Out & About June 2017

approach to finding new ways of making work that features music. “And we continue to build on our outreach work, reaching new areas of the local community and engaging with as many people as we can.” The Watermill’s loyal audience might want ‘more of the same’, but it’s important for theatres to move on, innovate and experiment. “I think the audiences here are really up for new ideas and experiments, but we also love to produce shows that bring families into the theatre. “I think the most important thing we can be doing is to be bringing new audiences in to ensure the long-term sustainability of the theatre, while continuing to produce work that really engages all generations. “That’s partly why I’m so passionate about the Christmas show here and we’re really excited about presenting the world of The Borrowers in a theatre where it feels like you’re entering under the floorboards. “I love the variety of work we present at The Watermill from new plays, Shakespeare, musicals, revivals and community work. There really is something for everyone here.” Paul has the enviable bonus of living on site. “It’s amazing. There couldn’t be a more beautiful setting to work and live.” But he’s not yet encountered the Watermill ghost, reputed to be a little girl in an old- fashioned pinafore. “I’ve only heard the rumours. However, our outreach director Heidi Bird is writing a play about the ghost, which will be performed at the theatre by more than 100 children from six West Berkshire Primary Schools in July, so

“We then go back to the first-ever play produced here 50 years ago, Dylan Thomas’ Under Milk Wood , before staging our Christmas spectacular, The Borrowers , which promises to be an action-packed adventure for all the family.” What has contributed to The Watermill’s enduring appeal over 50 years when other theatrical ventures have foundered? “The quality of the work is, of course, central,” Paul says. “And our fiercely loyal audience have responded with an incredible sense of ownership and love for the building. “Plus the support of trusts, foundations, the arts council and individuals that allow us to keep doing what we’re doing. And taking risks and finding new audiences.” In the 60s, David Gollins had the vision to create one of the smallest and most beautiful theatres in the old mill, then in 1981 Jill Fraser and her husband James Sargent bought The Watermill. She was a hard act to follow, leading its development from a local rep to an award- winning year-round producing theatre. It was down to her foresight and encouragement that the young director Ed Hall was given a free hand in the evolution of the hugely-innovative Propeller company. In 2008, thanks to a three-year £3m appeal, the trustees were able to buy the theatre, a year after Hedda Beeby was appointed artistic director, and she steered the theatre through the void left by Jill’s untimely death. Now Paul Hart is the custodian of the legacy, so what is his vision for the future? “I want to embed a range and variety of work. We have a long history of producing innovative Shakespeare plays and I feel there’s an opportunity to build a reputation for a new, exciting form of Shakespeare. “Actor musicianship is at an exciting juncture where we’re able to lead an innovative

we’ll meet properly then.” The Watermill Theatre, Bagnor, Newbury RG20 8AE Box office: 01635 46044 www.watermill.org.uk

Artistic director Paul Har t

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