Photograph: Miranda Mazzarella
Repertory Theatre (or rep), is a system that once acted as the back-bone the UK theatre industry: companies of actors who were employed in theatres over long periods to perform in multiple different plays as an ensemble.
Perhaps the most famous example of rep is Laurence Olivier's National Theatre Company, founded in 1962, with an ensemble featuring such acting legends as Maggie Smith, Derek Jacobi, Michael Gambon, and Joan Plowright.
In some towns and cities, like Birmingham and Reading, theatres still bear the name of Rep, though it is becoming an increasingly rare system.
The season has several core aims which include 'internal' industry-side, and 'external' public-facing ambitions.
Firstly, the reintroduction of a traditional weekly repertory theatre model into London's industry. While companies exist who produce work in a more general rep format, there is not currently a company focused on and dedicated to producing weekly rep at a professional standard. This has both internal and external connotations.
The opportunity for actors, designers, technicians, and other artists to work in one of the most creatively intense formats of theatre-making will be enriching, as we cultivate an enthusiastic and talented team, to create members of the community who are well-rounded, efficient and driven. We want to provide an alternative for early-mid career professionals who are struggling to find real-world practice outside of workshops and classes which, although valuable, do not exposure you to audience-facing, in-the-room experience.
For the theatrical and non-theatrical community alike, there is the opportunity to be a part of a new genre of theatre-creation, that has historic roots, and an exciting future. We believe the audience experience can be elevated by a more open and integrated approach; not just watching theatre, but participating in it. Heavy emphasis in the marketing of the season will be placed on the actual creation of the work, with behind the scenes footage, invitations into the room, live-streams, Q+As, etc.
Part of this integration supports another aim: showcasing intimate venues. We want to challenge the existing stigma that the work produced in 'Fringe' or low-capacity venues is artistically less valuable than that created for bigger spaces.
A direct analogy would be the live-music scene, where smaller venues are often sought out for a more intimate, and exclusive experience, and seen as a chance to engage with the artist at a more immediate and human level.
Expanding to a wider conversation: there is a general backlash towards commercial content being produced as a result of (among other things): advancements in AI and similar technologies; increases in small-screen addiction; and the rise of streaming services. The counter-trend is to encourage people to engage with live art, intimate experiences, good storytelling, and work that immerses, provokes, and interrogates.
Producing high-caliber work in this manner gives us a more focused platform for storytelling, and acts as a reminder that the size of the room does not dictate the quality of the art.
Being a part of this company will give creatives a unique theatre-making experience, and an invaluable one. The ability to confidently and successfully create high-quality work under the constraints and pressures of weekly rep will be evidence of a skilful and positive artist. Any actor, designer, or director who has been a Flywheel collaborator will be an asset to the industry.
