On a chilly spring evening in Horden, a former pit village on the east coast of County Durham, Ian McKellen stood in the converted Our Lady, Star of the Sea Catholic church and admitted to feeling deeply moved. The venue, now known as the Playhouse, is home to Ensemble 84, a professional theatre company that has become the only such ensemble in the United Kingdom to offer actors long-term contracts and a true repertory experience. “This represents the only company of actors in the United Kingdom and it’s in … Horden?” McKellen said, his voice thick with emotion. “I’m feeling very emotional. This fulfils all my romantic dreams I’ve had ever since I discovered the joys of theatre-going and acting.”
The opening of the Playhouse marked a significant milestone for Ensemble 84, a company formed just 18 months earlier. McKellen, one of Britain’s most celebrated actors, formally inaugurated the space, cutting the red ribbon in a ceremony that celebrated both the rebirth of a historic building and the revival of a traditional theatre model. The company, with a core cast of 15 performers, has already staged its third production and is preparing to present Shakespeare’s Hamlet, using the First Quarto text.
McKellen’s visit was not just a ceremonial gesture. He used the occasion to voice a long-standing concern about the state of professional theatre in Britain. “It is shameful,” he said, “that actors can no longer join a professional repertory company to learn their trade, as I and others had the privilege to do.” He pointed to the National Theatre and the Royal Shakespeare Company, both of which, he argued, no longer function as true companies with long-term contracts for actors. “The National Theatre makes its own sets, has a wig department, a makeup department, a property department—all on salary. But they don’t employ actors full-time. They’re hired helps. That’s not right,” McKellen said, invoking the legacy of Laurence Olivier and Henry Irving, who ran their companies in a spirit of collaboration and long-term commitment.
Ensemble 84 stands in stark contrast to this model. Founded by theatre director Mark Dornford-May, who previously co-founded the internationally acclaimed Isango Ensemble in Cape Town, South Africa, the company offers actors the stability and camaraderie of a true repertory. “We are now probably the biggest employer in Horden since the National Coal Board closed,” Dornford-May said. “Isn’t that extraordinary? A theatre company replaces the NCB in terms of employment opportunities.”
Horden, a village often associated with economic decline and social challenges, has found unexpected hope in this artistic endeavor. Dornford-May described the community’s spirit as resilient, echoing the solidarity of the miners’ strike era. “There has been so little hope here, and we are offering hope,” he said. “The heart that this community had during the miners’ strike is still there. It’s had a couple of palpitations, but if you look for it, you’ll still find it.”
The impact of Ensemble 84 extends beyond employment. Willow Pearson, a member of the company, gave up studying biochemistry to join the ensemble, reflecting the transformative power of theatre. “The concept of a theatre company in Horden is fantastic,” she said. “Why shouldn’t there be one?” Similarly, Wendy Hindmarch, who previously worked as a civil servant, found new purpose in acting. “I didn’t really expect to get in, and then I did,” she said. “It’s changed my life. I love this job more than anything.”
During the opening ceremony, McKellen entertained the audience with anecdotes from his illustrious career, performing “All the world’s a stage” from As You Like It. He also watched, captivated, as Ensemble 84 actors performed scenes from their upcoming production of Hamlet. McKellen joked that if he had lived in Horden, he too would have auditioned. “I might even have got a call-back,” Dornford-May added with a smile.
The Playhouse, with its soaring ceilings and historic architecture, now stands as a beacon of cultural renewal in a community that has long struggled with economic hardship. It is a testament to the power of theatre not only as an art form but as a catalyst for change, offering both employment and a sense of belonging to those who call Horden home.
Why This Matters: A Model for the Future of Theatre
McKellen’s visit to Horden underscores a broader conversation about the future of professional theatre in Britain. The traditional repertory model, once the cornerstone of actor training and artistic development, has largely disappeared. Ensemble 84 represents a rare exception, proving that such a model can thrive even in the most unexpected places. Its success challenges the notion that repertory theatre is a relic of the past and offers a blueprint for how theatre companies can nurture talent and strengthen communities.
For actors like Pearson and Hindmarch, the opportunity to work as part of a true company is life-changing. It provides stability, creative growth, and a sense of purpose that is often elusive in the precarious world of freelance performance. The company’s next production, Hamlet, promises to further establish Ensemble 84 as a force to be reckoned with in the British theatre scene.
A New Chapter for Horden
Ensemble 84’s impact on Horden cannot be overstated. The village, once defined by its numbered streets and economic struggles, is now home to what Dornford-May describes as “the biggest employer since the National Coal Board closed.” This artistic revival is not just about jobs; it is about restoring pride and hope to a community that has known too much hardship.
The Playhouse’s opening ceremony was a celebration of what theatre can achieve when it is rooted in a sense of place and purpose. McKellen’s emotional response was a reminder of the enduring magic of live performance and the vital role it plays in our cultural life. As Ensemble 84 prepares to take the stage with Hamlet, this is just the beginning of a new chapter for both the company and the village of Horden.
For updates on Ensemble 84’s productions and future projects, visit their official website or follow their social media channels. The company’s journey is a testament to the power of art to transform lives and communities, proving that even in the most challenging circumstances, creativity can flourish.
What do you think about the revival of repertory theatre in unexpected places? Share your thoughts and experiences in the comments below.
