The final performance of the year is taking place at the Master Shipwrights House, located in Deptford, south-east London.

Nestled behind towering brick walls near the River Thames, it’s easy to overlook this historic ten-bedroom mansion amid the surrounding apartment buildings and construction sites.

For the artists and theatre-makers gathered within, this event signifies more than just another performance.

However, with the house seeking new guardians, many are pondering what lies ahead for this space.

Constructed in 1708 as the home of the Master Shipwright for the Royal Naval Dockyard, this Grade II-listed estate stands as one of the last vestiges of Deptford’s history.

For the past thirty years, it has also served as a residence, studio, and creative haven.

Willi Richards acquired the property in 1998 alongside his partner Chris Mazeika, having spotted it “over a fence.” At that time, it was in ruins, inundated with water and lacking floors.

“When we first settled in, it was listed as at-risk and in complete disrepair,” Mr. Richards recalls.

“Now it’s a solid, functional house—water-free and nearly wind-proof,” he notes, a hint of pride in his expression.

The couple dedicated years to revitalizing the spacious building, maintaining much of its antique charm.

With its peeling walls, mid-century décor, and expansive riverside views, the house has become a magnet for photographers, filmmakers, and designers alike.

It has featured in several television series, including the BBC’s Luther, and has hosted a Vogue photoshoot by Mario Testino with Kate Moss.

Yet, Mr. Richards believes that the building’s dimensions, location, and historical significance have naturally inclined it towards creative endeavors.

“The space itself has shaped its use,” he explains. “It embodies sky and water, along with the rich narratives embedded within its very structure.

“It seems to draw in those who wish to express their connection to it and share that experience with others.”

Over the years, the couple has welcomed numerous artists, craftspeople, and performers to live and work there, often during critical stages of their careers. One notable resident is Olivier Award-winning actor Hiran Abeysekera.

Abeysekera crossed paths with Mr. Richards in 2007 while he was in Sri Lanka producing a Tamil-language adaptation of Romeo and Juliet.

Encouraged to pursue drama school in the UK, he trained at Rada and later moved into the Master Shipwrights House.

“If I had lived somewhere else, I wouldn’t be the person I am today,” he reflects.

“I often find it amusing that this was once a place where ships were designed to sail to conquer Sri Lanka, and here I am now, living and creating in this space.”

In 2020, some residents established The Shipwright theatre company in response to job losses caused by the pandemic.

Managed by Joe Winters and Emma Halstead, the company now produces several performances each year, including a summer festival and a winter pantomime.

Shows are staged either on the lawn or in one of the numerous rooms of the property.

As the search for new guardians continues, the company hopes that the future custodians will uphold the house’s legacy as a creative incubator.

“It’s genuinely distressing to think that this space could cease to be what it is,” Ms. Halstead shares.

“Those two men have been incredibly generous during a time when generosity is scarce.”

The Master Shipwrights House has been on the market for several months, with a price tag of £8 million—a figure that weighs heavily on discussions about its future.

“There’s no denying it’s a considerable sum,” Mr. Winters acknowledges. “But we believe our output of quality work here exceeds expectations.

“We’ve collaborated with and nurtured talents just before they achieved significant successes.”

He emphasizes that the goal is not simply to preserve the building, but to expand its reach, possibly making it more accessible to the public.

Despite its grandeur and rich history, the house is often overlooked from the street, hidden behind tall Victorian walls.

For now, the lights remain on, and waves of laughter echo from the audience as the last show of the year unfolds.

As the house awaits its next caretakers, those who have lived and worked within its walls hope that its narrative is not concluding, but rather, quietly gearing up for a fresh start.