the materials in Unity Theatre Trust's Web Sites in terms of their correctness, accuracy, reliability, or otherwise. You (and not Unity Theatre Trust) assume the entire cost of all necessary servicing, repair or correction.


Applicable law may not allow the exclusion of implied warranties, so the above exclusion may not apply to you. The material that you read in Unity Theatre Trust's Web Sites is provided solely for research, entertainment and promotional purposes. The information and opinions expressed in any Bulletin Boards, Chat Rooms, or other forums conducted on or via this site are not necessarily those of Unity Theatre Trust or its affiliated or related entities or content providers and Unity Theatre Trust makes no representations or warranties regarding that information or those opinions. Furthermore, neither Unity Theatre Trust nor its affiliated or related entities or its content providers are responsible or liable to any person or entity whatsoever (including, without limitation, persons who may use or rely on such data/materials or to whom such data/materials may be furnished) for any loss, damage (whether actual, consequential, punitive or otherwise), injury, claim, liability or other cause of any kind or character whatsoever based upon or resulting from any information or opinions provided in Unity Theatre Trust's Web Sites.


2.4 Submissions


Unity Theatre Trust is not responsible for any material posted on our Forums. You shall not submit or otherwise publish through such Forums any content which:

a) libels, defames, invades privacy, or is obscene, pornographic, abusive, or threatening;

b) infringes any intellectual property or other right of any entity or person, including, but not limited to, violating anyone's copyrights or trademarks;

c) violates any law;

d) advocates illegal activity;

e) advertises or otherwise solicits funds or is a solicitation for goods or services; (collectively "Non-Approved Material").

You agree to indemnify Unity Theatre Trust and its officers, directors, employees, agents, distributors and affiliates from and against any and all third party claims, demands, liabilities, costs, or expenses, including reasonable legal fees, resulting from your breach of any of the foregoing agreements, representations, and warranties.


2.5 E-mail and Postings Received


Do not post any threatening or libellous e-mails or material on this site that would be considered a violation of any law. Unity Theatre Trust will fully cooperate with any law enforcement authorities or court order requesting or directing Unity Theatre Trust to disclose the identity of anyone posting any such e-mails or materials.


2.6 Jurisdictional Issues


Unless otherwise specified, the materials in Unity Theatre Trust web sites are presented solely for the purpose of research, entertainment and promoting programs and other products available in the United Kingdom, its territories, possessions, and protectorates.

This site is controlled and operated by Unity Theatre Trust from its offices within the United Kingdom, or by an agent of Unity Theatre Trust. Unity Theatre Trust makes no representation that materials in Unity Theatre Trust's Web Sites are appropriate or available for use in other locations. Those who choose to access this site from other locations do so on their own initiative and are responsible for compliance with local laws, if and to the extent local laws are applicable.

This agreement shall be governed by, construed and enforced in accordance with the laws of the EEC, as it is applied to agreements entered into and to be performed entirely within such Community. Any action you, any third party or Unity Theatre Trust bring to enforce this agreement or, in connection with, any matters related to this site shall be brought only in either the Courts located in the EEC, and you expressly consent to the jurisdiction of said courts.

If any provision of this agreement shall be unlawful, void, or for any reason unenforceable, then that provision shall be deemed severable from this agreement and shall not affect the validity and enforceability of any remaining provisions.

This is the entire agreement between the parties relating to the matters contained herein and shall not be modified except in writing.

Downloads

Archives

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The trust maintains an archive of heritage materials relevant to the theatre.

If you would like to access the Archives please follow the procedure below:

Unity Theatre Archives are now housed at the Victoria and Albert Museum(V&A) in Blythe House.

The Unity Archive can be viewed in the V&A reading room in West Kensington. The archive catalogue can be found at this link and appointments to view material can be made via this e-mail address. vandaemail

The reading room is located in Blythe House near the Kensington Olympia exhibition centre. The nearest station is Kensington Olympia on the District and Overground lines. They are open Tuesday-Friday, 10.15am-4.30pm.

This is a free service but an appointment must be made.

The catalogue of the archive is accessible at this link. By clicking on the Contents folders on the left hand side researchers can access more detailed descriptions of the individual files in the archive, with reference codes and descriptions. These can be used when requesting material by e-mail for research visits to the reading room.

For a list of all the currently catalogued V&A Theatre and performance archives, please see this link and page down to the section 'Discovering theatre and performance archives'.

V&A Theatre & Performance Enquiry Service

http://www.vam.ac.uk/page/t/theatre-and-performance/
Blythe House
23 Blythe Road
London
W14 0QX