“All you need for theatre,” Peter Brook wrote in The Empty Space, “is someone crossing an empty space while someone else watches.” That simple, profound idea sits at the heart of the Orange Tree Theatre in Richmond. Making theatre in-the-round, as they do, the magic isn’t in elaborate sets or effects but in how the use of space, the imagination of the actors and the structure of text combine to invite the audience to fantasise, dream, and collaborate in creating the world of the play.
As a part of our new series of blogs, we want to share some thoughts, feelings and reflections on our recent and ongoing cultural experiences. A few weeks back, we were invited by our friends Harriet and Rob to spend an evening at the Orange Tree, where they act as founders of its vibrant patron programme. Watching the work produced there and having a glimpse behind the scenes, we were reminded of its unique brilliance as a venue. Artistic Director Tom Littler hosted pre- and post-show events, bringing together a group of supporters, patrons, and creatives as a celebration of theatre’s power to connect and transform.
The play we saw, Rajiv Joseph’s Guards at the Taj, exemplified the Orange Tree’s ethos. Directed by JMK Award winner Adam Karim, it’s a two-hander about two lowly guards stationed outside the Taj Mahal on the night before its glorious unveiling. For ninety minutes, actors Usaamah Ibraheem Hussain and Maanuv Thiara held the audience enthralled in their characters’ world of split loyalties, ambition, aesthetic awe and moral reckoning.
With no elaborate set to rely on, the production leaned on the physicality of the performances and clever, minimalist design by Roisin Jenner. The space became everything it needed to be—a grand courtyard, a prison cell, and even the dazzling wonder of the Taj itself—all through lighting, sound, and our collective imagination.
Before the performance, we joined a conversation with Diane Page, a recent JMK Award winner. She spoke candidly about her journey as a director, from picking the right script to collaborating with designers to realize her vision. The JMK Award, hosted in recent years by the Orange Tree, is unique in that regard, in that it fosters direct relationships between a director and a designer. They apply for the Award together, and it is their collective vision which must win out in the end. Her insights were practical, inspiring, and grounded in the challenges of making theatre today.
After the show, Tom Littler led a Q&A with the cast and the designer, Jenner. Hearing how they approached the play’s unique challenges was fascinating. Two-character plays are, we’ve found over the years, deceptively simple. The balance between intimacy and narrative momentum is tough to strike, and while the production excelled, there were moments where the story leaned too heavily on exposition. Perhaps an unseen character or offstage presence could have smoothed those transitions.
But these are small critiques of a production that shone with clarity and purpose. The real triumph was how it made use of the immediacy of the in-the-round setup, the Orange Tree’s defining strength. You’re never more than a few feet away from the performers, and that closeness pulls you into the story in a way few venues can replicate.
What stood out as much as the play itself was the community surrounding the Orange Tree. Long-time supporters like Harriet and Rob, who have helped sustain the theatre through thick and thin, are vital to its survival. Their dedication is especially poignant given the challenges the theatre has faced, including the loss of Arts Council funding a few years ago.
And yet, the Orange Tree has adapted. Initiatives like the OT Under 30 scheme — where young audiences can see a show and enjoy a drink for £15 — are brilliant steps toward fostering the next generation of theatre lovers from around London and beyond. It’s the kind of innovative thinking that keeps the venue relevant and accessible, even in tough times.
That night wasn’t just about the play; it was a reminder of why theatre matters. At its best, theatre isn’t only entertainment. It’s a communal act of creation, a shared leap of faith where audiences and performers meet in an empty space to imagine something greater.
The Orange Tree exemplifies that spirit. It’s small but ambitious, rooted in craft but never afraid to take risks. If you’ve never been, we can’t recommend it enough. Guards at the Taj has finished now, but they are currently showing their new production of Twelfth Night. Go for a show, join an OT Under 30 Night, or even become a patron. However you choose to engage, you’ll be supporting a space that keeps the heart of theatre alive: a place where even an empty space can hold infinite possibilities.
05.12.24
Comments