HAVE you ever wondered how that show you have just watched on stage actually came about? How did something that started off as just an idea develop into a full blown production?

In many cases these shows have been made possible because they have been commissioned.

Matt Eames is Head of Theatres (Contemporary and Commissioning) at The Lowry. Think of his role being akin to one of the Dragons on Dragon’s Den but instead of entrepreneurs pitching their latest business idea, theatre companies and artists put forward their suggestions for a new work.

Messenger Newspapers: Matt Eames (Picture: Phil Tragen)

The Lowry isn’t a producing theatre - it doesn’t have its own casting directors, producers and all the other specialists needed to take something from page to stage.

But the venue has a commitment to supporting the creation of new theatre work and ensuring that the very best and most exciting artists and companies come to Salford and the North West.

“We probably have between five and 15 projects we are involved with at any one time,” said Matt. “We are also always looking further ahead to what the next projects might be.”

The Lowry has a commissioning budget made available every year.

“Obviously money dictates how much we can do,” said Matt. “Some of the bigger projects may need funding over a longer period of time.”

The nature of the productions commissioned can vary enormously reflecting the diverse nature of theatre. Among the more recent commissions was Peak Blinders: The Redemption of Thomas Shelby working with internationally-acclaimed dance company Rambert.

Next week another commission, Drive Your Plow Over the Bones of the Dead, will take to the stage for a week, the work of renowned touring company Complicité.

“Some of the productions are a lot smaller,” said Matt. “They might just happen in our studio and in effect we have provided them with the seed funding to bring them to fruition.

“Commissioning is a way of kick starting a project; without that involvement the chances are that some of them would not happen at all.”

Artists and theatre companies put forward ideas hoping to be commissioned.

“They hit you with a project and If we think our audiences would love that or our audiences should have the opportunity to see it then that’s something we would give consideration to,” said Matt.

Once a production has been commissioned, what level of involvement does The Lowry have in its development?

Messenger Newspapers: Peaky Blinders - The Redemption of Thomas Shelby (Picture: Johan Persson)

“With larger organisations such as Rambert we have built up a level of trust over time,” said Marr. “But there needs to be some oversight without us interfering. With some of the bigger projects we might not be the only commissioner or where we are the only funder our involvement might be relative to our stake.

“In areas where it is acknowledged we have a specialism - we have particular expertise in developing new musicals, in dance and circus - we tend to get our hands dirty on some of those projects.”

When a production finally makes it to the stage, Matt admits that it can be a nervewracking moment.

“We have been personally involved in the making of that show,” he said. “Our reputation may not be on the line in quite the same way as if we were a producing venue but we very much care. We are are very close to a lot of those artists. Their success means our success.

“It is still a nervy experience watching a world premiere commission for the first time.”

Measuring the success of a commissioned piece differs depending on the production.

“A more mainstream show will get seen by more people,” said Matt. “Peaky Blinders for example might be seen in America and the name of The Lowry will go with it. Smaller productions might appear in smaller international festivals around the world.

“Some shows might be quite small but there is an audience which deserves to get to see them.

“Our role is to help and support artists to make and develop better work and make a success of it themselves.”

Perhaps the ultimate example of how a commissioned piece can develop a life of its own is the musical Operation Mincemeat, currently delighting audiences in the West End.

“Operation Mincemeat started out in our studio when SplitLip, the company behind it was called Kill the Beast over 10 years ago. It’s been a period of progression which has ended up in a commercial West End musical that they have made on their own terms. Watching that happen is an absolute delight,” said Matt.