The sheer scale of abuse inflicted by Chris Goode raises important questions about the lack of safeguarding in theatre, as Lyn Gardner reports.
In March 2021, an image of a notice pinned to the windows of the Young Vic and the National Theatre Studio was circulated privately online by people working in theatre. In black felt-tip pen, the notice declared: “I heard you were working with...” and went on to list the names of eight men working in British theatre. Underneath, it said: “Be careful. This is not a complete list. #MeToo.”
The second name on that list was that of Chris Goode, whose company Chris Goode and Company had become a national portfolio organisation in 2018 and who had worked extensively across his career making work in venues in London and all across the country, from large regional theatres to small unfunded spaces.
On June 1, 2021, Goode killed himself. There was an outpouring of grief and shock on social media from many who had loved his work over the previous 20 years, and admired the way Goode had talked and written so eloquently about trying to create a practice and theatre culture that refuted hierarchy, patriarchy, toxic masculinity and capitalism... Keep reading on The Stage.
In March 2021, an image of a notice pinned to the windows of the Young Vic and the National Theatre Studio was circulated privately online by people working in theatre. In black felt-tip pen, the notice declared: “I heard you were working with...” and went on to list the names of eight men working in British theatre. Underneath, it said: “Be careful. This is not a complete list. #MeToo.”
The second name on that list was that of Chris Goode, whose company Chris Goode and Company had become a national portfolio organisation in 2018 and who had worked extensively across his career making work in venues in London and all across the country, from large regional theatres to small unfunded spaces.
On June 1, 2021, Goode killed himself. There was an outpouring of grief and shock on social media from many who had loved his work over the previous 20 years, and admired the way Goode had talked and written so eloquently about trying to create a practice and theatre culture that refuted hierarchy, patriarchy, toxic masculinity and capitalism... Keep reading on The Stage.