Always on
This project successfully funded on 18th May 2026, you can still support them with a donation.
Farewell Leicester Square by Neil Gore
United Kingdom
Aim
To celebrate the amazing life of Joe Clough, Britain's first black bus driver, by creating a musical play about him, that will tour the UK.
The IDEA:
The idea is to do an extensive UK-wide tour of ‘FAREWELL LEICESTER SQUARE’, a play that Townsend Theatre Productions trialled on a short run during Covid in their outdoor tent venue at Bedford, Watford and London.
Peter Yates of LondonTheatre1 reviewed the show: ⭐️⭐️⭐️⭐️⭐️ “This is a joyous journey of a working-class immigrant...a trailblazer for those who were to follow...a truly delightful show...”
It is written by Neil Gore, directed by Louise Townsend, has original artwork by Scarlett Rickard and specially composed music by Tayo Akinbode.
‘FAREWELL LEICESTER SQUARE’ is the story of Joe Clough.
When thousands of men and women journeyed from the Caribbean to help rebuild Britain and drive London’s buses in the fifties and sixties, few would have known they were following in the path of a quiet trailblazer, Joe Clough!
Born in Jamaica in the 1880s, Joe cared for horses at Jamaica’s opulent colonial polo club and graduated to being a driver of horse-drawn carriages, which began his career in transport. His life changed course dramatically when he accompanied his employer, a wealthy doctor, to Britain in 1906 where he was forced to embrace the cutting-edge technology of the day: the motorcar. From that moment he never looked back. His adaptability and determination led him to become a licensed driver, and in 1910, when his employer returned to Jamaica, Joe passed the test to operate a motorised London bus and become the first black bus driver in London, steering the number 11 B-type bus through the heart of the capital - a route still in use today.
During the First World War, Joe's service continued in a different form, transporting the wounded in ambulances on the Western Front in some of the harshest conditions imaginable.
After the ‘Great War’, he made his home in Bedford, driving buses on routes between Cambridge and Bedford, before buying his own taxi after World War II and working as a cab driver until his retirement in the 1960s.
Though he never sought the spotlight, Joe Clough's life is a story of perseverance, progress and pride. He confronted prejudice with dignity and paved the way - often unknowingly - for generations to come. His legacy stands as a powerful counterpoint to the notion that the Black British experience began with the Windrush in 1948, and demonstrates that people of African and Caribbean heritage have been contributing to British life, industry and service for far longer.
Joe is still remembered with affection in Bedford and beyond; his story a reminder that the history of Britain is richer and more diverse than often appreciated and acknowledged
BLACK HISTORY AND THE CONTRIBUTION IT MAKES TO AN INCLUSIVE CULTURAL LANDSCAPE:
In 2020 the toppling of Bristol enslaver Edward Colston's statue sparked an unprecedented public reckoning with the legacy of slavery. This coincided with tens of millions of people, in over seventy countries across the world, protesting as part of the Black Lives Matter movement. In the years since, the art and cultural worlds have been playing 'catch-up'. Museums, galleries and theatre audiences now want to focus on people formally marginalised; those on the edge of the frame, so to speak. As galleries and producers across the world have sought to fill the gaps in collections and prospective work, the value and importance of this work has increased tremendously, both culturally and commercially.
In art and culture traditionally, especially during times of slavery, where black subjects were included in works, especially high-art portraits, white people were at the centre of the images. In those situations, the black enslaved subjects were deliberately compositionally peripheral and on the outskirts of the scene, and the portraits were definitely not about them. This set the trend for the many, many decades after slavery had been abolished. However, in ‘FAREWELL LEICESTER SQUARE’, Joe Clough is not an incidental, fringe contributor. He is, of course, the central figure in his own story. It is an honest, intimate and human portrayal, which makes the telling of his story a powerful and important contribution to the importance of black history to the overall history of Britain. And although Joe Clough would probably not refer to himself necessarily as a political person, the mere telling of his story is part of a much larger political crusade: as a vital source of inspiration and empowerment from an authentic representation of the pre-Windrush Black experience that gives voice to marginalised communities, documents history, challenges prejudices and contributes to a more inclusive cultural landscape.
And reflecting on the individuals who helped shape the transport systems and communities of modern Britain, Joe Clough’s name deserves a place of honour. Breaking new ground isn’t always about grand gestures. Sometimes, it’s simply showing up, doing the work, and refusing to be belittled and devalued.
By remembering Joe, we remember the many others whose stories remain untold, and honour a legacy of quiet strength, ambition, and belief in a better future.
The VISION:
The vision for this production is to contribute to and encourage inclusivity and diversity across communities; to challenge societal disharmony by shining a light on important stories from under-represented voices. The vision is to celebrate and value cultural difference and create an environment where peaceful and cooperative existence can thrive and actively foster a culture of respect, understanding and belonging where all contributors and participants feel valued for their unique perspectives.
Transport museums are going to partner the production as part of the 70th anniversary commemorations of London Transport's Caribbean recruitment drive which began in February 1958, at the invitation of the government of Barbados. This followed the arrival of the 'Empire Windrush' at Tilbury Docks in June 1948, which heralded the arrival of thousands of Caribbean people making the long journey to Britain, with the optimism of Lord Kitchener's calypso song "London is the place for me" ringing in their ears.
When the project will take place: ‘FAREWELL LEICESTER SQUARE’ will tour Spring 2027. Tour bookings across the UK have already been taken including: Sheffield, Bedford, Southport, Shrewsbury, London, Barton-on-Humber and many others, so the prospects for the production touring in 2027 are excellent; the project has sound foundations laid.
Community Participation has become a regular part of Townsend Theatre Productions’ more recent shows. The productions have always had elements of audience participation, but formal contributions have been introduced with the involvement of choirs and dance groups, with additional post-show discussions, Q&As, as well as complementary foyer exhibitions. For this project, part of the vision is to continue these elements - choir, exhibition, discussion - and to invite community steel bands to join in the celebratory calypso finale at venues across the country.
The TEAM:
Townsend Theatre Productions website CLICK HERE
Townsend Theatre Productions are a professional community interest company (CIC) with an outstanding reputation for producing imaginative, entertaining, socially relevant live theatre. The company produces touring and hyper-local work that resonates with communities because it focusses on powerful narratives based on carefully researched real-life events. The work celebrates overlooked figures and major events in the campaigns for positive social change from Britain’s history, whilst detailing the practical and cultural challenges that continue to face working people and the working class today.
Louise Townsend is the producer and director of the company. She has worked in theatre for thirty years and has directed all of Townsend Theatre’s work and was casting director for West End productions including ‘The Lion King’, ‘We Will Rock You’ and ‘Simply Heavenly’ (NT/Young Vic).
Neil Gore is the writer, actor, musician and musical director. He has worked in all types of theatre from Theatre-in-Education, touring, regional repertory, West End, pantomime. He co-founded Sheffield’s Metro Theatre in the 80s and performed sketch comedy with Eddie Izzard in SUF Theatre.
Tayo Akinbode is a prolific musical director and multi-instrumentalist. He started at The Royal Court and Royal Exchange, and has since worked for theatres far and wide, film, TV, radio, circus, including: The National Theatre, Almeida Theatre, Miami Gablestage, New York Public Theater, Storyhouse Chester, New Vic Stoke and many, many more.
Scarlett Rickard is a highly regarded graphic artist who works closely with her sister Sophie to create graphic novels. The Rickard Sisters’ work is award-winning and includes titles such as : ‘The Ragged Trousered Philanthropists’, This Slavery’, ‘No Surrender’ and ‘Mann’s Best Friend’. She is also a sign-writer for historic Carters Steam Fair.
Previous Productions: ‘FAREWELL LEICESTER SQUARE’ is a significant contribution to Townsend Theatre Productions' growing list of authoritative, professionally produced new plays about working-class and labour history. 'Behold Ye Ramblers' highlighted The Clarion movement, 'We Will Be Free' was about the Tolpuddle Martyrs, 'Rouse Ye Women' about the women chain-makers, ‘We Are The Lions, Mr Manager!’ about the Asian women strikers at Grunwick in the 1970s, 'United We Stand' was part of the Shrewsbury24Campaign, 'Dare Devil' about British volunteers in the Spanish Civil War, 'On the Road To Freedom' focussed on The Chartists, 'Yes! Yes! U.C.S!' concerned the Work-In at the Upper Clyde Shipbuilders and 'The Ragged Trousered Philanthropists’ continues to be the company's most popular touring show.
The plays have toured the UK to huge critical acclaim and to large audiences in hundreds of city, town and remote venues, large and small, for nearly fourteen years. The basis of the work is one of partnership with communities, artists and campaigners. The work, often developed with testimony from recorded interviews or documentary sources, resonates with our working-class audience experiences, offering a safe and secure place for those engaged to have their voice heard and feel included in the process of artistic endeavour. The aim is, and always has been, to create outstanding, imaginative, entertaining, accessible and socially-relevant live theatre.
Townsend Theatre Productions are award winners! - in the past the company's work has been recognised through the North-East Theatre Awards for best touring production of 2022, 'Stagescripts' 10@10 Award (2018) & 'Eastern Eye' ACTA best actress Award (2017) for"We Are The Lions, Mr. Manager!"; Edinburgh Fringe Awards best actress (2013) for "We Will Be Free!"; the company's work has featured on BBCBreakfast, BBCr2 Jeremy Vine, BBCr4 'Women's Hour' and 'Front Row', and in 'The Observer', 'The Times' and 'The Scotsman'.
Sustainability
A major consideration for touring is to be environmentally sustainable. The touring schedules are organised to ensure minimisation of long distance travel between venues, with the aim of keeping each touring phase hyperlocal, and thereby keeping our carbon footprint small and also save fuel costs. Our production values are based on recycled sets, where possible, and by using up-to-the-minute technologies we use very little energy during performances.
How Your Contribution Helps The Company’s Work:
Firstly, a bit about our ability to deliver projects - Townsend Theatre Productions is the fifteen year old invention of theatre director and producer Louise Townsend and writer/actor/musician Neil Gore. We have been working in the theatre industry for many years and have extensive experience in all types of theatre from Community Arts to Rep to Panto to West End. We have extensive experience of fundraising and budgeting within very tight margins, so we're very adept at making magical things happen on quite low funding streams. It means we know how and where best to reap the most effective returns on investments. We have identified four areas of our work where your financial contributions would be best placed to make the project a success:
Firstly, in creating and designing a set that has impact and is ‘tourable’.
Secondly a sound system that is light and effective.
Thirdly to be able to financially support and encourage community involvement in the project around the UK.
And finally, access to performances is a major focus for us, and your support will go towards making the shows accessible for all. It will enable us to build on the major improvements we have made in creative captioning for our performances and make them more accessible for d/Deaf and neuro-divergent audiences.
We aim to transform the spaces where we perform and to maximise our impact in any way we can and to literally "wow" an audience!
Thank you for watching our Crowdfunding film, and for considering and supporting our project. Your contribution will be matched by other funders, so can feel confident that your donation will go a long way.
Funding method
Keep what you raise – this project will receive all pledges made