Bell Shakespeare has seen its fair share of heartache and natural shocks in the 35 years since it began. Though it has faced significant struggles, it is safe to say that it is now a fixture in the Australian arts sector, and by examining its past, we can see how these struggles have not only made their success all the more glorious but are also the reason they are in this position today.
The first of these successes is the level of financial security the company has created. Through their struggles, and with philanthropy as part of their DNA from the beginning, Bell Shakespeare now has an impressive base of supporters who demonstrate extraordinary loyalty, the likes of which is rare in the Australian arts scene.
One of the ways they have achieved this is through a suite of programs that not only encourage support, but provide the company with enrichment, friendship and opportunities to increase access to the works of Shakespeare.
This includes programs like the Artistic Director’s Circle, where the company’s biggest supporters are invited into the creative process behind a production. This is mutually beneficial, providing exclusive creative insights in exchange for significant contributions to the company.
Other programs, like Hearts in a Row, where supporters purchase tickets that can be gifted to people who might not otherwise be able to afford to see a production, are also extremely significant, providing access to Shakespeare performed live for a wider audience.
And of course, education remains central to Bell Shakespeare’s mission and is one of their most impactful activities. This is achieved through programs such as The Players, National Teacher Mentorship, and the John Bell Scholarship.
When considering the impact of Bell Shakespeare and why supporters are proud to be part of it, the consensus is this: what John Bell and the company have created is a thriving arts organisation that has made a significant positive impact on the lives of those involved. Whether through the education programs, the community they’ve created, or their use of Shakespeare’s work to provide insights into the world we live in today, Bell Shakespeare’s impact cannot be denied and is best expressed in the voice of those closest to them.
Virginia Henderson’s comment here is particularly profound when we consider Bell Shakespeare and what it has achieved. Quoting Margaret Mead, she says, “Never doubt that a small group of thoughtful, committed citizens can change the world." For a company that has always worked on limited resources, they have achieved so much. Their impact is wide-reaching and tangible, and the work they have done to make themselves a fixture in the Australian arts sector means this will only continue to grow.
“O brave new world, with such people in it”
(The Tempest, Act 5 Scene 1)
Here, Miranda is expressing wonder, awe and delight at the appearance of new people and the prospect of knowing them. This expression encapsulates the mission of Bell Shakespeare, capturing the essence of what they are aiming to do by continuing to promote this historic work in modern-day Australia. Understanding Shakespeare’s work is about understanding people; the good, the bad and the ugly of the human condition. When we approach his work with Miranda’s lens, we can explore the human condition with curiosity and empathy to learn about ourselves, those around us and our culture.
Bell Shakespeare has been doing this for 35 years now and shows no sign of stopping anytime soon. By continuing to stay true to their DNA, they will keep making Shakespeare accessible to everyone, everywhere, inviting in all the voices that make up contemporary Australia along the way.
A thousand natural shocks was written by Beatrice Waller, a Master of Museum and Heritage Studies student, who explored the history of Bell Shakespeare through oral histories in 2025 as a part of her degree. Oral history refers to the process of recording history in the voice of those who witnessed it and consists of conversational interviews recorded in audio format. Most of the interviews included in this publication were recorded by Beatrice, excluding Tim Cox, who was interviewed by Master of Museum and Heritage Studies student Andy Muir in 2021.
This project was completed in collaboration with the University of Sydney, a partner of Bell Shakespeare.