Collaborative Dramaturgy: Blending Theatricality with Reality
By Frankie Sharp (25103844)
What initially drew me towards an MA in Dramaturgy was my interest in creating verbatim theatre and carrying the awareness of ethical complexities that come with staging lived experiences for theatrical consumption. I looked to gain critical yet empathetic mindsets and tactics to understand the structural and storytelling elements of script development. With my background being predominantly in community-focussed arts, I wanted to take the time in this module to further explore community engagement within theatrical processes and how local communities can have dramaturgical influence in the development of new work. This initial idea was influenced by Makhumula’s Journal article exploring ‘Participatory Dramaturgy’ within creative environments. (Makhumula, 2013)
There are many opportunities to collaborate with and consider the public at any stage of developing new work and these are opportunities that I firmly believe more places should be taking beyond just the potential funding benefits.
I wanted to see how different creatives approach, involve and engage with their identified or chosen communities and explore dramaturgy by and for the community.
This journal wants to identify some of the different ways ‘Collaborative Dramaturgy’ exists by exploring how the involvement and considerations of communities impacted creative decisions in the process of creating and delivering new work.
An Overview of Participatory Theatre
Community-focussed theatrical practice is a broad spectrum dependant on style, framework and elements of involvement. Collective Encounters traces ‘Participatory Theatre’ in the UK back to the 1960’s, when Peter Cheeseman ‘pioneered a new form of Social Documentary theatre’, using verbatim methods that placed ‘local stories… at the heart of the work’. (Collective Encounters, n.d)
What can be seen as the timeline grows, is awareness of access barriers, responses to the challenges of funding, new practices and methodology to use theatre as a social and political platform. Collaborative communities take shape in the form of interacting with theatre for development (such as Theatre in Education or Boal’s Theatre of the Oppressed), or as sounding boards in the form of gathering testimonials, collating research and influencing creative decisions.
‘It is smaller companies, plugged directly into their communities, that can affect real change.’
biggs, 2020
Biggs explored theatre’s ‘identity crisis’, brought on by the Covid-19 pandemic. The arts industry can be turbulent for smaller companies and venues, but when a ‘rescue fund’ offered by the government to support the arts became a concern for smaller theatres and freelancers, rather than a reassurance. (Biggs, 2020)
Theatre Consortium released a report in 2025 around the subject of ‘British Theatre Before and After Covid’, stating that: ‘after lockdown, theatre was more metropolitan, more commercial and more conscious of box-office risk than before.’. (Rebellato and Edgar, p21, 2025)
New work, while starting to improve its presence on the larger theatre scene, has yet to re-establish itself after reaching a peak in 2014. (Rebellato and Edgar, 2025:22-23)
Commercial theatre, facing its own statistical changes, can and do sit comfortably with tactical programming methods in the form of revivals, adaptations and well-known musicals. (Rebellato and Edgar, 2025: 22-23.)
Smaller companies have the power to ‘plug in’ to their local communities and are in a landscape where finding a civic identity could be a saving grace. Actively engaging local authorities, communities and businesses, companies create space to ‘foster healthy debate’ and allowing ‘diverse voices to be heard’. (Biggs, 2020)
While new work can be perceived as a ‘risk’, pinpointing what matters to our communities and identifying the barriers to localised cultural engagement, space can be made to build meaningful relationships that keep people emotionally invested, and likely to continue engaging.
Case Study: Mikron Theatre, March 2026
I spent three weeks observing rehearsals for Mikron’s new touring play ‘Top of the Wold’, written by Maeve Larkin in collaboration with East Riding Libraries. The play ‘draws on first-hand stories gathered from residents and community groups.’ (Redwood, 2026) by knitting together the past and present of the area.
What intrigued me about Mikron was their active involvement in communities, as a company that consistently tours and commissions new writing. Every commission draws inspiration from real places, real people and their lives within. This involvement and outreach has been able to keep Mikron (and their narrowboat Tyseley) adventuring out across the UK as they’ve established themselves in many different places, and seen some familiar faces at many places.
The ‘Friends of Mikron’ membership sees people receiving regular updates, invited for lunch and to see rehearsals, creating a sense of sub-community. Having spoken to some of the people at this lunch prior to the rehearsal and been part of group conversations, it’s clear to see the established rapport the company have built over time.
That thing I said about ‘Collaborative Dramaturgy’…
Makhumula’s understanding of dramaturgy was solidified by two concepts: “having dramaturgy” and “doing dramaturgy”. (Makhumula, 2013) By separating the dramaturg from dramaturgy, we can see how it has the potential for what Haedicke describes as a ‘shift’ in artistic authority. (Haedicke, 1998:125).
Creating shows with people at its very heart, letting ‘the words, the lives, the dreams and the history of forgotten communities take shape on stages’, (Haedicke, 1998:125), can in fact, let dramaturgy can be a verb and something that has naturally developed between the artist and the people.
Whilst firmly planted in the real lives of the people of East Riding, and those at East Riding Libraries, ‘Top of the Wold’ does not identify itself as verbatim or documentary theatre. It is a celebration of characters inspired by people met along the way, living in a place that has been explored and listened to by Mikron.
The setting is a character in itself. The journey takes audiences from the rolling hills of the Wolds to the wild and windswept coast, pounded by the powerful North Sea.
Yorkshire.com, 2026
Three principal characters travel across East Riding: Bob and Sue, the mobile librarians and Alex, the PHD student looking to ‘identify the gaps’ between cultural engagement and rural areas. (Larkin, 2026)
This county and its residents shaped, inspired and gave a lot to the finished product; attitudes and lived experiences of the individuals met along the way had given inspiration to characters and content. It goes beyond that, shaping the stage design using Hockney’s ‘Garrowby Hill’ with knitted ‘intricate pieces’ by the Knit & Natter groups dotted around the set that show what their home means to them. The Cuppa & Chorus group are also joining some of the East Riding dates to sing along with the cast. (Redwood, 2026)
Larkin followed a mobile library around, observing how library assistants interacted with their colleagues and the service users. She’d seen a distinctive dynamic that could only be shared between two colleagues that have spent a lot of time together. This relationship, their interactions, their knowledge and behaviours translated across to Bob and Sue in the form of banter, shared dialogue, concerns and how they responded to arising challenges. Larkin shared how the librarians were fountains of knowledge, but not know-it-alls: “They just know it, it is what it is.” (Larkin, 2026)
As for Alex, she served as a key structural tool, bringing stories of the past and present together in her ‘quest’ to get her PHD and impress her supervisor and cohort. The play flows into open time and space with Alex as the device as she uncovers the agricultural history of East Riding after finding a book: ‘Untitled’ by ‘Anonymous’. (Larkin, 2026) Historical events such as Martinmas, ‘Humberside’, Covid-19 and the effects of the Second World War on agriculture (Larkin, 2026) were unpacked through scenes, songs and carefully considered transitions.
There are subtly placed building blocks to the conclusion of the show. A ‘Mrs Lunn’ is mentioned sporadically, as a service user the librarians are struggling to get to after a diversion. Meeting Mrs Lunn is the final gift, as we find out with Alex that she was the anonymous author, possessing the lived experience of the stories that were unravelled. Reflective of Larkin’s own meeting with a Mrs Dunn, this final scene holds a mirror up to their own recorded conversation. ‘Untitled’ was a pamphlet written about Dunn’s experiences working in hind houses as a teenager. The process saw it rediscovered and become Dewey Decimal classified.
Larkin also wanted to capture Dunn’s own speech patterns, the bluntness and that matter-of-fact tone that she had about her.
(Larkin, 2026)
These stories, in the exact words of the teller, are then woven together by a playwright/dramaturg or by the community itself, to narrate the life of the community.
haedicke, 1998:127
Larkin and Mikron’s immersive research and conversations with communities across East Riding have clearly contributed to the whole process, backing up this idea that communities and individuals can be, and are, valuable collaborators in a creative process. Mikron’s approach to communities within their chosen location and story doesn’t just bring authenticity to the work being delivered, but places storytelling elements in the hands of locations and its people.
The overall structure of the piece was strong, with clear intentions, beats and scene transitions pulling together the vast landscape.
Reaching wider communities
Mikron take pride in delivering theatre across the UK to ‘mostly non theatre venues touring to spaces and places where people feel relaxed and comfortable without having to cross the threshold of a traditional theatre venue.’ They firmly believe that everyone should able to ‘hear the same performance, share the same laughs, and enjoy the same music’. (VocalEyes, 2026)
One of the challenges of inclusive touring, especially to unusual venues, is possessing the technology for live audio captioning. Mikron respond by striving to achieve integrated audio description that accurately invites many people to enjoy it by having Benjamin Wilson on board as an access consultant. Wilson attended the first read-through and ongoing rehearsals to listen in to the staging and run-throughs of the show. Feedback was given on whether the scene was easy to follow, if characters were identifiable and moments where something felt missing, like a joke, an action or a gag that didn’t translate.
To paraphrase Wilson’s explanation of integrated audio description and how slight changes can make a huge difference: ‘if Bill shoots Bob, it might not be clear to an audience member who can’t see’, so by altering dialogue to: ‘Bob, I’ve got a gun, don’t think I won’t shoot you’, and a gunshot is heard, it’s clear to know that Bill shot Bob. (Wilson, 2026)
By employing an access consultant, the need for complicated, sometimes costly, technology that Wilson himself has had negative experiences with, is no longer there.
Wilson’s feedback saw slight changes made to the script, staging choices and directorial decisions. Sometimes the fixes were easy, calling for subtle changes, while others required a bit more navigation.
‘People are laughing here, but I don’t know why. How do we bring everyone into the joke?’
benjamin wilson, 2026
| The Problem | The Solution |
| There’s a lot of characters here, who’s here, and who’s addressing who? | Using names more frequently, or where names are not established, established pronouns such as ‘lass’. (1) |
| What’s going on in the environment around them? How can this be audibly interesting, as well as just visually? | Instrumental sound effects: a foil blanket for waves, an accordion for traffic blaring, a quick guitar riff to symbolise recording in process. (2) |
| Bob had a crab earlier. It’s causing him discomfort later on, but that’s not quite clear. | Castanets clicking in a bucket symbolise ‘Michelle’ scuttling around the bucket and nipping other people. |
| Max’s entrance unclear, been told prior to the scene he’s riding a motorbike but no sound or lines hinted towards that. | Trombone used for motorbike sound effect, Max referred to as ‘Evel Knieval’. (3) |
(Larkin, 2026)
In addition to integrated audio description, Mikron offer touch tours and introductory notes, which can be accessed for the entire touring process. These introductory notes introduced primary characters, who plays what instrument (with accompanying sound) distinctive sounds to listen out for and their meanings and what the core characters’ costumes look like.
Introductory notes found at:
https://www.youtube.com/watch?v=MG0HVu29078
What’s this done for my own practice?
As a dramaturg, I’ve learned new ways to consider how characters are built and established, understanding when it’s time to move on and how to consider accessibility. I’d mentioned earlier how the script was dramaturgically strong; full of so much waiting to be brought to life and physically experimented with. The rehearsal process helped to identify these strengths and how the text already serves the actors and director but also highlighted moments where more clarity could be given.
As a creative, it’s taught me just how many stories are out there, how many people want to hear them and how every conversation can be a creative gift.
Character Study
Every character in the script was analysed, using lines where they talk about themselves, lines of what other people say about them and their stage directions pulled from the script. From this, objectives, personality, recurring themes and Laban Efforts were found through this explorative process.
This was an intriguing and thorough method that informed actors on who the characters are at their core and how they carry themselves in their world. A lot can be said about someone by how their stage directions are written and how frequently something could be brought up.
A dramaturg could analyse how intentions and motives are portrayed and how this information supports an actor in the rehearsal process, by giving clarity on what drives their character from moment to moment.
Audio recording of a discussion around the character ‘Bob’, played by James McLean. (MacNamara and McLean, 2026)
This was an intriguing method used to inform actors on who the characters are at their core and how they carry themselves in their world. A lot can be said about someone by how their stage directions are written and how frequently something could be brought up.
A dramaturg could analyse how intentions and motives are portrayed and how this information supports an actor in the rehearsal process, by giving clarity on what drives their character from moment to moment.
Structure
The story exists in open space and open time, fluctuating between past and present. The present takes place across different locations as the mobile library travels through East Riding and plays with varying states of tension and shifts in authority. These were broken down in rehearsals into sections known as ‘beat shifts’. They were all given titles that capturing exactly what the energy was diverting towards and what that new moment is. Each shift felt intentionally placed and came around at the right time, nothing was too sudden or felt left unfinished. If there was a change in power dynamic, however small, these were identified within this.
Applied to my own practice, it would be looking at a script and being able to identify whether something was ready to progress further, or if something felt unfinished:
Does the shift earn its place, or are we not quite finished with where it’s at? How do these beats inform the overall story and narrative style? Is there a distinctive moment that can be played out?
Accessibility
Having seen Wilson’s collaborative efforts with Mikron to further develop scenes that painted a full picture, a lot was learned.
When approaching my own work for our Shakespeare adaptations, I found myself automatically thinking: is it clear who all the people in the scene are? Is everyone established? Do we know that Romeo is holding an empty vial of potion, or that Tybalt’s been pushed to the floor and killed?
Even this is an element of collaborative dramaturgy where a specific community are involved. Changes were made in response to questions and concerns about what felt missing. A level of flexibility to create clarity set the building blocks for a more accessible reach and Wilson was in the room to do just that. Marianne, the artistic director at Mikron is also learning sign language. Seven shows for the ‘Top of the Wold’ have BSL Interpretation, and this is something they are looking at implementing further.
Unfortunately, accessibility remains a concern for audience members who rely on certain measures to be able to attend and engage with theatre. Muscat, talking about their own experiences of accessing theatre as a visually impaired individual, feels that access is often an ‘afterthought’, or feels ‘tokenistic’ as ‘anything meaningful that creates real, equal access is too difficult or too expensive’. (Muscat, 2021)
On discussing Calling Barnsley with co-author Matt Woodhead from LUNG, they’d spoken about how their collaborators, students at Barnsley College, played a vital role in many parts of the creative process, including:
(Woodhead, 2026)
Plugging into disabled communities, taking suggestions and understanding these barriers should feed into our curiosities about how our work can be inclusive at early creative stages. By building this collaborative effort into standard practices, we are allowing inclusive access to future work that doesn’t leave anyone on the sidelines.
“How do we honour stories we’ve heard in Barnsley over the years, but also how do we celebrate the new as well?”
matt woodhead, 2026
*Appendix 1
LUNG are a campaign-led verbatim theatre company, mostly delving into social and political issues. Calling Barnsley came about from ‘Storying Barnsley’, a ‘community-focussed cultural initiative’ which saw ‘community collaboration and creative experimentation’. (Monks and Woodhead, 2025)
The choice of a phone box was to create something recognisable, familiar and a ‘container’ for all the stories that created the final piece. Visually striking and portable, the intention was to create a reach for people might not go to the theatre but would engage with something ‘if it was on their doorstep’. (Woodhead, 2026)
Barnsley is ‘a town often misunderstood’, full of ‘voices rarely heard beyond the borough’. (Bramley in Monks and Woodhead, 2025:140)
Calling Barnsley became a celebration of those voices, using a medium that didn’t require the exclusivity of a theatre stage. The structure here was to keep the stories to 300 words in length to suit the form.
The dramaturgy here was in the form, in the researching of stories from the past in the Barnsley Chronicle, (Woodhead, 2026) the stories that were heard and the input from the student collaborators:
(Matt Woodhead, 2026)
Considering Co-Creation
Co-creation, and community involvement, does come with its unique challenges. The identified barriers to co-creation are often raised by time; the length of the process, the preparation and taking time to build rapport. The other is money. It could be argued that ‘It takes time to build meaningful relationships and the trust needed to create significant work’ and processes that feel rushed can lead to a process that makes the outcomes feel ‘superficial.’ (Heart of Glass & Battersea Arts Centre, 2021:25)
This report on Co-Creation factors in potential issues concerning safeguarding, engagement feeling forced and an element of control from the facilitator or creative. These are all important elements, alongside an ethical approach, that artists need to consider, especially when topics may be handling sensitive information or delving into the borders of trauma-informed practice. If this is the case, a short-term project may not necessarily suit a deep-dive into social, political and traumatising or upsetting life events. But a brief encounter with a stranger consenting to go on the record can be enough to build a story. A collaborative effort with an organisation where ‘gatekeepers’ (the organisation that may be helping an artist source community collaborators) may also not be suitable for a project with a quick turnaround.
Established companies, created for specific lived experiences or people in mind, have the time to offer a sense of community and a safe space. Stand and Be Counted meet potential collaborators through offering that space first, and the collaboration comes second, when collaborators are ready and wanting to create work to explore their lived experiences.
(MacPherson, 2026)
The framework of using creative expression as a tool for enjoyment and sense of community is ‘vital for managing stress and well-being’. (MacPherson, 2026)
SBC have used a diverse range of creative platforms, beyond just the stage, that tell the stories of the lived experiences of their collaborators. This ranges from a first football match, to fighting injustices from the UK Home Office. (SBC Theatre, 2024)
(MacPherson, 2026)
As MacPherson said, the creative process is led by what artists pitch and how participants want to be involved. Establishing a relationship where the trust and reassurance is there, participants can withdraw their consent without stress or shame. The creative community that is established over time allows for participants to be involved in any form of production capacity they wish, such as producing, and has seen people wanting to pursue professional careers.
MacPherson shares a creative process that took about eight years to come to fruition:
(Macpherson, 2026)
These creative processes, especially in trauma-informed practice, do take time and resources. Participant wellbeing should be front and centre of any project consideration and, beyond patience and empathy, requires a trauma-informed professional, a counsellor and ongoing support. These are part of what constructs the ‘restrictive parameters’ laid out in Considering Co-Creation. (Heart of Glass & Battersea Arts Centre, 2021:25) These parameters, often influenced by R&D funding that expects timelines, outcomes and deadlines to be met, are often placed in rigid outcome ideas, end-gaining and a risk of ‘tokenistic collaboration’. (Heart of Glass & Battersea Arts Centre, 2021:25)
When collaborating with people with traumatic lived experiences, a creative should look to funding for ongoing processes, rather than strive to deliver something that meets the criteria for an R&D project.
SBC and LUNG have solidified their identities as charities, delivering consistent creative work to communities. It’s from this regular work, ongoing support and giving people room to express themselves and their identity that the work can be found organically. Haedicke’s arguments on community-based dramaturgy and the changing of artistic authority are written about audience members in Theatre for Development environments. (Haedicke, 1998:125)
I believe that artistic authority in any community-based practice should, and needs to be, interchangeable between artist and participant for the authenticity and altruistic intentions to truly exist. This applies especially when difficult lived experiences are being shared for public consumption, the ethics become complicated and the consent needs to be ongoing.
For complex processes, and ongoing work that benefits an identified community group, artists can’t go into the work expecting an outcome, deadline or quick turnover. That is not to say that meaningful work, tuned in to what matters, will always require processes that take years. Theatre for Development can come about in a matter of weeks through consulting the community, and by having an audience that wants to engage and see change through taking part.
At the core of all of this, is that as a community-driven artist, we need to identify when we do hand over our authority and understand ‘restrictive parameters’ so that we can work through them with a sense of personal awareness, an open mind, open ears and the right backing.
“Theatre as an art form is incredibly powerful… Theatre is reactive to society. Society is reactive to the theatre.”
sic., 2026
Theatre is often cited as being responsive to society, the events of the world and the complexities of being human. So, why should we, as creatives, not go out there and hear what people have to say? As a creative, I’ve been able to affirm just how important it is that communities not only get to engage with the arts, but that the arts get to engage with communities.
From trauma-informed practice, giving people a safe space to find their identity beyond their oppression to wanting to uncover the past of a local area, both participants and creative have a lot to gain.
The overall research and the findings and reflections from observing rehearsals and talking with companies about their practice from this module solidifies dramaturgy as a ‘doing’ word and something that co-collaborative communities can, and do, have valuable input in.
Community engagement hasn’t just proved itself to be a dramaturgical asset but has shown that creative works do matter. We just might need to think outside the box (or rather the stage) and find a new platform to get that reach and those ideas can be sourced from participants in ongoing projects, collaboration with external organisations and exploring a location’s people and it’s past and present.
My placements and tutorials have already had a positive impact on my practice as a dramaturg, in looking for detail in the form of structure, characterisation and writers’ intentions. As a community practitioner, looking to creating complex work around trauma, I’ve personally been given an overview depth of detail and care needed for trauma-informed practice as an ongoing activity rather than a process to create a ‘finished product’.
In an industry that feels turbulent, presenting new barriers and challenges along the way, maybe it is time that we take some time out of our artistic circles to be curious, open-minded and willing to listen to what the people want. Sometimes, we don’t need heightened dramatic conflict, a revival or a spectacle. We just want to know about a mobile library.
Bibliography
Biggs, A. (2020) “Public engagement: a renewed civic role for theatre”, Arts Professional. Available at: https://www.artsprofessional.co.uk/magazine/article/public-engagement-renewed-civic-role-theatre (Accessed 12 April 2026)
Bramley, R. (2025) In: Monks, H. and Woodhead, M. Calling Barnsley. London: Faber & Faber Ltd. P139-140
Collective Encounters. (No date) Participatory Theatre Timeline. Available at: https://collective-encounters.org.uk/centre-for-excellence/participatory-theatre-timeline/# (Accessed 12 April 2026)
Guest User (2026) “The Inaccessibility of the Theatre Industry.” SIC. Available at: https://sicofficial.co.uk/magazine/the-inaccessibility-of-the-theatre (Accessed 29 April 2026)
Haedicke, S.C. (1998) “Dramaturgy in Community-Based Theatre”, Journal of Dramatic Theory and Criticism, 13(1), pp. 125–132. Available at: https://journals.ku.edu/jdtc/article/view/2003 (Accessed: 15 April 2026).
Heart of Glass and Battersea Arts Centre. (2021) “Considering Co-Creation”. Arts Council England. Available at: https://www.artscouncil.org.uk/research-and-data/considering-co-creation (Accessed 15 April 2026)
Hemley, M. (2025) “‘Sharp Decline’ in new plays since Covid – Report.’” The Stage. Available at: https://www.thestage.co.uk/news/sharp-decline-in-new-plays-since-covid-report (Accessed 15 April 2026)
Larkin, M. (2026) Top of the Wold. Mikron Theatre, Marsden.
MacPherson, R. On working in trauma-informed settings with SBC. [Zoom Meeting] 12 March 2026
MacNamara, M. and MacLean, J. (2026) Mikron Rehearsals: Character Analysis of Bob. [Audio recording] Marsden Cricket Club, Marsden. 4 March 2026.
Makhumula, C. (2013). Participatory dramaturgy in theatre for development. Journal of Humanities, 23, 109–123. Available at: https://www.jstor.org/stable/48815907 (Accessed 14 April 2026)
MikronTheatre. (2026) Top of the Wold Audio Description Show Intro. [Video] Available at: https://www.youtube.com/watch?v=MG0HVu29078 (Accessed 28 April 2026)
Monks, H. and Woodhead, M. (2025) Calling Barnsley. London: Faber & Faber Ltd
Muscat, O. (2021) “Arts Accessibility Shouldn’t be an Afterthought”. Kill Your Darlings. Available at: https://www.killyourdarlings.com.au/article/arts-accessibility-shouldnt-be-an-afterthought/ (Accessed 29 April 2026)
Rebellato, D. and Edgar, D. (2025) “British Theatre Before and After Covid Report”. British Theatre Consortium. Available at: https://www.britishtheatreconsortium.co.uk/britishtheatrebeforeandaftercovid (Accessed 15 April 2026)
Rebellato, D. and Edgar, D. (2025) “British Theatre Before & After Covid Report” British Theatre Consortium. Available at: https://9a942b7c-a89e-451d-a67f-25e762f85c69.filesusr.com/ugd/4a6980_794ebf840f2d47ba9bbfda61b93ec75c.pdf(Accessed 15 April 2026)
Redwood, F. (2026) “East Riding Library new travelling play Top of the Wold”, York Press. Available at: https://www.yorkpress.co.uk/news/25902572.east-riding-library-new-travelling-play-top-wold/ (Accessed 15 April 2026)
SBC Theatre. (2024) Productions. Available at: https://www.sbctheatre.co.uk/productions (Accessed 29 April 2026)
VocalEyes. (2026) “Mikron Theatre Company – access built into every performance”. VocalEyes. Available at:https://vocaleyes.co.uk/mikron-theatre-company-access-built-into-every-performance/ (Accessed 25 April 2026)
Wilson, B. (2026) Mikron Rehearsals – On seeking clarity about a joke in one of the scenes. Marsden Cricket Club, Marsden. 11 March 2026.
Woodhead, M. (2026) On Collaborating in ‘Calling Barnsley’. [Microsoft Teams Meeting] 19 March 2026
Yorkshire Team. (2026) “East Riding Mobile Library Play: A story of Culture and Sea.” Yorkshire.com Available at: https://www.yorkshire.com/guiseley/inspiration/arts-culture/east-riding-mobile-library-play-celebrates-community-story?srsltid=AfmBOoqQ9m2uD7SSN4gOf12C_I7EKE35kIa5DWAfkoP9Fl0bbSPzgY-k (Accessed 15 April 2026)
Appendixes
Woodhead, M. Discussing the ‘Manifesto’ for Calling Barnsley on 19 March 2026.
