The recent theatre closure of the cherished Riverside Theatre marks a profound moment for the Northern Ireland Arts scene, particularly impacting the vibrant performing arts community and leaving a significant void in the region’s cultural heritage. This decision, spearheaded by Ulster University, has sparked widespread disappointment and debate among artists, educators, and local residents who consider the venue an irreplaceable hub for both professional and amateur productions.
For a generation of emerging artists in the North West, the cessation of operations at Riverside Theatre signifies the loss of an essential training ground. Catherine Lamont, owner of Innova Irish Dance Company, vividly recalls her formative experiences on its stage from a young age, emphasizing its unique role in nurturing local talent. She highlights the sentiment that for many, a debut performance at Riverside was not just a goal, but a rite of passage.
The theatre offered more than just a stage; it provided a comprehensive experience crucial for young performers. Lamont detailed the critical importance of its “proper theatre stage” environment, including professional lighting, sound, and backstage facilities, all of which contributed to a genuine sense of being a professional artist. Such amenities are vital for developing confidence and technical skills in aspiring dancers and actors.
Concerns about the theatre’s future escalated earlier this year when Ulster University, its owner, confirmed a comprehensive review of its operational model. Discussions even involved the Causeway Coast and Glens Borough Council, which was approached to consider a lease agreement and undertake the financial responsibilities of the venue, indicating the scale of the challenges faced.
Steven Millar, a dedicated local actor who actively campaigned to save the Riverside Theatre, voiced strong criticism of the university’s approach. While acknowledging the building’s need for maintenance and associated running costs, Millar labeled the university’s decision as “short-sighted,” arguing that viable alternatives, such as tendering the theatre’s operation or seeking interest from other community groups for a lease, were overlooked.
The broader regional community impact of this theatre closure is substantial. Millar stressed that without a dedicated venue like the Riverside, the region of Northern Ireland will lack a facility capable of hosting professional theatrical productions while simultaneously supporting local amateur theatre, numerous dance schools, and drama societies. This creates a significant gap in the cultural infrastructure.
In response to the closure, calls have already emerged for the establishment of a new theatre or cultural hub in Coleraine. Ms. Wisener passionately advocates for such a development, believing it is essential to ensure the local theatre scene can not only survive but truly “thrive” in the absence of the Riverside, preserving the region’s rich cultural heritage.
Alan McClarty, a long-standing member of the Ballywillan drama group, shared his profound sadness at the theatre’s demise, reflecting on countless performances over the years. He articulated a shared feeling among many that Ulster University had a responsibility to the community, an ethos that he felt was not upheld in their decision, leading to a poignant farewell by many.
An Ulster University spokesperson, however, clarified their position, citing “unprecedented financial challenges” as the primary driver behind the decision. They emphasized the necessity of focusing resources on core academic activities, explaining that after 50 years of supporting this civic asset, the building itself had reached the end of its operational life, requiring substantial capital investment to continue, a cost they could not bear while still aiming to support regional performing arts in new ways.
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