Set within a converted watermill in rural West Berkshire, the Watermill Theatre recently completed the installation of a permanent EM Acoustics audio system. Designed to meet the particular demands of a very special production, the new system also offers the adaptability required for the theatre’s diverse year-round programme. The EM Acoustics installation replaces the venue’s long-serving setup and is already proving its value in supporting complex productions for this much-loved and highly respected producing theatre.
The initial catalyst for the upgrade was the Watermill’s 2025 production, by arrangement with The Really Useful Group Ltd, of Tim Rice and Andrew Lloyd Webber’s Jesus Christ Superstar, a musically demanding show requiring high-performance, consistent coverage, and vocal intelligibility across the entire auditorium. “Jesus Christ Superstar is a big show for any space, with up to 18 actor-musicians playing instruments on stage,” explains Neil Starke, Technical Manager at Watermill Theatre. “In a venue like ours, where intimacy is key, and audience proximity is close, we needed a system that could offer excellent clarity and power, without taking up too much space in the auditorium. The EM Acoustics rig was the perfect choice, and having used their kit in the past, I already knew how good it was.”
The previous system had grown organically over the years, and whilst the sound designers were doing an incredible job with that equipment, the upcoming production of Jesus Christ Superstar would require an upgrade to pull off the show-stopping rock musical the Watermill team had imagined. Starke got in touch with EM Acoustics and, with their support, began to design and implement an alternative within a few short weeks in January of 2025.
“Being in an old watermill, we don’t have the usual rigging points, such as a proscenium, so the small boxes from EM Acoustics were ideal,” continues Starke. “We wanted a distributed sound, using lots of smaller loudspeakers, and we knew EM Acoustics products could deliver that with the high level of audio clarity we require.”
Following consultation with other sound designers, the Watermill team settled on a specification based around EM Acoustics’ flagship Reference series and EMS series loudspeakers, designed to suit the theatre’s unique architectural quirks and ensure that every seat in the 220-capacity venue could enjoy high-quality sound.
The main system brings together a central R8 loudspeaker, two R6s on each of the two levels and R4s to take care of coverage in some of the more awkward overhang locations. A total of 12 R5s were also installed, with three boxes per side covering slip seating and the rest covering other seating areas, including the rear circle. Two S18 subwoofers, one installed under a staircase and the other mounted on a perch, provide extra power for low frequencies. 24 EMS-51s are installed for surround sound. EM Acoustics’ Di20D amplifiers provide power and seamless system control over a Dante network, whilst a floating stock of EMS-61s, EMS-41s and EMS-81Xs gives the Watermill complete flexibility to scale their system up and down depending on the needs of their productions.
“The tiny EMS-41s as a set of front fills is really helpful,” confirms Starke. “Not having the main prosc makes it tricky, so we had to be flexible with our positions. Having coverage that would work for all those areas was a challenge, but the small form factor of the EM Acoustics boxes meant we could hide the R4s under the slips, which has helped us solve all those coverage issues.”
Sound operator, Rob Summers, who has worked on several recent productions at the Watermill Theatre since the upgrade, including Jesus Christ Superstar and Piaf, echoes these sentiments. “With EM Acoustics, the clarity upfront makes every audience member feel like they’re centre‑stage, no matter where they’re sat. Coverage is even, clean and loud where it needs to be. No dead zones, no guesswork.”
Beyond the immediate success of Jesus Christ Superstar, which has garnered rave reviews for its excellent actor-musicians and crystal-clear audio, the Watermill’s investment was made with future productions in mind. The flexibility and modularity of the EM Acoustics system mean it can be adapted to suit a variety of productions.
“We didn’t just need a system that could handle Superstar,” says Starke. “We needed something that could adapt, from pared-back plays one week, to a loud contemporary musical the next. This system gives us that range.”
For Jesus Christ Superstar in particular, having the headroom provided by the EM Acoustics system ensured the vocal coherence and musical impact needed, despite rock instruments being played live on stage. These qualities proved essential in a show where the balance between rock-band intensity and the nuance of spoken word is essential. Furthermore, the system upgrade has allowed the show’s sound designers to focus on the creative side of their work, rather than worrying about the quality of the audio.
“The system is so consistent, I don’t have to second‑guess a thing,” confirms Summers on his experience of the EM Acoustics system. “What I hear is exactly what the audience hears. With EM Acoustics in the rig, I spend less time fighting the space and more time mixing the show. Actors can speak naturally and still carry. I’m not having to ride faders to compensate for the room.”
Throughout the project, the EM Acoustics team have always been on hand to support with advice and expertise. “We are lucky to have dealt directly with EM Acoustics,” confirms Starke. “We knew they were committed to helping us build the right system for the Watermill, and they’ve been there from the beginning and continue to be at the end of the phone should we need to expand or adjust the system.”
Indeed, the collaborative efforts and careful system design have resulted in positive reviews about the production of Jesus Christ Superstar, which went on to win Best Musical Production in the UK Theatre Awards 2025. Audiences commented on the clarity of the sound and confirmed that every word of the musical can be clearly heard, despite the rock opera nature of the soundtrack. On subsequent shows, visiting sound designers have remarked on the change in system performance, with the EM Acoustics system being likened to ‘night and day’ when compared with the previous setup.
“The new EM Acoustics installation at the Watermill has revolutionised the audio experience beyond all expectations, bringing a new depth, clarity and superior quality,” confirms Tom Marshall, who has been designing shows at the Watermill for the past decade, including Jesus Christ Superstar. “This has greatly helped to give the production the impact and control needed in this small and prestigious venue.”
With a system that offers exceptional coherence, even coverage and superb dynamic range, the Watermill, having made a significant investment, is well equipped for the artistic and technical demands of future productions. This installation not only met the challenges of Jesus Christ Superstar, but has also set a solid foundation that the Watermill can build upon for years to come. “It doesn’t sound like a PA, it just sounds like the show,” remarks Summers. “I’ve used a lot of systems in awkward rooms. EM Acoustics makes this one sound easy.”
Images: Pamela Raith Photography.
Eden Harrhy.