Theatre chaplains are appointed by the Actors’ Church Union, which was founded in 1899. Its chaplains have, therefore, been a recognised part of theatre life for more than a century!

In its early days, the ACU’s founders had to persevere against opposition from those in the Church who then regarded the theatre as a disreputable occupation. Today this work is seen as an important and valuable part of the Church’s overall ministry, with the chaplains also recognised as part of the fellowship of all those engaged in the performing arts. From modest beginnings, an extensive ministry has now been established. A network of chaplains extends to include not only every theatre in the country, but also film and television studios, dance and drama schools and even to some theatres abroad.

The main thrust of the chaplains’ ministry is pastoral, rooted in the church’s concern for the welfare of all members of the profession, especially when they are away from home and at their most vulnerable. Countless close friendships are made as the chaplains welcome the individual and company to "their" theatre or studio - friendships that deepen with return visits. What might be most needed and offered is a basic practical service such as local information - the ACU’s "digs list" was for decades a lifeline for those on tour - or details of the ACU’s Children’s Charity with its educational objectives. Whatever form it takes, the chaplain values the privilege of this pastoral ministry, frequently sharing problems and aspirations and being sensitive to opportunities and responsibilities it brings.

Another aspect of each chaplain's work is to feed back into the ACU insights gained into the issues affecting theatre, film and television and those engaged in them. Through its extensive network, the ACU is provided with a valuable national picture of the performing arts and can, where appropriate, take action at a national or local level. In recent years such areas of concern and action have included the Broadcasting Act and cross-media ownership, arts funding, grants for students of dance and drama, employment issues and censorship. In this aspect of its work, the ACU is well supported by individuals and other organisations in the profession with valuable insights and expertise to offer and, where possible, collaborates with other organisations serving the profession.

It is important to recognise that the chaplains are not in themselves the ACU. Rather, they constitute a service provided by the members who, for the most part are professionally engaged in the performing arts. Throughout the year, there are numerous opportunities for members and chaplains to meet together for worship, for conferences, for mutual support or, quite simply, to enjoy themselves. Two highlights of the year are the AGM in early summer and the Patronal Festival in November. The former takes place in a theatrical venue and includes a stimulating lecture by a prominent member of the profession. The latter, with its Festival Eucharist in St Paul's Church, Covent Garden, (the "Actors' Church") is also popular for its reception and entertainment. Each year - with the Catholic Stage Guild - the ACU also hosts a Carol Service and reception. In addition to these events in London, other occasions are organised from time to time throughout the country.

The ACU has spotlights, then, on these three main areas of concern: the pastoral, the engaging - as it "engages" with the structures of society governing the performing arts - and the enabling. The spotlights overlap, reminding us that all three elements must always be present in the work.

The ACU is not primarily for those "enrolled" as members or chaplains. This is not an exclusive club but a co-operative that exists , like the Church itself, for the benefit of members and non-members alike. Conscious of this, many members of the profession, with no church affiliation, and others with no professional links with the performing arts, join the ACU to further its work — a work of caring, of encouraging and, at times, of challenging proposals affecting the profession. In all of this, it seeks to serve both the individual and the structures that affect a crucially important sphere of human endeavour.

For further information contact Bill Hall,