Cumbernauld Theatre has always been there for me. A reassuring presence in the background, easily spotted from the window of the bus as it passes through Cumbernauld. Really, I feel like part of the place. When it first started, it was The Cottage Theatre. A small farmhouse converted into a space for local people to have easy access to the arts and a quick pint if they wanted, The Cottage Theatre was the logical conclusion to the idea that Cumbernauld was a town with culture and art all its own.
Brian Miller, the closest thing to a patron saint the town of Cumbernauld had, quickly set to work putting his stamp on the building. From the logo painted on the side of the building to the posters used to advertise the plays Brian wrote and performed, The Cottage Theatre was a brand all itself. Even now, on occasion, I hear people talk about those old plays. They were political, left-wing, essential in a time of Thatcher.
There was even a punk disco at The Cottage Theatre. Oh, I often curse being too young to attend. A punk disco. In Cumbernauld. Without me. The impact must have been immense.
It was time to look outward at the rest of Scotland. A business needs to take itself seriously, even when dealing with the often frivolous and somewhat ridiculous nature of the arts. Many artistic directors came and went, each one of them putting their stamp on Cumbernauld Theatre. Every year there was a panto, the funds from which often helped keep the theatre open for another year. A rite of passage for every kid in Cumbernauld, we all went to the Cumbernauld Theatre panto.
I still went as an adult. Many talented performers as well as The Singing Kettle came to Cumbernauld on their way to other well-known theatres in Scotland.
