COURAGEOUS. ADVENTUROUS. INDOMITABLE. RISK-TAKING. SPIRITED. SEMINAL. RENOWNED. All words that have been used to describe our much-loved theatre during the past thirty years.

In 1979 Lou Stein, an American theatrical entrepreneur with visionary ideas and a strong interest in European theatre and politics, applied for the lease of a run down studio over an equally run down ale house in bohemian Notting Hill. The Prince Albert's neighbours were artists, philosophers, writers and bums, perfect company for a burgeoning theatre with radical ideas. The London Times reflected the Gate's rapidly growing reputation:

"Lou Stein has transformed a room above a public house in Notting Hill into a theatre with a remarkable repertoire. In a space not much larger than a cupboard he has adapted and presented novels, and resurrected plays that have been grossly neglected elsewhere in Britain."

From the very first there was strong local support for the theatre – John Cleese gave the first donation of £10 towards Stein's work. We continue to have an army of loyal local supporters today, some of whom vividly remember the Lou Stein days.

"THE GATE HAD A WELL DESERVED GOLBAL REPUTATION" Financial Times

In 1985 Stein handed over the reigns to Giles Croft and in 1990 the Gate became home to an ambitious young director by the name of Stephen Daldry, who cemented its reputation as a place of international tastes and talents. Between 1992 and 2007, the Gate was home to equally visionary artistic directors. Laurence Boswell, David Farr, Mick Gordon, Erica Whyman and Thea Sharrock each made a huge impact on the tiny space. Every one of these artists shared a delight in the freedom to fail and in the lightfootedness that comes with creating first class work on a shoestring. The Gate has wonnumerous awards and attracted many up-and-coming actors who have cut their teeth here and gone on to glittering careers.

Which brings us to 2009. As a venue which is continuously described as ‘reinventing itself', as presenting ‘new eras in theatre making' and ‘launching careers of influential artists', 2009 will be a year for reflection and also a year for looking forward. A year for ensuring that the work presented by Natalie and Carrie continues in the indomitable spirit for which "London's most courageous theatre" is famous.

‘THE GATE – STILL SWINGING AFTER 30 YEARS' Sir Tom Stoppard