Camden People’s Theatre director Rio Matchett

“IT’S a misnomer that political work has to be really heavy,” Camden People’s Theatre said as it celebrated its 30th anniversary this week.

The radical, grassroots theatre has gone from a former derelict pub, prone to squatters and leaky ceilings, to a hub of experimental theatre showcasing emerging talent in the heart of Euston.

New director Rio Matchett, who joined CPT three months ago, said: “This building has a really incredible history. It’s an old pub that’s been converted prior to being a theatre space. It was mostly used by community organisers and activists, particularly the Bangladeshi community, a lot of people who went on to political roles. There was a youth theatre and they came together to have this beautiful creation that is called CPT.”

The intimate 63-capacity theatre continues its political heritage. “We’re interested in work that wouldn’t get platformed elsewhere either because it’s political or the artist is a bit unknown,” Ms Matchett said.

She added: “Mostly artists bring work to us. It’s a privilege to see the patterns in conversations people are having. There’s lots of stuff about the genocide in Gaza. Closer to home, food banks have come up in the last couple of years.

“I think it’s that old adage of comfort the disturbed and disturb the comfortable. We do a lot of joy though. I think sometimes a panto is the most political thing you can do and be in a room with people you wouldn’t otherwise be sat next to.”

CPT has put on “controversial” shows in its 30-year history. It was most recently in the news for the recruitment for Ms Matchett’s role.

She said: “There was furore in the press because the job advert invited people with criminal records. It was the wording around it because it’s less used. There’s lots of orgs in the arts that talk a really good talk, but one of the reasons I love CPT is there is a parity about what happens on the stage and what happens off it.”

There is still an appetite for CPT’s radical performances, despite the current recession which has seen many smaller theatres lose funding and close.

“I feel very supported by our funders but they are under a lot of stress,” she said. “It is a tricky time financially. There’s no two bones around it but the optimist in me is that it’s good to force us into more partnerships with local businesses, other theatres and education.”

This year, the theatre is looking forward to putting on its Sprint Festival in March, which will see a series of three shows put on every day across three weeks. Some of the shows include the colonial origins of artificial intelligence, and a cabaret night featuring traditional music from Turkey.