For nearly two decades, Poetry in Action (PIA) has been quietly revolutionising how young Australians experience poetry. Through dynamic, live performances and interactive workshops, the non-profit theatre company has reimagined poetry as something vibrant and essential – especially for students in regional and outback Australia. But despite its clear, consistent educational impact, the organisation has also faced a consistent difficulty finding adequate funding and government support.
Founded in 2006 by Hazem Shammas and Bryce Youngman, Poetry in Action has grown from a modest touring troupe into one of Australia’s most respected educational theatre companies. Performing in schools from Australia to New Zealand to Dubai, their mission is simple yet profound – unlock the power of language for all students, no matter where they live.
Yet the path to delivering that mission has been anything but easy.
While metropolitan schools benefit from a steady stream of cultural programming, regional communities are frequently left behind, with many students never having seen a live theatrical performance. Recognising this disparity, PIA launched the Play it Forward campaign – a philanthropic initiative that allows more affluent schools and donors to subsidise the cost of regional touring and ensure proper coverage of those remote areas.
“In many cases, we will be the only live professional performance that regionally based young people will see in any given year,” says Bryce Youngman, current CEO and Artistic Director of Poetry in Action. “If they’re only going to see it once, we’ve got to make it as excellent as we can.”
While the response to Play it Forward has been positive, the reality is that government and private funding has not kept pace with demand. With rising travel expenses, minimal financial support, and strict booking minimums often unattainable in smaller communities, PIA is increasingly forced to make tough decisions about where they can afford to go.
Last year, Poetry in Action received a much-needed boost in the form of one-time funding from Arts Minister Tony Burke – a gesture that Youngman describes as a lifeline for which they are ‘eternally grateful’. However, he warns that this kind of ad hoc assistance, while invaluable, cannot replace consistent funding.
“Planning future tours in regional areas is only possible when you have the certainty of funding,” Mr Youngman said.
Initiatives like Play it Forward award PIA with some much-needed confidence to continue reaching the regional communities that benefit from them the most, but they do not award the long-term financial stability that PIA needs.
Teachers and students consistently praise PIA’s performances not only for their entertainment value but also for their measurable impact on literacy, communication, and critical thinking skills.
‘Poetry is just basic literature but through a different perspective, poetry is a way to express feelings and tell a story. The Year 8 poetry performance captivated its audience through powerful storytelling discovering themes, imagery, rhyme and rhythm and made learning poetry fun,’ wrote Juvaria, a Year 8 student from Cairns.
PIA’s curriculum-aligned programs and comprehensive Teacher Packs they provide to schools make them an invaluable classroom resource. Still, that success hasn’t translated into meaningful financial backing.
For students in remote areas, Poetry in Action is often more than just a fun school event – it is a lifeline to the broader world.
“In many cases, we will be the only live professional performance that regionally based young people will see in any given year,” Mr Youngman said.
“We performed for a school hundreds of kilometres from the nearest city,” explains Erica Lovell, Executive Director, Operations and Arts in Education at Poetry in Action. “The kids there were so immersed in the story, they were cheering, imagining themselves on the same journey as the characters. It’s moments like these that highlight the profound impact our work has on regional students who rarely get such opportunities.”
The benefits extend to the artists as well. Touring to remote areas challenges performers to adapt their craft and develop their skills to enrich not only their own practice but also the performances they bring to increasingly diverse audiences. This highlights PIA’s status as an invaluable professional development resource for young creatives.
Beyond its impact on students, Poetry in Action also serves as a vital professional development pathway for emerging artists—helping them refine their craft, build industry. Many PIA alumni go on to successful careers in theatre, education, and the creative industries. Maddison Burridge, now cast in Pride and Prejudice with Queensland Theatre in 2025, describes the experience as “a bootcamp of skill-building that sharpened my voice, body, and mind for every role that followed.”
Poetry in Action’s ongoing struggle is emblematic of a wider issue: Australia’s cultural funding often fails to reach the regions, despite ongoing rhetoric about inclusion and access.
As demand for PIA’s programs grows, community support and private funding are essential to ensure that all young people, regardless of background, can access these transformative experiences.
As Poetry in Action looks ahead to its 2025 program, the need for reliable funding remains urgent. “When we stand behind the next generation, we’re not just investing in young people, we’re investing in empathy, expression, and a more articulate future,” says Dee Rennie, Head of Impact and Engagement at Poetry in Action. “With support from donors, partners and government, we can continue to break down barriers and offer powerful creative experiences where they’re needed most.”
For more information or to support the Play it Forward campaign, visit www.poetryinaction.com.au or contact the Head of Impact and Engagement, Dee Rennie at dee@poetryinaction.com.au.
