10 July 2007
Hill for the Traverse
The Traverse have appointed Dominic Hill (pictured, front-centre) as their new artistic director to replace Philip Howard who has been at the helm since the mid-1990s. Hill has been acclaimed co-director of the Dundee Rep since 2003, and before that worked at the RSC, the Orange Tree and Perth. He is a well-respected figure in Scottish theatre and his directorship of the Dundee Rep has been one of the great success stories of the decade, including a smash success with Howard Barker’s Scenes from an Execution, a filthy and geriatric production of Ubu the King that went to the Barbican in London, and critical and public acclaim for a string of Shakespeares. The Traverse has perhaps drifted of late, its pre-eminent position in Scottish theatre wrongfooted by the introduction of the National Theatre of Scotland, and Dominic Hill’s appointment is a good opportunity to refine its mission and revive its energy. Being well-known and well-liked in the Scottish theatre community, Hill will not need to spend long forging connections and links. He is also well-respected beyond that, and his appointment opens up possibilities for Traverse work to be seen outside of its usual circuits, in places like the Court, the Birmingham Rep, the Barbican and other places where Hill has worked. Conversely, it is widely felt that Hill will widen the remit of the Traverse, perhaps even looking across the border to English writers like Simon Stephens or Martin Crimp whose work has affinities with Scottish traditions. It would be a coup for the Traverse if, for example, they were able to offer the British premiere of Stephens’s Pornography, a commission for the Hamburg Schauspielhaus and Hanover Theaterformen which has apparently been turned down by several English theatres as ‘too German’.
Hill is a clean break in some ways, but represents a spirit of continuity in others. Philip Howard was already part of Ian Brown’s team when he was appointed; Hill has no formal ties with the current regime, and this also presents this theatre with an opportunity to revive and rethink. On the other hand, he was one of the few applicants for the post who did not want to push the theatre in the direction of multi-media, physical theatre and so on. He is still clear that the Traverse is a playhouse and therein lies its distinction. This is a steady hand, not a revolutionary move, but one that offers opportunity and drive.
At Dundee, one should say, he did not establish any strong tradition of encouraging new plays or new writers, unlike other front runners for the post, so he will need to re-establish those habits. That said, he fits into a new model of artistic directors of New Writing theatres who are similarly at ease with the classical tradition as they are with developing new work. Hill’s interest in Brecht and Barker will, one hopes, encourage new forms of narrative at the Traverse, and less slavish pursuit of youth.
So, a popular choice then. Hill has run a building, has a deserved reputation as one of the finest directors in Scotland, and is well liked across the theatre community. We look forward to the announcement of his first seasons with interest.
3 Comments currently posted.
Fin Kennedy says:
theatre worker says:
Writin’ plays innit?
Giles says:
“At Dundee, one should say, he did not establish any strong tradition of encouraging new plays or new writers” - How could he: Dundee is a ghastly city - few theatregoers would be interested in new writers! The Rep has long been a staging post for ambitious directors, and no more!
“The Traverse has perhaps drifted of late, its pre-eminent position in Scottish theatre wrongfooted by the introduction of the National Theatre of Scotland” - well, surely this applies to all Scottish theatre companies. What can they do against the resources of National Theatre funding? Look at the sad demise of the Citizens’ Theatre in more populous Glasgow?
Phil Howard is not a personally showman like Domnic Hill - he is withdrawn, dedicated, intelligent - and he has done a fantastic QUIET job.
Welcome back Encore. Where have you been?