TECTUM Theatre re-imagine their OFFIE nominated show 'Hand Of God'. The production will run at Birmingham Rep on the 21st and 22nd March 2025.
Ahead of this, we sat down with creative producer Sam Butters to learn more about the piece.
What can you tell me about your role as a producer for TECTUM Theatre?
TECTUM Theatre was set up to support, celebrate and showcase working-class and early-career artists in Birmingham and the Midlands so the main aspect of my role is ensuring that every action we take as a company aligns with that mission. From the shows that we produce, our talent development programmes and the spaces we hold for artists we have to make sure that we have our communities in mind.
That, and a lot of emails.
That, and a lot of emails.
What can you tell me about Everybody Wants To Be Ronaldo?
Directed by Nyasha Gudo and a completely original soundtrack by Birmingham’s Tour-De-Force, Reisz Amos, Everybody Wants To Be Ronaldo is an unapologetic love story for our city and let me tell you, it has EVERYTHING.
Football, Grime Music, Salsa, incredible performers and the one and only Diego Maradona.
Blending the pulsating beats of Grime and latin flair, the three-hander explores themes of identity and parenting, set against the backdrop of Birmingham.
The story follows Curtis, a 16-year-old aspiring professional footballer in the Villa academy, his devoted mother Sabrina, who has supported him since he was six, and his unforgettable one-night encounter with the legendary Diego Maradona.
Why did you choose this piece and how does it fit in with the ethos of TECTUM's work?
Everybody Wants To Be Ronaldo is a TECTUM original production so we’ve had to make it as bold, brave and loud as we possibly can.
The main ethos of TECTUM is to showcase, celebrate and support early-career and working-class artists. As a promise we ensure that at least 50% of the cast and creative team are early-career artists or from a working-class background.
Both football and grime music are deeply embedded within working-class culture and this show is a beautiful celebration of that. In order for new and young audiences to come to the theatre, they have to feel seen and represented in the stories that are being told.
Both football and grime music are deeply embedded within working-class culture and this show is a beautiful celebration of that. In order for new and young audiences to come to the theatre, they have to feel seen and represented in the stories that are being told.
We are really proud of the work that we’re doing around the show. We have the incredible Nigel Bailey working on the show as our well-being specialist who ensures that the show remains authentic and supportive in its language, whilst also keeping an open space for our cast and creatives if the subject matters affect them.
We are also working closely with young people with performances and workshops in football academies and colleges exploring the shows themes of pressure, identity and mental health.
How important is the community work that you do alongside the performances?
Our community work is at the heart of everything we do, driving us to become a better company every day. Throughout the year, we are collaborating with schools, colleges, football academies, and local communities, using drama and theatre as powerful tools to enhance social and emotional intelligence within young people.
Young people are the next generation of artists and creatives and they need to be supported. Our goal is not only to introduce them to the world of theatre but to inspire and nurture future pioneers and shape the next artistic leaders of our incredible city.
In today’s world, young people face immense pressure, especially in the age of social media. We have witnessed firsthand how drama can transform lives, building confidence, resilience, and self-expression. That’s why we are committed to ensuring access to theatre for communities that might not otherwise have the opportunity to experience its impact.
 |
| Sam Butters |
How do you approach attracting an audience for the show?
This one’s a fun mix—combining theatre, football, and grime music. One of our highlights so far? Penalty shoot-outs around town. The Saturday afternoon stag and hen parties definitely kept us on our toes.
We try and get our flyers in as many places around Birmingham as possible, from local leisure centres to five-a-side football teams. Both Nyasha Gudo, our Creative Director, and I have even gone door-to-door flyering to spread the word.
How do you view where the arts are at in 2025?
I think we’re in a tricky position where there’s not much money within theatre at the moment, and less money means less risk. Theatre should be a place where things are allowed to go wrong, stories can suspend disbelief and they can fall on their face.
There is so much beauty and soul within regional and community theatre shows, and we hope that large-scale commercial theatres get the support they need to have the capacity to take more risks on supporting grassroots theatre companies and individuals.
It’s not just about bringing people to the theatre, but bringing the theatre to the people.
Where did your arts career begin?
I really wanted to sound intelligent with this question, but in reality, it was probably when I was the King in the Year 2 assembly. I got so nervous that my wonderful mom took me for a chat with my teacher, who gave me this Lion teddy as a gift for bravery, it still takes pride of place on my desk to this day.
When I knew it was something I wanted to pursue, I was persuaded by my drama teacher to play Brutus in Julius Caesar as part of the Shakespeare School Festival when I was in secondary school. That programme was a beautiful example of how introducing young people to drama at a young age can have such a powerful affect on their confidence.
Ironically, my secondary school was a sports school where everyone played football and we have a production of Julius Caesar (Spoiler Alert) coming up next year. Quite a full-circle moment, really.
When I knew it was something I wanted to pursue, I was persuaded by my drama teacher to play Brutus in Julius Caesar as part of the Shakespeare School Festival when I was in secondary school. That programme was a beautiful example of how introducing young people to drama at a young age can have such a powerful affect on their confidence.
Ironically, my secondary school was a sports school where everyone played football and we have a production of Julius Caesar (Spoiler Alert) coming up next year. Quite a full-circle moment, really.
What was the first piece of theatre you saw that had a big impact on you?
I vividly remember a production of Golem at Young Vic in 2014 by 1927. It was the most breathtaking mix of animation, drama and music. I’m still trying to figure out how the performers were able to interact with the animations that were happening behind them on the huge screen. That show was a masterpiece in innovative theatre.
It was the first time I witnessed just how much theatre’s limits could be pushed and I always want to see how we can push our stories outside the realism of traditional theatre… Probably why we have a rapping Diego Maradona in Everybody Wants To Be Ronaldo.
Working with young people is the food to my soul. It’s really easy to get bogged down with logistics, day-to-day life and focusing on ‘what’s next?’. But young people live so presently and are so alive with wild imagination that it makes you want to throw your to-do list in the bin. If you ever feel stressed or worried about what’s happening in your life/career, reminding yourself why you started doing it in the first place is a great source of inspiration.
I’m also in a deep love affair with my City. If you look close enough you can find inspiration in everything. Brum is beautiful.
What would you hope an audience member took away from seeing Everybody Wants To Be Ronaldo?
Firstly, I would love our audiences to be singing the songs of the show on their way out. Our composer, Reisz Amos, is a musical genius.
And most importantly, I would love for people to walk out and tell someone just how grateful they are to have them in their life. Whether it’s the person they came with, someone they call, or text, this show is not just about football, it’s about rediscovering the joy in everyday life.
And most importantly, I would love for people to walk out and tell someone just how grateful they are to have them in their life. Whether it’s the person they came with, someone they call, or text, this show is not just about football, it’s about rediscovering the joy in everyday life.
Where can people see the show?
We have a limited run at The Birmingham REP on 21st and the 22nd March.
Friday 21st March 20:00
Saturday 22nd March 14:00 + 20:00
Friday 21st March 20:00
Saturday 22nd March 14:00 + 20:00
Tickets are available from https://www.birmingham-rep.co.uk/whats-on/everybody-wants-to-be-ronaldo/
Post a Comment