“Crucially, this isn’t about chasing certainty or insulating ourselves from risk,” says Christopher Glasgow, Director of Perth Theatre and Concert Hall. “It is about strengthening the cycle that sustains a producing organisation: ambitious programming, proactive engagement, and a broad, diverse audience who feel a sense of ownership in the work.”
In the current climate of British theatre, certainty is a commodity as rare as a quiet night on the Royal Mile in August. The post-pandemic era has been defined by the “late booker”—audiences who, burned by cancellations and cost-of-living crises, have become commitment-phobic. Yet, for its 2026 season, Perth Theatre is doing the unthinkable: it is asking its audience to put a ring on it.
Perth Theatre brings back subscription model to beat the ‘late booker’ trend
The venue has unveiled a return to a full season subscription model, anchored by a confident slate of five in-house productions. It is a bold, perhaps even counter-intuitive gambit that flies in the face of industry data suggesting flexibility is king. For Glasgow, however, this isn’t a blind roll of the dice, but a calibrated response to a volatile landscape.
“The decision to reintroduce subscription at Perth Theatre is the result of sustained audience research, careful listening and testing, and a clear-eyed view of the challenges we are operating within,” he explains. “Since I joined the organisation and led the rebrand, one message has come through consistently from long-standing attenders and newer audiences alike: people wanted a stronger sense of connection to our in-house work; a clearer journey, better value, and the confidence to engage more deeply.”
“Crucially, this isn’t about chasing certainty or insulating ourselves from risk,” says Christopher Glasgow, Director of Perth Theatre and Concert Hall. “It is about strengthening the cycle that sustains a producing organisation: ambitious programming, proactive engagement, and a broad, diverse audience who feel a sense of ownership in the work.”
On paper, the logic holds water. By incentivising loyalty with a 25% discount, Perth is attempting to rebuild the social contract between a regional theatre and its town—a contract that has frayed across the UK over the last decade. Glasgow is acutely aware that simply offering a discount isn’t enough; the artistic offer has to justify the commitment. That is to say, the subscription model requires more artistic daring, not less.
“If we only programme what feels guaranteed, we narrow our audiences, limit artistic growth, and ultimately weaken the organisation,” he says, outlining a philosophy that rejects the safety of the status quo. “Success, for me, is cumulative. It is about whether audiences are growing in confidence over time… and whether Perth feels like a place where ambitious work can happen.”
Strong female voices lead 2026 season, from Saint Joan to Sunset Boulevard
That ambition is evident in the programming itself. The season is heavily weighted towards what the press materials describe as “strong female voices”—a thematic nod to the venue’s legendary former director, Joan Knight. However, don’t get the wrong idea: Glasgow is keen to stress that this isn’t merely an exercise in curatorial nostalgia.
“In that sense, this isn’t about living in the past. It is about understanding where we have been so that we can be clearer and more confident about where we are going,” he says. “Engaging with legacy, whether it be a classic text, a familiar title, or the history of the organisation, gives us a framework within which to take risks, rather than something that limits us.”
The risks are certainly present. Saint Joan, a co-production with Raw Material and Aberdeen Performing Arts, promises a “contemporary reimagining” under the direction of Stewart Laing. “Its political resonance feels particularly acute right now,” Glasgow notes, “but, thanks to Stewart Laing and Adura Onashile, it is also a forward-looking take on a classic European text.”
Balancing the political is the cinematic: a stage adaptation of Sunset Boulevard: The Backstage Cut, written and directed by Morag Fullarton. Yet even here, Glasgow warns audiences not to expect a cozy night of Hollywood glamour. “While audiences may arrive with a sense of familiarity toward this legendary Hollywood film, the story of Norma Desmond continues to speak powerfully today about visibility, value, and identity,” he says. “Whereas Morag’s Casablanca: The Gin Joint Cut in 2023 was warm, playful, and inviting, this embraces a different tone and texture, offering something darker, more reflective, and emotionally complex.”
Two venues, one vision: Balancing the Concert Hall and the Stage
Glasgow holds a rare position in the UK cultural landscape, steering both a major producing theatre and a dedicated concert hall under a single artistic vision. It is a duality that requires careful calibration to avoid what he calls “muddying” the waters.
“The Concert Hall is predominantly a home for music, and the Theatre predominantly a home for drama, and that clarity really matters: different artforms ask different things of artists and audiences, and we are careful to respect that,” he explains.
However, respect for distinct identities does not preclude cross-pollination. Glasgow highlights Folding Songs, a co-production with Cryptic, as a prime example of how the venues can blur the lines without alienating their core constituencies. “This piece brings together composer and musician Martin Green… and Serbian singer Svetlana Spajić, whose work sits at the intersection of traditional music and contemporary performance,” Glasgow details. “This will be an experience that offers new entry points while still feeling rooted in forms our audiences recognise.”
This approach—offering the unfamiliar wrapped in the reassurance of quality—sits at the heart of his “familiarity with discovery” ethos. It allows Perth to think holistically about its audience, moving them organically between spaces not because they are forced, but because they trust the curation.
Why co-productions are vital for Scottish regional theatre survival
Of course, the shadow of economics looms large over any discussion of regional theatre in 2026. The co-production model—sharing costs and credits with other venues—has become the standard survival mechanism for Scottish theatre. Glasgow is refreshing in his candour regarding the necessity of such partnerships, refusing to hide behind artistic waffle.
“Of course, financial necessity is part of the picture, and it would be disingenuous to suggest otherwise, but it is never the sole driver of how we approach our co-productions,” he says. He prefers to view these collaborations as a method of expanding Perth’s cultural footprint rather than diluting it. “I don’t see co-production as ‘sharing the load’ in a way that dilutes identity. I see it as a confident, outward-looking choice, one that allows Perth to be both a place where distinctive work is made and nurtured, and a place people actively travel to because of the ambition, quality, and generosity of what’s on offer.”
Breaking down barriers: Theatre has higher ‘threshold anxiety’ than classical music
This outward-looking confidence must be matched by an inward-facing welcome. Interestingly, Glasgow reveals that the perceived barriers to entry are not quite what one might expect. While classical music often battles charges of elitism, Glasgow has found the “threshold anxiety” to be higher for the theatre.
“Coming out of the pandemic, the threshold anxiety hasn’t been uniform across artforms. In our experience, it has actually been higher within the Theatre than the Concert Hall,” he reveals. He cites the long-term support of the Gannochy Trust and national orchestras in breaking down barriers for classical music, contrasting it with the work now being done to demystify the theatre experience.
To combat this, the organisation has moved beyond vague aspirations of “access” to deploying specific, hard-nosed tactics. Glasgow points to the “Youth Ambassadors” programme—a paid audience development scheme led by senior PYT members—and a “Ticket Bank” initiative run in partnership with the Citizens Advice Bureau. Additionally, a “Bring a Friend for Free” offer on previews is designed to lower the psychological stakes of trying something new.
“Rather than thinking about one artform as inherently more intimidating than another, we focus on the conditions around the experience,” he says. “How people first encounter the work, how welcome they feel when they arrive, and how much permission they are given to engage on their own terms.”
From Ewan McGregor to The Addams Family: 60 years of Perth Youth Theatre
Central to this ecosystem is Perth Youth Theatre (PYT), which celebrates its 60th anniversary this season. Founded in 1966 as the first theatre-based youth company in Scotland, PYT is not merely an outreach appendage but a proven incubator of talent.
“Coming out of the pandemic, the threshold anxiety hasn’t been uniform across artforms. In our experience, it has actually been higher within the Theatre than the Concert Hall…”
“Its alumni include Hollywood star Ewan McGregor, Colin McCredie from Taggart, broadcaster and author Stuart Cosgrove,” Glasgow lists, clearly proud of the lineage. “All of whom are testament to its sustained contribution to the creative life of Scotland and beyond.”
To mark the diamond anniversary, PYT will take the main stage for a professional-grade production of The Addams Family. For Glasgow, this is a statement of intent. “When we programme PYT work on the main stage, it is a deliberate affirmation that youth creativity has equal value and presence within our overall season,” he asserts. “It shows young people, families, regular attenders, and new audiences alike that the future of the artform matters here.”
The ‘Engine Room’ of the Panto: Why Glasgow will be in the stalls
Ultimately, however, the success of this high-wire act—balancing subscriptions, risk, history, and youth—will be measured in the stalls. While Glasgow tracks the “tangible” metrics of box office yield, he remains a director who believes in the palpable energy of a room. This is never more true than during the annual pantomime—the financial engine room of the season—where you won’t find him hiding in an office.
“I am definitely not someone who hides away… It is well known among the staff that on opening night, I have a very specific seat with a key vantage point where I can soak it all in,” he says. He recalls being “overwhelmed with emotion and pride” during his first panto, Cinderella, in 2021.
It is this emotional connection, rather than the spreadsheets, that seems to drive the subscription gamble. Glasgow is betting that if the theatre commits to the audience—through risk, through quality, and through access—the audience will, in time, commit back.
“So when Sleeping Beauty comes around, I will be right there,” Glasgow promises. “It is a moment of celebration, connection, and, yes, relief, but above all, it is a reminder of why this work matters. To be part of something that means so much to so many people, across generations, is a real privilege and one I am determined we will continue to replicate for years to come.”
Featured Image: Christopher Glasgow June 2024
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