Our own little globe on shores of a lake

He has just been announced as the new boss at Keswick’s Theatre by the Lake.

He doesn’t take up the post fully until autumn, but he’s already making regular visits to introduce himself to staff and board members, learn how the theatre operates and to plan the future.

“The job was advertised and you put your pitch in, I just thought it was a brilliant opportunity,” he smiles.

The idea of being based in one place appealed after spending much of his time producing at different theatres.

“I did a stint at the Royal Exchange in Manchester and it was great being part of a family organisation, creating work for our audience. We are not doing it for ourselves.

“And then there’s the scope of being able to produce a wide variety of work here, you don’t get that in many places.

“It is about ensuring we have inventive and fresh and entertaining productions.”

The work of the theatre and its site on the shores of Derwentwater has echoes of the iconic Globe Theatre, he reckons.

He speaks from experience. Shakespeare’s Globe is just one of a raft of top-name venues he has worked in.

“This is a unique theatre in a spectacular location and in having a season you create that family feel in terms of people working here and the audience,” he says.

The only repertory theatre of its kind in England, the venue presents 400 performances of nine plays each year in its main and studio theatres. It stages almost 700 events a year.

Around 60 per cent of the 130,000 ticket buyers are from Cumbria.

The new artistic director and chief executive recognises the history of the theatre and its unique relationship with the region, its audience and supporters.

He appreciates there’s an added responsibility not found in other theatres.

“There is a unique relationship here with the audience and I want to continue to celebrate that.”

His post is a new one which includes aspects of the roles of the present executive director Patric Gilchrist and artistic director Ian Forrest who both stand down later this year.

They have fashioned a much-loved and respected venue. The home of productions that have won national awards and admirers.

A tough double act to follow and one that Conrad is keen to pay tribute to.

The 46-year-old arrives at a happy time for the venue.

It has just enjoyed one of its most successful summer seasons and the theatre received an unexpected and hugely welcome boost when it was announced that Arts Council funding was guaranteed at £600,000 until 2018.

But no one expects a repeat performance from the government in future.

Alternative revenue streams are needed, which is why theatre chiefs took the controversial decision to knock down the historic Lakeland Tea Rooms cafe and build the £700,000 smart new glass and timber cafe and bistro in its place. This opens at Easter.

Other schemes are being looked at.

With the huge rise in popularity of cinema screenings of big West End shows, the theatre could film some of its shows and offer them for download or sale as DVDs.

Conrad is also aiming to raise the theatre’s profile nationally and is hoping to forge links with acclaimed touring companies such as Theatre Complicite and English Touring Theatre.

“It is about how we work with companies and how we can collaborate with them.

“Co-producing with them can give them the opportunity to premiere work here.

“But we don’t want to be somewhere that opens shows for the sake of it. We want collaboration for the right reasons and to heighten our profile across the country.”

He would also be willing to see a big-name star appear at Keswick, on condition: “It has to be for the right piece.”

He certainly seems well-connected.

His recent freelance producing role has included work with Liverpool Everyman & Playhouse, Manchester International Festival, the Royal Exchange Theatre in Manchester, Shakespeare’s Globe, Shared Experience and West Yorkshire Playhouse.

He has also been a producer for the Ambassador Theatre Group which has a chain of theatres in London, the regions and overseas and has been artistic director of the Wales Millennium Centre and executive producer for Shakespeare’s Globe, where he headed the company’s development of national and international touring.

He moved to Cumbria from Wales 18 months ago with wife Kate and children Max, four-and-a-half and Martha, three.

They live near Kate’s parents in Kirkby Stephen and Conrad assists father-in-law Mike Walker in operating the Remote Cinema programme for Eden Arts.

The family quickly became regulars at the theatre and Conrad picks out The Comedy of Errors, Abigail’s Party and The Snow Queen from recent shows for special mention.

A key part of the theatre’s drive is to commission new works and stage premieres of shows and productions.

This will continue under the new boss, who is also keen on expanding the organisation’s educational and outreach work.

Conrad is looking to improve links with the Brewery Arts Centre in Kendal and The Dukes in Lancaster.

More of its productions could find their way to a village or town hall near you.

More shows like The Professor of Adventure, which is launched in the studio next month and after its run there has ended, it will tour the county.

While he wants to challenge his audiences and get them thinking, he’s also aware of the economics involved in presenting plays that ensure bums on seats.

He admits he has a tick-list of shows he would like to bring to the theatre – lesser-known or overlooked 20th and 21st century plays.

He’s currently plotting what will be scheduled for next year and says: “Sometimes it is about finding a playwright that people know, but don’t necessarily know a certain piece.

“Hopefully there will be one new commission in the Main House, whether that is an adaptation or a brand new production is yet to be worked out."

He mentions Hangmen and The Beauty Queen of Leenane as two possibilities and rattles out the names of Terence Rattigan, Somerset Maugham and NC Hunter.

He will begin working part-time this spring and full-time from September.

While he does not direct, he is aiming to recruit a team of three associates who would stage the work of each summer season of productions – a director a writer and designer.

He’s already getting some help from Max, who seems to be following in Daddy’s footsteps already.

The family saw the theatre’s big Christmas production, The Snow Queen and the children’s show The Bear and the Butterfly.

“Max said: ‘The Bear and the Butterfly comes back, you need to do that’, he’s already scheduling for me!”