When I first heard that Paul Stacey, the founder of Reading Rep Theatre, had been awarded an MBE, my initial reaction was one of admiration—but also curiosity. What makes this particularly fascinating is how Stacey’s journey defies the typical narrative of artistic success. Born and raised in Reading, he didn’t start with a trust fund or a family legacy in the arts. Instead, he began with a £500 overdraft and an audacious vision: to turn Reading into a cultural hub for theatre. Personally, I think this is where the real story lies—not just in the MBE, but in the sheer audacity of his dream.
What many people don’t realize is that regional theatres often struggle to gain national recognition, let alone international acclaim. Yet, Stacey didn’t just build a theatre; he built a movement. From my perspective, this is where his genius shines. He didn’t just focus on producing shows (though 60 productions and 200,000 audience members are no small feat). He focused on community. His Engage programme, which reaches 20,000 young people annually, is a testament to his belief that theatre isn’t just for the elite—it’s for everyone. This raises a deeper question: How many cultural leaders are truly committed to accessibility? Stacey’s work suggests that success in the arts isn’t just about what you create, but who you include.
One thing that immediately stands out is Stacey’s ability to turn skepticism into support. When he first launched Reading Rep, many dismissed the idea as impossible. Yet, he raised over £1 million to create a state-of-the-art theatre—a permanent home for producing theatre in Reading. If you take a step back and think about it, this is a masterclass in perseverance. It’s easy to dream big, but it’s rare to see someone turn that dream into reality against all odds. What this really suggests is that cultural change often requires not just vision, but relentless determination.
A detail that I find especially interesting is Stacey’s background. Trained at the Moscow Art Theatre and Harvard, he could have easily pursued a high-profile career in London or New York. Instead, he chose Reading—a town often overlooked in the cultural conversation. This, to me, speaks volumes about his values. He saw potential where others saw limitations. And in doing so, he’s not just elevated Reading’s cultural status; he’s redefined what it means to be a regional theatre.
But here’s where it gets even more intriguing: Stacey’s MBE isn’t just a personal achievement; it’s a symbol of a larger shift in the arts. For too long, the cultural narrative has been dominated by metropolitan centers. Stacey’s success challenges that narrative. It reminds us that great art—and great leadership—can emerge from anywhere. Personally, I think this is a wake-up call for the industry. If a small theatre in Reading can achieve this much, imagine what’s possible when we invest in regional arts more broadly.
What this really suggests is that the future of theatre might not lie in the West Ends or Broadways of the world, but in the Paul Staceys—the visionaries who dare to build something extraordinary in unexpected places. And that, in my opinion, is the most exciting takeaway of all.
