John McGrath told the Conference how the National Theatre of Wales was set up by the Welsh Assembly Government with a brief to stimulate new and exciting theatre across Wales, work with both new and existing actors and companies and make international links. The theatre is production not building based, and its first show took place in March 2010.

The focus has been 'for and of a particular place', with one new piece being produced each month for a year, each in a different location. As a follow on from each performance there is an evening of debate and rapid performance.

The NTW is team building, encouraging local ambassadors or advocates to maintain links, and on the digital front the website gives opportunities to discuss work and interact with those making the work.
Planning for years 2 and 3 is now taking place, based on what has been found out so far.

Robert Livingston noted that the NTW was following the same initial model as the National Theatre of Scotland, in being production not building based. However the first major production, Black Watch had been such an outstanding production that not only was it difficult to follow, but it set an almost impossible standard for future work. There was also the problem that a fully funded NTS had resulted in it being cut off from the community: the regional and local based theatre companies feel there is not sufficient dialogue with the NTS. They have come to resent the NTS when it toured their regions with fully funded productions, a luxury they were denied.

Ginny Graham has run the Montgomeryshire Youth Theatre for the past 28 years, as well as having a major input into drama policy and initiatives of various kinds.  From a Powys perspective she welcomed the NTW as what theatre in Wales needs. Wales does not have many independent theatre companies and it will be very good to have new fresh work put on around the country. Young people needed and wanted to see challenging, innovative work but at present they have to go out of Wales to see it. She felt that audiences are not frightened of new work but they do want quality. She would push for continuing dialogue with the NTW to ensure it is 'of Wales'.

Discussion then centred around the expectations of NTW in developing potential - they do offer a follow up workshop but they cannot control what a community is then going to do.This question of legacy was felt to be a crucial one. There is also the potential of amateur groups working with a professional to raise standards, reaching the audience that never goes to big theatres but would go to a community event.

Robert asked "Would NTW take up a local initiative and fund and develop it?" John said "No, they did not have enough funding to do this, and anyway this was seen as the job of the Arts Council of Wales. Conference suggested that the NTW should ensure they say this to ACW, and consider it as part of their remit to comment on productions that have such potential.
 
It was asked what was the NTW relationship with other touring companies. John said they collaborate with some, such as the Sherman Theatre in Cardiff and with some community venues. The aim of the work is to go for identifying the particular in the communities, as they are the things that are also universal: to produce liberating, shared, unique experiences.

Rober asked "Is there a way of funding, enabling local people to create their own work? NTS funded work but none of the performances have then been taken up by the NTS." He also commented on the difficulties of getting work seen or recognized."

Jo Munton of Vagabondi Puppets said that it was easier to organise puppet theatre in Catalonia than in Wales. John said that NTW has a 'Go See' initiative; if people let the NTW know about a production in sufficient time, they will make every effort to go and see it and look at the potential of working with that group in future.

Most of the money has gone to regional buildings and companies, is there a way of more funding for local groups? What is the role of Powys Count Council in providing such support. It was explained that often local authority funding has to demonstrate outcomes other than artistic ones, but therre was possibly an opportinity to look at the model of buildings being creative hubs, with health and wellbeing automatically included.

Philip Freeman felt that Powys County Council was constrained by the statutory obligations it had, but that Powys Arts Forum could perform a valuable function by both working closely with the Council on matters of common interest, but retaining an independent voice to articulate the values and priorities of its members.

Perhaps the future might lie in an Arts Strategy of Powys being activity focused rather than building based, just like the National Theatre of Wales.