Artistic Director Audrey Thayer on DRAYTON ARMS THEATRE

DRAYTON ARMS - Interview with Artistic Director Audrey Thayer

by Heather Jeffery April 2025

INTERVIEW WITH ARTISTIC DIRECTOR AUDREY THAYER

by Heather Jeffery April 2025

Delighted to be chatting with Artistic Director Audrey Thayer at Drayton Arms Theatre this year, as it is where the LPT magazine started its creative journey. Just over ten years ago, I had a four week run of one of my plays here, and the germ of an idea to create a magazine promoting pub theatres was sown. These are the spaces at the heart of the community, individualistic but also places redolent with rich theatrical history.

The Drayton Arms Theatre story begins just after WW2 when it was used as a rehearsal room for many of the actors from the newly formed BBC TV who lived locally. In 1985, The upstairs room at the Drayton Arms was then being used as a rehearsal studio for Webber Douglas Academy of Dramatic Art. Later that year it was converted into a theatre space to give the students their own performing space. It continued with sporadic use until in late 2010 it was decided to get the theatre running again on a more permanent basis. Work was undertaken to upgrade the space and then in April 2011 the theatre licence was granted, and the Drayton Arms Theatre was reopened as a professional fringe venue.

Artistic Director Audrey Thayer has been managing the theatre since 2017. She is also dramaturg, writer, producer and sometimes actress. I caught up with Audrey at a recent open day showcasing upcoming productions which proved particularly helpful to the companies. “Just the ability for companies to be in the space for day, try out some tech, find out where they’re standing, where they’re putting things, it’s all really valuable to them.” It was also an opportunity for theatre companies to meet one another. “Usually, one company goes out in the evening and the next company comes in the following morning. This showcase meant they were able to get to know each other, network and hopefully support one another’s productions.”

With so many small theatres in London, some are struggling for audiences, but this is no obstacle for Audrey who sees the advantages. “Most of us Artistic Directors at pub theatres know each other and we can only benefit from supporting each other; the idea that we’re in competition, I don’t agree with that at all.” It’s more about the catchment area and understanding what people want. For example, Audrey has just announced a “gorgeous French Speaking Festival” as there’s a large French community in South Kensington. Exchange Theatre Productions, in partnership with Le Workshop, are bringing three shows over the course of week: Le Vallon d’Agatha Christie, Notre Racine d'après Jean Racine and Le Roi Se Meurt de Ionesco. This is after another show fully in French, La Poudre Aux Yeux in May (So French Productions), which has already sold out.

Over the last few years Audrey has been doing more producing, and has started her own company Lost Girl Productions. “Even with a building it’s scary; you have to play the long game; you have to wait for those ducks in a row to line up.” So far Audrey has put on the plays of writers who have come to her. “They had a lovely play for me to put on, how could I say no?” You have to hear the last phrase as Audrey says it. Originally from Minnesota, she has a sing-songy voice stretching out certain vowels. With beautiful diction (she’s an actress), it is delightfully distinctive.

The shows that interest her are usually female led, drawn from history or myth. “I love multi-disciplinary work, dance, multi-media, or puppetry; something that brings in other art forms.” Having mentioned puppetry Audrey is adamant that it depends on “who it’s aimed at”. Family shows at the Drayton “just don’t work, it’s a pub at the end of the day.”

About ten years ago statistics noted there were only 17 percent female playwrights, but Audrey is looking very sceptical as times have changed somewhat. “I think it’s a complete myth that female focussed or non-binary work doesn’t sell, it’s very silly.” Since beginning at the Drayton, 46 percent of shows Audrey has programmed are from female led teams, with a further 15 percent from mixed gender teams. “I have no trouble finding work by women and those shows have no trouble selling.”

Of course, some shows don’t sell but that has nothing to do with gender divisions. Experimental work and work from emerging companies can go either way. “That’s what the Sunday/Monday slots are for, you might not draw a crowd, but you get two days, and you can do fairly well with that.” With only £50 to pay per show, these slots are very popular. Over the years Audrey thought she might be able to predict it, but she now believes “it’s down to the will of the company, their understanding of the larger theatre ecology and how important marketing is.” Though one strong indication of a show selling well will always be cast size. “A big cast means way more people to organise, way more people to pay, but your marketing tends to be easy.”

Audrey is delighted that she is now able to take on the occasional co-production - involving Audrey offering more support, advice on the production, on the script and in the rehearsal room, as well as additional support in kind. Previous resident companies include Part of the Main and Little Lion Theatre Company. Audrey has just announced new resident company, ParadigmProductions, which was formed in 2023 and is headed by award-nominated director and writing team Penny Gkritzapi and Giles Fernando. They produced the YouTube series #ModernRomance (which is being developed for the stage for 2026), a rom-com two-hander folk/pop musical Fallen Angel (which had sell-out shows at the Drayton Arms in March) and Mothers’ Day (which sold out its preview run at the Old Red Lion’s FreshFest and is returning to the Drayton Arms for a longer run this June).

One of Audrey’s bugbears is the fact that there aren’t enough next level up theatres. “There are companies who have been with me for many years who produce stellar work which deserves to be seen, and deserves to be supported by the next echelon, but not many of that type of theatre exists.” On the other hand, Audrey agrees that there are so many productions, that it isn’t possible to see everything we want to see. “I feel as though every month I miss a ground breaking show.”

Audrey is adamant that “although there are barriers (let’s be really clear), if you really want to, anyone can put on a play.” It’s something that really excites her about the London scene. “That should be the case everywhere, everyone should be able to make theatre and create art and share it; there’s something so magical about that.”

One of the major themes that we are seeing in theatres at the moment focuses on mental health. “Because everyone has a different story, I think it’s never one that we will be done exploring.” Some people say write what you know but Audrey doesn’t necessarily agree with that idea. “I don’t think you need to write your personal life story; I worry about the safe guarding of people, the mental and emotional rigour of putting up and doing that night after night.” People can get stuck, especially younger writers, so it’s better to write from your experiences rather than it being too personal. “Use it to inspire other things, it doesn’t have to be about you.”

Audrey has encouraged eclectic tastes at Drayton Arms and her major hunting ground is Edinburgh Fringe. “I don’t think many shows benefit from transferring from within London, unless you’ve only done one or two evenings and then you want to do a longer run.” Audrey appreciates that there are issues with Edinburgh fringe, particularly the expense but there are so many other benefits. “The marketing uses very different techniques: It’s kinda like shooting fish in barrel – your audience is there, you just need to get them, whilst in London it’s like fishing, you need to cast your rod and reel them in.”

Visiting Edinburgh Fringe remains one of her absolute favourite times of the year. “I’m in my element, I get to see 7 to 10 shows a day, some of the most inspiring plays.” The biggest value for Audrey is the ability to see the show before booking it into the theatre. “It’s one of the few times that I’m able to see the show beforehand and see that this will definitely work in the space and invite them confidently to come to London.”

Audrey’s door is always open to anyone who is taking work to Edinburgh Fringe and would like to invite her to see it. For current shows please visit Drayton Arms website here.

Audrey Thayer was chatting with Heather Jeffery, Editor of London Pub Theatres Magazine April 2025

THEATRE PROFILE

DRAYTON ARMS THEATRE(@draytonarmsSW5)

above The Drayton Arms

153 Old Brompton Road,

London SW5 0LJ

https://www.thedraytonarmstheatre.co.uk/

OVERVIEW

Housed in a superb Jacobean building, Drayton Arms aims to give you a holistic experience combining your theatre trip with pre or post show dining. As well as top drawer established companies, they foster promising new and emerging companies. You can take a chance on something radical, support up-coming talent or ground yourself in something more traditional.

THE PRODUCTIONS

Drayton favours new work, musicals, and reworked classics with a particular emphasis on showing inventive new companies. There are short runs (Sunday/Monday) which provide a showcase for all kinds of theatre from stand up to experimental theatre. Shows are nightly at 7:30pm with occasional matinees.

LOCATION

Ideal location so you can make a day of it. It's close to the Natural History Museum, the Science Museum and Victoria & Albert Museum. It’s also on the nose for exploring Kensington, Earls Court and Chelsea.

By bus:

C1 and 430 stop outside the pub

By tube:

Gloucester Road (Piccadilly/District/ Circle Lines). South Kensington (Circle, Piccadilly and District Lines). Earls Court (10 minute walk).

By train:

West Brompton (15 minute walk).

VALUE ADDED

For Audiences:

Save off food and drinks when you pre-order with your ticket.

For Theatre Professionals:

For smaller/emerging theatre companies: Hire theatre for just £50 per night on Sunday/Monday with no minimum occupancy surcharge.

THE PUB

Whether you’re supporting your local, or coming in from surrounding areas, or a tourist out to experience ‘traditional British’ you're destined for a fabulous night out in South Kensington. With generous discounts on fresh seasonal food and drink (when ordering your theatre tickets), it’s one of the most stylish pubs in this prestige location. With floor to ceiling windows and imposing Jacobean features, you can enjoy your pint of real ale in one of the cosy corners or outside on the off-street heated terrace.

It’s also a great place for rubbing shoulders with theatre professionals who frequently use the space for meetings or enjoying a drink post show.

DID YOU KNOW …

The Drayton Arms was originally built in 1860 and then rebuilt to its current design in 1891.

Originally a function room, the first theatrical use of the space was just after the war as a rehearsal room for many of the actors from the newly formed BBC TV who lived locally.

In 1985, The upstairs room at the Drayton Arms was then being used as a rehearsal studio for Webber Douglas Academy of Dramatic Art. Hilary Wood had recently been appointed head of acting and at her suggestion it was decided to turn the space into a theatre to give the students their own performance space in central London.

In the autumn of that year the studio was converted into a theatre with the space being designed by Hilary and Newton Jones the technical director of the Academy.

The Drayton Studio - as it was then - continued in use for the next twenty years, with twelve public performances running each year. Many of the students who presented their work here, have gone on to real achievement in Theatre, Film and Television.

The Theatre was used as a rehearsal space on and off for a few years with couple of public performances for charity in 2009.

In late 2010 it was decided to get the theatre running again, on a more permanent basis. Work was undertaken to upgrade the space and then in April 2011 the theatre licence was granted and the Drayton Arms Theatre was reopened as a professional fringe venue.

Audrey Thayer has been managing the theatre since 2017 and is now the Artistic Director. She is also dramaturg, writer, and actress.

ARCHIVE INTERVIEW WITH AUDREY THAYER Artistic Director of Drayton Arms Theatre

By Heather Jeffery December 2022

Much has happened since our last interview with Audrey Thayer in 2019. We are delighted to find out more about the current ethos of Drayton Arms Theatre.

Originally from Minnesota, Audrey Thayer, thinks that theatre in London could afford to be more international. In America funding is state by state, and as Minnesota has some of the highest arts funding in the country, there was a very strong theatrical scene, with The Guthrie Theatre welcoming Ian McKellen (amongst many actors of very high calibre), experimental theatre and amazing children’s theatre. “As I was growing up, we had season tickets and went monthly to see children’s shows” recalls Thayer. Whilst Drayton Arms Theatre doesn’t produce family shows, it has eclectic tastes, which includes around three foreign language or international shows each year. “It’s less than I would like” admits Thayer.

The brewery, Mitchells and Butlers have employed Thayer, since 2016. “Being employed by them and having that safety net means that I don’t have to be as concerned about the more commercial side of theatre,” explains Thayer. Although furloughed during the pandemic, it was still a very scary time. “The Drayton was silent for 16 months” she explains, “a few shows pulled through from pre-pandemic but not terribly many, it was an empty calendar”. Slowly, a few brave companies started taking the plunge to be the first ones back. “Now it’s going well again,” she says but she has noticed that audiences are ‘different’, and the success of shows is less predictable. “We’ve lost that middle ground.” Thayer believes that audiences are now reluctant to take a risk. “If they’re spending money, they just want to know it’s a good show.” She’s also noticed that tastes have changed and that comedy, the lighter stuff, is doing well. “Darker and experimental theatre is not doing as well” she acknowledges. “People are just wanting a laugh today, proper escapism; like post world war, they don’t want to be reminded of all the awful things.”

“I feel that in the last few years my mindset has really shifted” says Thayer. She is not just looking for quality and what people will want to see; she’s grown more interested in the people behind it; those who are hardworking and passionate about what they do. “It’s a much more enjoyable space to have lovely people who care about theatre as much as I do” says Thayer. She still wants to keep the standard high and to be the person who says “yes”. “We’re not here to criticise just for arbitrary reasons,” she affirms, “I want people to have the freedom to create and sometimes that’s more important than the art itself.”

She is still seeking out shows to bring to the venue, mainly at the Vault Festival and Edinburgh Fringe. “It’s the best hunting ground there is (at Edinburgh fringe). The festival has a lot to sort out in terms of accessibility and diversity, but despite all the challenges some of the most exceptional work is still done there” says Thayer, adding “I love going”. As well as the longer runs, the theatre still has its Sunday and Monday affordable slots to give people a chance of putting on work without the financials risks. “It’s cheap and cheerful for a reason” emphasises Thayer, “the work can be weird and wonderful, rough and ready, a work in progress; it allows people to try out work to see if it’s got legs.”

Though Audrey runs the theatre by herself, she acknowledges two groups of people she could not survive without. The first are her pool of freelance technicians, almost all of whom have been with her for over five years, running every get in and keeping the theatre’s tech going. “Without their time and expertise there truly would not be a theatre here, at least not one with working lights”, she says. The second are the staff at the pub, who support her by doing front of house and serve her cups of tea during long meeting days.

As well as many new companies coming to the Drayton in 2023 there are also returning companies. There’s Toby Hampton with his Christmas show (The Grotto showing until 30 December), Tamise En Scene who are back with another production in French, and Kevin Lee who has recently finished his fourth show at the Drayton Arms. One resident company is Little Lion Theatre, headed up by Alice Greening, which has produced three shows in the past year. “She’s one of my technicians who is a producer in her own right … she specialises in Canadian work” explains Thayer..

When asked about her own work as dramaturg, writer and actor, Thayer is still considering an in-house production, however time is not on her side. “It’s tough” she says, “Artistic Director a bit of a misnomer, it’s more like creative programming or creative producing - certainly there’s an art to choosing and shaping the flow of how the work goes but there’s a lot of admin at the end of the day.” Recently, she co-produced TENDERFOOT with 3 Way Tango and is looking to produce a regular scratch night for dramaturgs and producers to meet and mingle.

“I don’t miss acting” says Thayer, “I think it was such a lovely part of my life but there’s such a huge amount of rejection, and having lived life a bit longer, I’m more interested in the security that a steady job brings.” However, she seems a little wistful about it, claiming that she never had a “waifish figure” and that she was always cast as the “elderly lady or a witch”. “I might grow into that when I’m 50 or 60 years old” she grins and then adds as an afterthought: “I do a bit of writing in my spare time.”

As for her work as a dramaturg, she is very clear. “What I don’t love about the theatre scene here, is how plays are made and get to the stage” she asserts, “I would love to see more transparency.” She explains how writers mistakenly send their scripts to theatres, in the hope that their work will be put on, but to no avail. “We’re not a producing house” she acknowledges, “however if people do send a script to me, I’m happy to give some feedback.”

A less conventional aspect of the theatre in the last year involves audience nudity. “Richard Lambert approached me with this idea for his production of Boys in the Buff,” explains Thayer “and we were sold out to the rafters with people begging for tickets”. The theatre had on site monitoring (and towels on seats), with Lambert put in charge of making sure it ran smoothly every night. It's returning 22 July, as a special ‘clothing optional’ performance. Thayer is always open to ideas even if “it’s a bit wild” she’s “willing to hear it”.

Thayer says that she is most touched by “the little things”; she’s not trying to change the world but hopefully just giving creatives the opportunity for full artistic freedom to create something. “I love nothing more than receiving those emails at the end of a run which say, ‘thank you so much, we had such a great experience’”, says Thayer.

“What I love about getting to programme the Drayton shows is the sheer variety, almost every week we see something new that we’ve never seen before,” she says. “Audiences who are brave enough to take a punt on that are so lucky and we can’t wait to welcome them with a pint in hand.”

Audrey Thayer was chatting with Heather Jeffery, Editor of London Pub Theatres Magazine 2022

ARCHIVE INTERVIEW WITH ARTISTIC DIRECTOR AUDREY THAYER 2019

"When you’re the sole person running a venue you’re not just the AD. You’re the producer, marketing manager, general manager, executive director, PR, literary manager, finance manager, box office supervisor and more rolled into one."

LPT: Hello Audrey, we have a lot of catching up to do. You were fairly new in the post the last time we spoke, what have you been most proud of achieving since 2017?

Audrey Thayer: Lots of catching up! It’s so hard to choose just one thing. It’s just been so wonderful to watch the theatre grow from being this hidden gem, to just a gem. When I took over in 2017, I was able to programme 56 productions. That number almost doubled the next year to 93, and then grew again in 2019 to 106, which is pretty much full capacity with shows 7 days a week. Of those productions, 122 have been written by female or non-binary writers, and 38 have been by a team of mixed genders. It has been such a pleasure to watch each and every production shine, but it has been a particular pleasure to be able to present a programme that represents the genders fairly on stage.

LPT: And what have been the major changes over that period?

Audrey: The biggest change has been a shift in focus from these big, polished productions with long runs, to shows with shorter runs that are more rough and ready. Now don’t get me wrong, you can still see a big, polished production here a couple of times a year, but I’m finding that more and more companies are looking for spaces that will house their work when it’s still in the development stage. I’ve had a significant amount of staged readings, workshop performances, and feedback sessions in the last year or so. I think it’s hugely important for companies to play to an audience, so they can see the reaction and what needs to happen to take things to the next level. It’s why I continue to offer the hugely popular Sunday/Monday slots, which give companies a chance to get their piece on their feet without committing to a massive run.

Were there any really embarrassing moments when you were finding your feet which you can laugh about in retrospect?

Oh more than I can count! I think I learn something new with every single production that comes in. I think the most embarrassingly difficult thing for me is keeping all the names, faces, companies and show titles straight. I mean, I’m usually talking to between 20-40 people at once about various productions in various stages of development, all with different dates, prices and people involved. Sometimes I think I need flashcards.

How have the major players at Drayton Arms been making their presence felt?

As I run the Drayton by myself, I’m sorry to say I’m pretty much the head honcho around here. However, I would be absolutely nothing without my incredible technicians, Geert Rigters, Gabriella Coomber, Simon Beyer, and Vanessa Morton, who are in charge of every single get in and make sure the theatre doesn’t fall apart. Then I have the brilliant Andy Hill who built and updates the theatre website for me.

Then I have plenty of people and companies that give their absolute best to the Drayton. Olivia Munk and Jessica Bickel-Barlow run Part of the Main, a theatre company which offers low-cost training courses in lighting, stage management, and more which I happily host. Independent producer Lauren Reed is partnering with me to help pull off the Drayton’s first in house production. And then I’ve got playwright Kevin Lee in for his fourth production with me, 5Go Theatre Co and JLA Productions in with their second shows, Carmina Priapea with their third opera, and a whole load of companies here with me for the first time that I cannot wait to welcome.

As Drayton is a receiving house (and doesn’t produce any of its own shows) you’ve plundered Edinburgh festival for shows to bring back to the venue. Is this still a major source and where else are you finding the shows?

Yes, Edinburgh is definitely my hunting ground for discovering the next wave of companies I would like to support. But there’s been a rise in London festivals that are just as important to keep an eye on – VAULT, Maiden Speech, and Camden Fringe to name a few. I love scratch nights, readings, and getting invitations to runs at other venues. I keep an eye on who’s winning playwriting awards and commissions. And then of course there’s people just sending me their script cold and saying what do you think. All of it is fabulous. So if you’re considering, just send me that invite, send me that script!

What do you think makes the perfect Drayton Arms show?

The beauty of a black box space is it suits just about every production. It can transform to be anything you want it to be. The perfect Drayton Arms show embraces the space, with all of its quirks and nooks and crannies, and uses them to their advantage. The space is so beautiful on its own there is something to be said for creating show that is a classic “fringe show” - stripping things down to the bare bones, keeping things simple and just focusing on the work itself.

The surrounding area of Kensington has quite a large French population and you have established a relationship with them. How has this effected the programming?

It is a joy to be part of such an international area. I have close relationships with a couple French companies (shout out to So French Productions) that do incredible work with us, and whenever I’m lucky enough to have them in the shows sell out like crazy, their community is so supportive. I believe international work deserves a higher place in the UK. I’m doing my best to widen my own net and in the past year or so have had Latinx, Polish, Italian, Canadian, American, Ukrainian, and Russian productions in. I would love so much more international work so if you’re considering it, please just drop me a line!

Am I right in thinking you also have theatre projects yourself? Could you tell us where you’ve been going with your own career path?

I do! I do quite a bit of dramaturgical work with playwrights, as well as some writing myself (when I find the time!). I also serve as a reader for other venues on occasion, and am actually looking to produce the Drayton’s first in house production this year – the funding bid is in, so fingers crossed.

The theatre is particularly known for its engagement with musical theatre. What do you think makes Drayton so suitable for this particular genre?

I absolutely love having musical theatre in. The space works so well for the genre because it’s so deep. It can accommodate bigger casts without the audience feeling like the actors are in their laps. There’s a handy corner for the band to set up and the size of the space is just large enough so acoustics are good, but intimate enough so that you don’t need mics. The perfect balance.

What’s coming up that sums up where you are now?

Coming up I’ve got Virelogne, a reworking of Guy de Maupassant’s classic story, presented by Orange Moon Theatre. Then a couple Latinx pieces by company The Latin Stage, Jeff Page’s new play Charity Case, a double bill of new work produced by Aktualise Theatre, plus the fabulous one-woman show Soapbox Racer. I am particularly excited to be hosting the London Lovecraft Festival, which is in its third year, which will stage pieces of cosmic horror in April. Then later in the summer I’ve got Edinburgh Previews, which is everyone’s opportunity to see the most exciting shows before they head up North.

Is there a particular ambition for this year that is very close to your heart?

I have so many but these three are probably top of the pile

Firstly, achieving the Drayton’s first in house production – which would be a festival with a huge community outreach component would be incredible. I am keen to connect more with the local area and establish the Drayton as a hub for not only creatives, but community groups and forums that could use the space to their advantage. I believe you cannot have theatre without community, and I would love for the space to serve both.

My second goal is to continue to fight for fringe theatres to have a seat at the table. There are often these lofty conversations being had - meetings and forums amongst the heavy weights in theatre regarding community, representation, politics, funding, creative support and development…but fringe theatres are often overlooked. Which is silly! We are on the ground, we are the first entry point for the majority of companies, playwrights and actors. We should be there, we have just as much to offer when it comes to insight into the industry.

And last but certainly not least is representation. I have absolutely no trouble programming when it comes to gender diversity. But when it comes to race and class it is a struggle to get companies and writers from wider backgrounds in the door. While I think a large part of the issue starts with drama schools, but I believe there’s more I can be doing to reach out and support creatives that are currently underrepresented.

What’s the best thing about Drayton Arms that you love to share with audiences?

I love that between our main shows and Sunday/Monday slots, you could visit the Drayton Arms about twice a week through the whole year and see something different every single time. New plays, musicals, Shakespeare, comedy, spoken word, rehearsed readings, operas, burlesque, reworked classics, improv – there is very little I’m afraid of programming. So, if you look at what I’ve got coming up in, say, the next two months, I promise there will be at least one thing that piques your interest!

Archive Interview with Programme Director Audrey Thayer and Executive Director Gene David Kirk

Published 2017

Meeting Audrey Thayer and Gene David Kirk for the first time, they are friendly and polite. We sit together in the pub which is quiet, an ideal place for meetings in salubrious surroundings.

Gene is actively looking for shows to bring to Drayton Arms. He’s been to the Edinburgh festival for fourteen consecutive years and Audrey is joining him this year. Gene also goes to Brighton and is keeping an eye on Camden fringe, he says his “presence at festivals is essential”. They are slowly letting people know they are here.

They have just installed new raked seating with improved sight lines, it’s a brand-new sparkly room, with comfort for the audience, upgraded technical equipment, and full blacks. It is a more flexible studio theatre now they have created a studio box, with a back-stage area. The theatre is moving into its next phase.

Management here at Drayton has a different structure to most pub theatres. The previous pub manager, Leigh Phillips, re-opened the theatre in 2009 and was instrumental in getting it to where it is today. Miles Partridge has been manager since February 2017. Audrey is the single full time member of staff to run the theatre and entertainment in the pub. She is a dramaturg, writer, and actress who recently moved to England to become part of the “incredible theatre scene here in London”.

Gene is overseer and mentor to Audrey and Miles. He knows about theatre law and contracts. He’s available to help when tricky decisions have to be made, perhaps a conflict of interest in programming where two plays are coming up against each other. He’s trusted to make that decision. They also have a freelance technical Manager, Andy Hill, who has been an absolute God send for the theatre going way beyond his role in volunteering practical help.

Audrey was an intern at Theatre 503 which she found invaluable. “What didn’t I Iearn? It was a crash course in how a small pub theatre is built with a team of 3 paid full-time staff and 3 paid part-time.” Gene cuts in, “Bizarrely I ran it. It used to be the Latchmere, I took it over when it became 503; set up a charitable trust with a board of trustees, took on Tim and Paul as joint artistic and general managers and then I moved to Programming Director once I’d got everything set up and I did a further 5 years there.”

Gene comes across as erudite, and this knowledge he is generously sharing, giving something back after having had a long and successful career in theatre. He was also AD of Jermyn Street Theatre, and is guest director of Above The Stag.

Having worked with Drayton since 2014 his expertise is used to help incoming companies especially new companies who know a little less about putting on a show. There are no in-house shows planned at Drayton at the present time. However, Gene has had some in the past: a play written by himself, another he directed for a four-week run, and he has also directed three Sunday/Monday slots of new writing in development.

Audrey hasn’t inserted herself artistically (yet), she’s more interested in getting her “feet under solid programming, building a wider base.” She handles day to day, admin and communication. She makes sure everyone is comfortable coming in, and she has a hand in choosing shows. Whilst Audrey’s pleasing all-American accent, gives away her origins, she has a very broad base; she has known people “all over, and seen shows all over the world”. She has also been free-lance producer in the past and at 503.

Drayton Arms is situated in a very French part of London and this is reflected in French classics and contemporary work being shown here. There’s always something for Bastille festival. This year the Misanthrope is being done in rep, performances alternate in English and French.

There is also a strong interest in all kinds of musical theatre here. “It’s important in classical theatre, the history of Greek theatre is heavily musically based” Gene explains. “Musicals come more from Passion plays; music played a part in communicative plays, because no-one read - it was an aural and musical tradition”.

Audrey says she’s “open to all work” but they are designating themselves as a “place in the fringe for new musicals, operas and classics”. They are looking for three to four week runs, “works to foster: Intimate spaces can take on a whole new form, when forced to strip it down to the bare bones, so we love to have that”. They also have one week and Sunday/Monday slots where they can be “far more flexible - we want this to be a place where people can try out new things including readings and stand-up comedy”. They even had a magician recently.

Essentially, they are giving people an opportunity, according to Gene “there’s nothing comparable, companies are given permission to fail so they can take bigger risks”. They are very keen on bigger shows and developing new companies, “not necessarily young people but new companies, if someone wants to set up a new company and have a go at this game we’re in, we’ll do as much as we can to help.”

As the theatre is owned by the brewery, they are tied closely together. The theatre space is also used as an asset for the building and pub. Sometimes people run lectures or meetings, local people use it 3 or 4 times during the week.

One of the advantages to that, is the discounts on food and drink when you book your tickets. Gene asserts that “it should be a whole event when you go to the theatre, there’s this harmony between post theatre and pre-theatre dining, the experience should start at the door when the audience member comes in”. In the UK it’s very much a social activity, it’s part of our culture.

At Drayton the model is a financial one, which benefits everyone. There is a close connection between the bar and the theatre. Audrey worked behind the bar for a year and half. She knows the offices and the cellar, and if you need a keg changing … she is the renaissance woman of pub theatres.

Another innovation at Drayton Arms are the brand new ‘Eddies’ awards. The first company to benefit was Fat Rascal with Buzz The Musical. They had a successful three week run here before taking it to Brighton and they are coming back. “We’re extending the lead in time before shows go on in the fall” says Audrey. “It will be a longer time for marketing, a longer time for getting things in place before coming.” She is currently applying to get funding from their parent company. It’s likely to bring in an influx of new customers to see these award-winning shows.

It’s something they are particularly proud to host along with their current programme which includes contemporary theatre, a classic, and a musical. They’ve just had their very first panto. “We’re doing it again this year, adult, bawdier (it’s the same company that did Buzz)” says Gene.

Gene is very proud of Drayton after being part of the development process. When he came in “literally the walls were falling down, bad seating, bad site lines, no tech and now it’s this lovely 51 seater in a beautiful setting”. That chimes with the amount of people now knowing they are here and applying to bring shows. They are getting so many request for their Sunday/Monday development slots which are such good value. “There’s very little risk trying stuff out here. We have middle aged, middle class audiences and we’re also getting a much younger audience whilst keeping our traditional supporters. It’s funky and serious”. Gene gives one of his rare smiles, “It was like the Marie-Celeste, now its acorn and oak”. He has his sights set high as he adds, “Finborough is the mighty Oak”.

It’s an incredible theatre space for polished high quality productions with more money. At the same time they “want to be seen to be taking some risks”. Gene is mindful of the arguments surrounding equity. He is adamant companies must pay their artists. At the same time, he appreciates some newer companies are working collaboratively as a profit-share. He applauds them taking that level of risk. Audrey and Gene would love to be considered “a hub, a work space, an open door, have anyone come in and pitch anything and be listened to”. With Gene and Audrey at the helm it seems this theatre is on the cusp of achieving their ambitions.

Audrey Thayer and Gene David Kirk were chatting with Heather Jeffery, Editor of London Pub Theatres Magazine

@June 2017 London Pub Theatres Magazine Ltd

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