“Independent theatre is where the spark is”: Meet the veteran director behind Kirribilli’s Ensemble Theatre

The word "institution" is often overused when it comes to describing long-running local establishments, but in the case of Kirribilli’s harbourside Ensemble Theatre, the word is apt.

Just a short Jacaranda-lined walk away from the Harbour Bridge and Kirribilli House, Ensemble is Australia’s longest continuously running professional theatre group and is credited with introducing Stanislavsky-influenced method acting to the country. 

The company is currently showing the absurdist plays The Lover and The Dumb Waiter, both by British playwright Harold Pinter and set in the 1960s and directed by Ensemble’s Artistic Director, Mark Kilmurry.

The North Shore Lorikeet spoke to Kilmurry, who is also a Cremorne Point local, on a chilled Wednesday morning. “You see the beauty of what it was at the time and how progressive it was,” Kilmurry said of recreating Pinter’s works. 

“The effect is almost like a digital remastering of an old classic.”

North Shore Lorikeet: Tell us a bit about your background and how you came to be involved with Ensemble Theatre.

Mark Kilmurry: I started as an actor at the Ensemble in 2002  in a play called Japes by Simon Gray. Sandra Bates was the Artistic Director at the time, and my audition consisted of “Oh, hello, you’re Mark - yes, you’ll do.” And I was in. 

So I did that play and it was a success. Then I acted in a few other plays and finally, in 2005, Sandra offered me the Associate Director role. A few years went by and I said to Sandra: “am I staying?” and she said “oh, yes, you’re staying. You’re probably taking over.” And in 2016 I became the sole Artistic Director.

How long has the Ensemble theatre been around?

It started in 1958 in an old boat shed. It moved to the present location in 1960, and Hayes Gordon was the first Artistic Director. He came from New York sort of fleeing the McCarthy trials in America at the time and wanted to form an ensemble of actors. “Ensemble” as in, no one’s the star, there are no leads, and everybody pitches in. It grew from there, with Sandra taking over in 1986, and I took over in 2016. There have only been three artistic directors in 66 years - that’s pretty amazing.

Has it stayed true to the original Ensemble ethos?

It does. Notice we never say “starring” on posters and flyers, it’s always “with”. So it’s an ensemble no matter who’s in it, who might be really well known, or who’s just emerging: everyone’s in the same place. It’s a nice philosophy. And it’s a great, friendly place to work, too. That’s what I loved when I got there myself and that’s what we hope to continue.

In what ways has the theatre changed over the years?

Each director brings their own change. When Sandra was there it was a booming time in the 80s and 90s of people going out to the theatre. When I took over I wanted to commission new Australian plays because this was lacking in lots of spaces. We did do Australian work but not necessarily new. Myself and Loretta Busby – who is the Executive Producer – formed the Commissioner’s Circle, which allows people to put money into a pot for writers. Over the years we’ve commissioned many new original Australian plays.

My thing is to make it a creative hub of excellence. That’s what I hope we do with each production.

What role does the theatre play in our community?

Variety is the key: bringing in different directors, creatives, actors. The theatre experience isn’t necessarily just the play, it’s also how you feel when you go in and get your ticket from the box office or eat at the restaurant - at Bayly’s. The whole thing is important.

Post-Covid, are people coming back out, dressing up, making a night of it?

They are now. Covid was shocking for everybody. There’s still an upward hill, and I think a lot of that is the digital age we live in. But it is growing, and our subscribers are coming back. You can feel it: there’s an enthusiasm now again to go out and watch. The challenge is that people tend to be picking plays they know, rather than taking a risk on a newer work. That conversion still needs to happen.

Why do you think people should come out to the theatre, instead of staying home?

As somebody who loves staying home, you can’t beat that live experience. It’s the sharing - you’re all laughing at the same thing, or you’re moved by the same thing. I think that community feel is in our DNA. I still get that shiver when those lights go down and the stage lights go up. As human beings, we may not like everybody we meet, but we like to communicate. 

Speaking of communication - what drew you to Harold Pinter?

I love Harold Pinter. As an actor I was in The Dumb Waiter, many years ago, and I have also directed The Lover before. Pinter says it all about how we speak even though he’s accused of being absurdist. His characters actually talk more like we talk in real life. Nobody talks like characters do in movies and books. It’s all interjections, you go around in circles - Pinter does that. 

Do you think the arts sector here needs more support?

Well, an arts policy would be great. It’s a very narrow stream, lots of people going for the same money. We don’t have ongoing funding, so we rely wholly on box office sales. Philanthropy - like the Commissioners Circle - is always wonderful. But there’s not enough people doing that.

Without support for independent theatres, actors - like the Hugh Jackmans - don’t get their start. Without those grassroots, where do you learn your craft?

What do you think of the arts scene across the North Shore?

I think the thing is we have to keep constantly going across the bridge. There’s still that east-north-south-west divide, the perception that the north isn’t doing as well creatively. But - of course I’m biased - Ensemble is up there with everything. 

What’s next?

I’m directing Rhinestone Rex, a David Williamson play to take to QTC (Queensland Theatre Company). After that I have a break then I go into Emerald City, another David Williamson - I think I’m having a David Williamson year. At the end of the year it’ll be Dial M for Murder, a great Hitchcock classic.

You can find out more about Ensemble here. The Lover and The Dumb Waiter run until 7th June.

Image credit: Prudence Upton