Audiences packed to the rafters? Breathtakingly innovative plays? What's up with Bristol theatre? Quite a lot, as it happens.

Something of a renaissance in drama is taking place, maybe not in the larger venues but in the smaller nooks and crannies.

This is all happening despite the temporary closure of the city's most renowned theatre, the Bristol Old Vic, and ever-acute funding difficulties still faced by smaller groups struggling to get their shows on the road.

Or could it be these facts that are spurring actors, writers and producers on to new heights of inventiveness?

Ali Robertson, the director of Tobacco Factory Theatre, explains: "I agree totally with the hunch that there's a huge amount going on in Bristol at the moment. In fact, I think Bristol is one of the most exciting theatrical places in Britain.

"Our practical 'let's-do-a-show' approach is really coming to the fore. There's an incredibly self-reliant spirit about it. There have been a number of fantastic shows in odd places – not confined to theatres – and amazing work coming from young companies. And people really put the work in, too, because there are so few resources.

"With the Bristol Old Vic as it was, it was a rather monolithic building. But there are good plans to change this. What I really hope is that after all the talk about money, the Old Vic will be all about people and support."

The Tobacco Factory's theatre manager David Dewhurst agrees: '"It's a good time at the moment. There are plays springing up all over the place and everyone seems to be crying out for new work. There's a real buzz in the air and it's good that it's our actors who are leading the way and taking the initiative while the Old Vic is closed."

Indeed, just last month, a new pub theatre space opened at the Lansdown pub in Clifton.

Upstairs At The Lansdown has just finished a sell-out run of its first ever foray into drama. A world premiere, Another Time, Another Place, was directed by and starred actor Oliver Millingham – something that he wrote in just two days, with some help from his fellow actors.

Unlike its neighbour (the purpose-designed Alma Tavern), Upstairs At The Lansdown was not built for theatre. However, it suits the playing out of intimate drama perfectly, with its stripped boards, gilt mirrors and even a real fireplace. And Oliver's poignant new work fits the space for which it was written like a glove.

As Oliver, who trained at the Old Vic, says: "It really is a case of mighty oaks growing from small acorns. We plan to put on another play next month, which is great and rather thrilling, too. Ideally, we want every play to have grown up here at the Lansdown, to have been created for the space or at least adapted perfectly to it.

"We want to embrace what we have because it is very special."

He credits co-actors Paul Nicholson and Alan Coveney with whipping his play into shape and reveals: "It's gone wonderfully well and now we've got lots of ideas, including plans to establish a resident company at the Lansdown, using a mix of professionals and amateur actors of a similar standard."

Lansdown owner Charles Laxley, who comes from a family of arts aficionados, is delighted at the play's success. He says: "Oliver is clearly passionate about theatre. Two things have led to the theatre space opening – synchronicity and serendipity – the timing is just right because there's a buzz in the air.

"There's been a lot of enthusiasm for the theatre here and demand is high. I would like to see much more, especially of new writing. We've got the bit between the teeth with this. I really do believe that the performing arts are what keep society alive and we've got big plans for enabling others to follow in Oliver's footsteps."

The Lansdown's pioneering ethos echoes that of the Alma.

Joint artistic directors Ann Stiddard and Alison Comley, who have just launched their 10-week season of new plays, are confident that the Alma plays a vital role in Bristol arts.

As Alison puts it: "I think we are unique, producing a lot of new work which has great originality and that has increased each year. We're trying to create a different experience at the Alma that's a viable alternative to large places like the Old Vic.

"With us, it's so up close, it's almost like telly. You can take in your drink, nothing goes on too long; it's not too expensive, either.

"These things make it a very immediate experience.

"People say there isn't an appetite for new theatre but there is. We just took the plunge and it's paying off. And it doesn't matter which venue is closed and which open – it's about people making theatre wherever they are. The closure of the Old Vic has given us focus and drive to make connections with each other, and with others doing similar things."

But the Old Vic is by no means being forgotten about. Ann says: "We hope, when it does reopen, that it will be a real hub for smaller theatre, both in terms of practical help – rehearsal space, somewhere to keep sets – and also as a place where people can collaborate. It could be a wonderful resource for small companies if things go according to plan."

And it seems it's not only seasoned performers who are putting together new works. An entire musical has been rehearsed and performed in less than a month by a group of Hartcliffe school pupils. Gypsy Rose, performed at Hartcliffe Engineering Community College and written by Emilene Davis and Tom Payne, has been supported by Mamma Mia! writer Catherine Johnson, who praised the "fantastic" script.

"I'm thrilled with it," says Catherine. "The writers are young and enthusiastic and I'm hugely impressed by what they do."

Catherine echoes many others in her certainty that a revamped Bristol Old Vic must "go out into the community and see what people are doing now and what has been achieved. Then it needs to support these groups as much as possible, because Bristol is wonderful."

The Gypsy Rose writers themselves see it like this: "We want to show people that teenagers from south Bristol can produce an excellent piece of work and to encourage other young people to do the same."

Old Vic chairman Dick Penny adds: "People will always need places to do things; there's a fantastic energy all round the city. We want to be a part of that and to nurture it. Bristol is truly a hotbed of activity."