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Theatres Mag ISSUE #21 Autumn 09 Showcase: Theatre Royal, Newcastle Upon Tyne A new theatre for the Royal Welsh College More pearls on a string Protecting the Palace: Nelson’s hidden treasure Hull’s new Truck Protecting theatres for everyone 2 6 12 14 A new theatre for the Royal Welsh College 2–5 More pearls on a string: The Channel Route of theatres 6-9 Protecting the Palace: Nelson’s hidden treasure 10-11 Showcase: Theatre Royal, Newcastle Upon Tyne 12–13 Hull’s new Truck 14–17 & Theatres Round-up 18–19 Current Casework 20–21 Reading Matter 22-23 Friends and Corporate Supporters news 24 Dates for your diary 24 Trust news 24 10 Front cover: Theatre Royal, Newcastle Upon Tyne Photo: Ian Grundy Theatres Magazine is edited by Paul Connolly. © 2009 The Theatres Trust Charitable Fund. All unsigned or otherwise uncredited articles are the work of the Editor. The views expressed editorially or by correspondents in this magazine are not necessarily those of the Trust. Notes, queries and letters are always welcome. ISSN: 1759-7668 Designed by Damian Le Sueur Printed by Purple Results Ltd " ! !!! # ! European Regional Development Fund Investing in your future Sustainable Theatres I’m honoured that John Godber has written about his new Hull Truck Theatre for this issue of TM. His journey is an inspiration to us all. Not only has he created a new platform for theatre in Hull and their 350 strong youth theatre, it is one of the most environmentally sustainable theatres in Europe! in future issues of TM. Also making their mark in Europe Mhora Samuel are the UK theatres participating Director in the new Channel Route of the European Route of Historic Theatres. Championed and led by PERSPECTIV, Carsten Jung takes us through the historic UK and This green ambition is matched Benelux theatres that can be visited by Hilary Boulding, who shares on the tour. Whilst not quite in the plans for new BREEAM ‘excellent’ ‘Route’ the Grade I Theatre Royal in theatre and concert facilities at the Newcastle can date its Royal Licence Royal Welsh College of Music & back to 1788. Philip Bernays gives Drama in Cardiff. Nurturing new an update on £3.5 million restoration talent in excellent theatre facilities plans for its 1837 exterior and will be one of the central themes Matcham interior in our Showcase. of the Trust’s ‘Designing School Well worth a visit if your journey Theatres’ Conference 2010 in starts a little further north. Leeds on 26 April next year; after The Trust will be giving a ‘Experiencing Theatres’ highlighted presentation at PERSPECTIV’s the importance of achieving the best conference in Bayreuth in October on theatres in the many new school how the UK planning system works in and college buildings springing up practice to protect theatres. So finally, around the country. The Report from Mark Price, the Trust’s own Planning Conference 09 is now available. and Architecture Adviser gives us an More Trust news. Our green insight into this in the recent case theatres work has received a boost. of Nelson Palace Theatre, where On the 14 September at Plasa 09, one we worked with local champions year on from the launch of the Mayor and harnessed the support of many of London’s Green Theatre Plan, we who came forward to make the case announce a grant of £450,000 to the for protecting this theatre and its Trust from the European Regional beautiful interior. Development Fund to deliver a new three year environmental advisory project in London for small scale theatres. There will be more on this A new theatre for the Royal Welsh College View from Bute Park Development overview 16 SPRING 2008 Theatres Magazine As work commences at the Royal Welsh College of Music & Drama, Principal Hilary Boulding, offers an overview of this exciting new project. central contribution to the cultural life of Wales and, through our graduates, to the international arts industry. To achieve this and continue to attract the most dynamic young artists from across the world, there is an urgent need to complement our firstclass teaching with the very best facilities. While the last 18 months has focused On August 17th this year, the contractors on the combined details of architectural and moved onto our site. Hoardings have business planning, the next year and half gone up, portakabins have arrived, holes will be about transforming these ambitious are being dug; the work to transform the plans into working models. Bringing artistic campus of the Royal Welsh College of and academic life to concrete, steel, glass Music & Drama is well and truly underway. and a significant volume of Portland stone The plans - to include a new theatre and is the challenge that lies before us. concert hall - have been a long time in Our facilities will include: development during which the College has a 450 capacity world-class Concert Hall seen many changes. Shortly, and before our for rehearsals, public recitals and mastervery eyes, we will see the realisation of our classes. long held ambition to update and improve a 160 seat state-of-the-art Theatre with a the facilities we offer our students and the dress circle and teaching gallery. wider public. an Exhibition Arcade to display our Last summer, the College award-winning theatre and costume submitted plans to Cardiff Council for a designs. redevelopment of part of our existing site four full-sized, double height Acting on Cardiff’s North Road, to create a suite and Movement Studios with the same of world class training and performance ‘footprint’ as the Theatre. facilities for musicians, actors, theatre a new ‘Front Door’ to the College designers and stage managers. opening onto a central Foyer and The development will complement the performance spaces. College’s existing high quality, small-scale a Café Bar and Terrace overlooking performance and rehearsal spaces with an historic Bute Park. acoustically excellent 450-capacity recital a renovated and upgraded Bute Theatre hall, a 160-seat theatre and four purpose(capacity 150-200) doubling as a built double-height acting and movement television studio. studios. In future these spaces will host our students as well as visiting companies Building a training theatre and professional artists of international Preparing the actors, theatre designers stature. In addition, a handsome new and stage managers of tomorrow also arcade taking its inspiration from Cardiff’s requires that they gain experience of historic city centre arcades will exhibit the College’s award-winning design activity and working in a wide range of performance spaces and theatres. The College’s existing will complete this 21st century addition to Bute Theatre and Caird Studio provide Cardiff’s cultural facilities. contrasting environments and a range of It’s an ambitious, exciting and visually technical and creative challenges. Both impressive development and will form a dramatic new northern gateway to Cardiff’s are flexible, black box studio spaces. Our students regularly perform in other theatre city centre. It is also another significant spaces in Cardiff, including the Sherman milestone in the evolution of Cardiff’s Cymru and Chapter Arts Centre. Neither cultural sector coinciding with the fifth of these theatres has a circle, both being anniversary of Wales Millennium Centre. based on single raked seating areas. It was At the same time, Chapter and Sherman Cymru are undergoing their own significant an ambition from the outset of this project to create a theatre space that complements re-developments. It’s an exciting time for our own existing spaces as well as those of theatre in Cardiff. the venues we visit regularly. The Royal Welsh College is first and To this end, we will be creating a 160foremost a training organisation. We are seat proscenium theatre with approximately one of the UK’s leading drama schools 120 seats in the stalls and 40 in the circle. as well as the National Conservatoire of Above the circle will be a technical balcony Wales. Day-to-day life at the College is where tutors will assess performances and geared to intensive, high quality education and training for performers and technicians above that, a wire tension grid to enable front-of-house rigging. The proscenium in music and drama. opening itself will be seven metres with Our ambition is to make an ever more three metre wings either side, and an overall stage depth of ten metres. Above the stage are 30 counterweight bars. At the rear of the circle is the control room, equipped with 160 channels of dimming. A sound control room will be located at the rear of the stalls with the option of an additional control position in the stalls. Significantly, we were also seeking to develop four brand new rehearsal spaces that mirror the space available on the new theatre’s stage, so that productions could be rehearsed in their final layout and not have to endure a reworking between rehearsal and production. These rehearsal spaces form a key part of the College’s plan. At present, our actors rehearse two miles off-site in a converted building in Cardiff Bay, a situation that is far from ideal. These new rehearsal spaces will reunite the full range of music and drama activities on our central Cardiff campus. Our actors will once again be based at the main College site. They bring their own, unique energy to the College and the prospect of their return is generating excitement. Extending the training provision Despite current constraints, our students continue to flourish. That much is testimony to the great skill, dedication and experience of our staff. As one of the UK’s leading drama schools the College is justifiably proud of the successes of our graduates, but equally of the role our staff play in keeping them grounded and prepared for a career in the creative and performing industries. The opportunities offered by the new capital development lay at the heart of a recent extensive review of the College’s academic provision. In direct response to the new facilities being developed an extensive range of new training is in the process of being rolled out. Central to this is a raft of new Masters courses in Jazz, Musical Theatre, Opera Performance, Acting for Stage, Screen and Radio, Event Production, and Scenic Arts and Construction for Stage and Screen. Each one is tailored to build on our existing track record of excellence in course delivery but constructed to benefit from the enhanced facilities. Building new relationships The opportunity to shape a new physical environment is not one an organisation gets every day. From the outset, we were determined that the new buildings would help us to achieve our wider ambitions, rather than dictate or proscribe them. Before design work began, we took Theatres Magazine AUTUMN 2009 3 The expansive foyer space View from North Road Courtyard Theatre cross-section Concert Hall cross-section the opportunity to revisit, re-imagine and confirm the nature of our conservatoire training for the 21st century. We’ve given much thought to what it means to be the National Conservatoire in a devolved Wales: how we might benefit a wider community of artists, teachers and practitioners; how to get the most out of our physical resources 52 weeks of the year rather than 33; how we achieve the greatest impact within our local community; how to ensure that our students are not only ready for work in industry, but have something distinctive to offer. In the process we strengthened our links with key industry partners - including BBC Wales and Welsh National Opera and canvassed leading arts organisations about their own training needs. That in turn informed an extended portfolio of training. At the same time, we embarked on an extensive development of our preconservatoire programmes. Our training programmes for Young Actors (15-19 years old) and for Young Musicians (4-18 years old) occupy much of the estate at weekends, creating their own distinct energy and fostering new connections and relationships with a wider public. A key part of our business plan will ensure that the new facilities are made available beyond our core College community for a third of their available hours. This in turn will create significant opportunities for our students to expand their educational experience. These relationships with the arts industry and wider groups have all informed the design and operation of the new build and will be significant factors in ensuring its success. Today, as construction begins, we’re getting to grips with the mechanics and operation of this new physical canvas: access, insight, box office, catering, cafe bar, marketing, cloakrooms, wayfinding, and the all important routes to the toilets. All are essential pieces in making our new buildings work. But in the end, they’re all there to underpin a unique theatre experience and world-class training of some of the most gifted artists of the rising generation. Quality is our watchword creative, academic, architectural and in the quality of the audience experience. A sensitive environment The College occupies a prime location sandwiched between Cardiff’s historic civic centre of Cathays Park and the Grade I listed Bute Park. We lie within the grounds of Cardiff Castle. Mapping out a development in such an exciting but sensitive context brings its own challenges and significant civic responsibilities. These lie at the heart of the architectural proposal. The College has a long-standing relationship with the Park and with Cardiff Castle. When the College was first founded 60 years ago, it was housed in the Castle itself. In the 1990s the Royal Welsh College managed the award-winning, sympathetic restoration of the old stables building to create the Anthony Hopkins Centre, now the home of extensive music teaching and performance facilities. The College borders one of the major gateways to Bute Park and the development will improve this key access point with better lighting and security and a new footpath to the park. The new public foyer will create a stunning vista onto the park with an external viewing terrace looking out onto the historic arboretum. The architects for the new development, Hamiltons, are led by Jason Flanagan who has a wealth of experience of creating performing arts venues. Formerly Project Director for Foster & Partners for the iconic Sage Gateshead, Jason was also part of the design team for the winning submissions for the Dallas Opera House and the conversion of the Avery Fisher Concert Hall at the Lincoln Centre in New York. Hamiltons have been inspirational and creative partners, committed from the outset to achieving the dual challenge of creating world-class performance and rehearsal space for the College whilst, at the same time, improving and responding to a significant and sensitive site. The new development was designed from the inside out for acoustic excellence and theatrical intimacy. Arup have been engaged as acousticians and have designed a flexible acoustic to enable the theatre to stage both the spoken word and small-scale musical theatre, while Theatre Projects Consultants have designed the fit-out. The new buildings will also significantly improve the environment for local residents and visitors to the city. The existing Bute Theatre, the new drama wing and the Concert Hall are conceived as three separate buildings linked by new public spaces beneath a single unifying roof. The Concert Hall and Theatre frame a dramatic new entrance to the College from North Road, leading directly to a public foyer which opens out to spectacular views over Bute Park. The foyer itself is linked to the existing campus along a new arcade, which forms the principal spine for movement within the College. This also functions as a gallery to showcase students’ set and costume design work. The new development is designed to be fully accessible and inclusive. It will seek to attain the very highest environmental standards - including our aim of achieving BREEAM Excellent rating.1 We’ve also sought to consult widely on the proposals with public meetings, online presentations and exhibitions. The Design Commission for Wales’ Design Review Panel commended the excellent presentation of the College’s planning proposals and looked forward to a ‘high quality development’ on the site. Along the way these were all significant markers and a useful check that our progress was also closely matched and understood by a wider public. Funding The good news is that almost 90% of the funding for this £22.5 million development is already secured, including a grant of £10 million from the Welsh Assembly Government that was awarded following a strategic alliance between the College and the University of Glamorgan. A dedicated fundraising programme was launched in November 2008 with opera star Bryn Terfel as Patron and a target of raising the final £3.5 million. The campaign has already attracted significant grants and donations, including £100,000 from our own students (they’re clearly an enterprising lot!). In today’s challenging economic environment this is a great achievement and reflects the strength of the scheme. We are now targeting the final £1.6 million. Conclusion Over the next few months, as our appointed contractors Willmott Dixon move on site, we will have to live alongside diggers, piledrivers, scaffold structures and the concrete pourers. Part of our campus will swarm with fluorescent-jacketed construction workers, but by the middle of next year the building will be taking shape and early in 2011, we’ll be moving in. It will be a new experience for us, for our students and our audiences. This new theatre will sit at the heart of our training provision for nurturing and developing new talent to sustain the theatre industry in years to come. It is also a new resource for the industry itself and we look forward to welcoming theatre partners to a brand new venue, which we hope will establish its own place on the national touring circuit. 1 BREEAM, or BRE Environmental Assessment Method, is the leading and most widely used environmental assessment method for buildings. Theatres Magazine AUTUMN 2009 5 More pearls on a string: The Channel Route of theatres Ghent Opera House Theatre Royal, Bury St Edmunds Photo: Dennis Gilbert A new tourist route is spreading across Europe. Now the Channel Route of the European Route of Historic Theatres has been opened, as PERSPECTIV Co-ordinator Carsten Jung reports Regular readers of Theatres Magazine will remember the first article on the European Route of Historic Theatres, describing the German Route (TM Spring 2008). Meanwhile, the European Route has been growing and now also connects selected historic theatres in Denmark, Norway and Sweden on the Nordic Route, as well as historic theatres in Belgium, the Netherlands and the UK on the Channel Route. Later this year, the Italian Route of theatres from the Renaissance to the late 19th century will follow, and an Emperor Route of great theatres in the Czech Republic and Austria will complete the European Route next year. The driving force behind the construction of the European Route of Historic Theatres is PERSPECTIV, the Association of Historic Theatres in Europe. Together with its partners, the Theatre Royal in Bury St Edmunds, the Vadstena Academy in Sweden and the Renaissance city of Sabbioneta in Italy, it has been uniting and promoting historic theatres in this way for the past two years, supported by the Culture Programme of the European Union. Each part route of the European Route consists of up to twelve theatres, offering an enjoyable trip of about ten days (if you want to see them all in one go). The new Channel Route is a good example for this. It starts in the North, in Britain’s oldest preserved theatre, the Georgian Theatre in Richmond, North Yorkshire. It opened on 2nd September 1788 as part of a theatre circuit run by actor-manager Samuel Butler, presenting his production of Inkle & Yarico, a comic opera by George Colman, and The Midnight Hour, a comedy by Elisabeth Inchbald. In 1830, the theatre closed but occasional performances took place till 1848. Subsequently it was used as a wine store, auction house and for other purposes. In the 1950s Richard Southern Theatres Magazine AUTUMN 2009 7 Photo: National Monuments Record © English Heritage by Derek Kendall The Leidse Schouwberg rediscovered the theatre and started a first restoration campaign. On 5 May 1963 the restored theatre reopened. Since then it has served as a community theatre, offering a wide range of productions as well as special events highlighting its history. A second restoration and refurbishment was undertaken in 2002/03, adding a twin building to the existing Georgian playhouse. Also part of the complex is a theatre museum that presents Britain’s oldest stage set, a “Woodland Scene”, and much more. Heading southward on the Channel Route we come across another form of commercial theatrical enterprise: the music hall. A small but beautiful example can be found in Nottingham, next to the market square. The Malt Cross, dating from 1877, still operates as a pub today and as a music venue – the classic combination since the age of Queen Victoria when the music Georgian Theatre, Richmond 8 AUTUMN 2008 Theatres Magazine hall was invented. It is full of architectural delights, including the original domed glass roof. Stop here for lunch and then continue into Wales, to Craig-Y-Nos Castle. A theatre in a castle? Yes, since this castle was constructed only in the early 19th century and later became the property of a theatre woman, the famous soprano Adelina Patti (1843–1919). Brought up by her Italian parents mostly in New York, she gave her London debut in 1861 and went on to become the primadonna assoluta of her time. She made England her home and Covent Garden her harbour from where she embarked to the opera houses of the world. In 1878 she bought Craig-Y-Nos in the hilly woodlands near Swansea, and in 1891, when she was thinking of retirement, the architects Bucknall & Jennings added a private theatre to the castle where she continued to perform for her guests. The theatre has been preserved almost entirely, including the stage, stage machinery, scenery, and a painted front curtain, showing Patti in her role as Semiramide. The floor of the auditorium can be raised to stage level to form a ballroom. The castle itself is now a hotel, surrounded by 40 acres of country park - a great retreat for theatre lovers. Via London with its abundance of theatres and shows, the Channel Route leads to the Theatre Royal in Bury St Edmunds. Built in 1819 by the eminent neo-classical architect William Wilkins, the Theatre Royal is the only surviving Regency theatre in the UK. It has recently been restored to its original appearance, including a thrust stage, a prerequisite for performances of the almost forgotten English drama repertoire from around 1800 that have become the hallmark of this theatre by now. As in Richmond, this theatre was originally built as part of a theatre circuit, testifying to the motor of British theatre life from Shakespeare’s time onward: the entrepreneur, the actormanager of commercial theatre. Sailing across the Channel from nearby Harwich and arriving in Leiden, we find yet another example of theatrical entrepreneurship: the Leidse Schouwburg, the oldest still-working theatre in the Netherlands (elsewhere the aristocracy or the bourgeoisie served as the motor of theatre development, as we shall soon see). In the picturesque city centre of Leiden, only 20 minutes from Amsterdam, the actor Jacob van Rijndorp received permission to construct the first public theatre in Holland in 1705. Architect Jan Willem Schaap enlarged the building in 1865. His new facade still indicates that The Patti Theatre at Craig-Y-Nos he joined three building for the purpose: the old theatre building in the centre, and one house on each side with apartments which he turned into foyers, offices and more space around his horseshoe-shaped auditorium. Like so many theatres, this one was threatened by demolition in the 1970s, but saved by a public outcry, to be restored only 20 years later. Today it seats 526 and offers more than 230 performances all year round. Although the Dutch have a long theatre tradition, more than half of the theatre buildings in the Netherlands date from after 1945, and the older ones have been remodelled again and again, like the one in Leiden. In search of historic theatres, we therefore cross the border to Belgium where the history of the Théâtre Royal du Parc in Brussels, founded in 1782, mirrors the history of this bilingual country. It is also interesting to see that this theatre was originally part of a Vauxhall, a concept that was imported from London - where the first pleasure garden of this type opened already in 1660. In Brussels. the Bultos brothers commissioned such a Vauxhall in 1780 in a new park in the city centre. Two years later, the theatre building by the architect Louis Montoyer was added for indoor performances. The Bultos Brothers also ran the Théâtre de la Monnaie at the time and were hoping to foster young actors and singers for it in the Vauxhall theatre, where they trained child actors for this purpose. But it seems that this strategy never worked out. The programme definitely changed from light entertainment to serious drama in 1879, performed exclusively in French from the 1930s onward. Surprisingly, much of the Vauxhall ensemble has been preserved, although only the theatre and the adjoining ballrooms are in operation today. The intimate “bonbonnière” style auditorium seats 550, who can enjoy performances in French every day except Mondays from September to May. In nearby Ghent, a unique example of a Flemish opera house can be found. It is an L-shaped building with a suite of three stately halls stretching for 90 metres, leading to an equally magnificent auditorium. It was commissioned by rich Ghent industrialists as a showcase for their considerable, newly acquired wealth. Inaugurated in 1841 and redecorated in 1887, the opulent, harmonious interplay of architecture, painting and sculpture was carefully restored 1991-93, with the enfilade still featuring the later colour scheme. Today the theatre is one of two venues for the Antwerp-based Flemish opera company (Vlaamse Opera). A couple of hours to the south, the private theatre in the palace of Chimay illustrates the connections between this part of the country and France. Joseph II, 16th Prince of Chimay, commissioned the theatre in 1861. As architect of the new theatre he chose the French architect and stage designer Charles-Antoine Cambon (1802–1875) who brought with him the plans of the first theatre at Fontainebleau that had burned down in 1856. Now Cambon created a new version of this French theatre in Chimay: a jewel in the crown of Belgian theatres. Inaugurated in 1863, it seats 200 and is used occasionally for concerts. The palace theatre in Chimay is a link to France, where the King and the aristocracy played such an important Richmond Nottingham Bury St Edmunds Leiden Craig -Y-Nos London Brussels Ghent Chimay part as supporters of the theatre, or to Germany, where this support multiplied in an abundance of little and larger Kingdoms, Dukedoms, Margravial realms etc., as can be seen on the German Route of the European Route of Historic Theatres. For further information on the Channel and other historic routes through Europe do visit the PERSPECTIV website, perspective-org.uk. As well as information about each of the theatres along the three Routes available currently you will find the route maps. There are also plans to provide updated performance schedules for the theatres, so allowing the keenist of travellers to book shows along the way, as well as offering other suggestions for sights and activities on your journey. Theatres Magazine AUTUMN 2009 9 Protecting the Palace: Nelson’s hidden treasure The Courtyard Theatre, Stratford-upon-Avon Photo: Mark Price The Trust’s Planning and Architecture Adviser, Mark Price, reports on the temporary reprieve offered to the Nelson Palace 10 AUTUMN 2009 Theatres Magazine Nestled in the eastern part of the Lancashire Dales lies the pretty town of Nelson, a mill town named after the famous Admiral Lord Nelson. The town grew rapidly in the Victorian period in response to the rapidly expanding cotton industry. Like many Victorian theatres the Nelson Palace was built to serve the growing community bought about by the industrial revolution. The Palace was designed by the architectural practice of Matthew, Watson, Landless and Pearse that had offices in both Liverpool and locally in Burnley. The theatre opened on 13 December 1909 and had a seating capacity of 1,730. It was renovated in 1926 and improvements were carried out to the foyer in 1937. Unfortunately, in 1979 the whole building was scheduled for demolition for the Scotland Road Link Scheme: a new highway being promoted by the Lancashire County Council. But after consideration, the County felt that it was only the foyer and entrance tower that needed to be demolished, leaving the auditorium and fly tower which still stand today. The unassuming brick elevations and rendered walls are very visible as part of the streetscape as they align with the two roads, concealing the beauty of the theatre within, albeit a somewhat faded beauty that is showing the signs of neglect. Nevertheless, The Theatres Trust’s view is that the auditorium of the theatre is architecturally and historically significant. The interior, designed and decorated by plasterwork specialists A R Dean & Co, has slightly curved balconies whose fronts divide into panels with fine plasterwork cartouches. The upper balcony directly abuts the sidewalls, with the decorative treatment of the front continuing along the walls as panels and cartouches. The first balcony has short slips running into the principal visual feature of the auditorium: a single box on each side set between giant ionic columns supporting an open-topped segmental pediment, all richly decorated. It has a rectangular proscenium with an enriched frame and a flat ceiling with an enriched circular central panel and plasterwork bolection mouldings. The Theatres Trust has always been aware of the architectural significance of the Palace and included it on its Theatre Building at Risk (TBAR) register in 2007. At that time it was identified as being at low risk. As far as we were aware it had a good alternative ‘soft’ use and we had no reason to believe that the bingo operator was imminently looking to vacate and sell the freehold. Furthermore, although the level of the stalls floor has been altered and a false ceiling inserted in the stage, the auditorium and stage could easily be restored to theatre or alternative uses. It has a proscenium width of 9.75m (32ft) and a good-sized fly tower with full back stage facilities. In August 2009 the Trust heard the news that the Palace was threatened with immediate demolition. Unfortunately, there is no protection for theatres within the planning system (or indeed any building other than residential properties) from demolition when they are not statutory listed nor fall within conservation area, and therefore there is no requirement to consult the Trust on proposals for demolition. The theatre had been included within the Nelson Town Centre Masterplan and demolition was proposed for a leisure development opportunity on the site, and in the short-term as a car park for the Wavelengths swimming pool. The town centre Masterplan was developed and launched by Pendle Borough Council in September 2006 to encourage Nelson’s regeneration. It was proposed that work would be carried out over a three-year period to make access to the town easier and improve its image. The improvements would act as a catalyst for additional private sector investment and included the construction of the Arts, Photo: Ian Grundy Community and Enterprise Centre that opened in June 2009 and has a 150-seat studio theatre. As The Theatres Trust had already identified the Palace as architecturally significant, we immediately put the building forward for spot listing to English Heritage, the only possible action at this time. Within four days, and to its credit, an Inspector from English Heritage visited the theatre and made a recommendation to the Secretary of State on whether to list the building. Over 150 people wrote to English Heritage in support of the listing application and these were forwarded to the Secretary of State. Commendably, Pendle Borough Council (PBC) also stated that they would not demolish the building until the Secretary of State had made a decision over the listing, something that it had no obligation to do. At the time of writing we await the decision. However, as there is no way of knowing whether the Palace will be statutory listed, and as listing does not guarantee the protection of a building, the Trust requested a meeting with Pendle Borough Council to discuss the situation. At the end of August, a meeting of interested parties was convened bringing together: Dr David Wilmore of Theatresearch; David Eve from the Plaza Stockport Trust; from Pendle Borough, Stephen Barnes, the Chief Executive; Brian Cookson, Executive Director for Regeneration; and Councillor Allan Buck with the responsibility for Economic Development and Tourism within the Borough; and myself for The Theatres Trust. We wanted the Borough to look at options for the theatre – other than immediate demolition. Speaking for the Borough, Stephen Barnes had not appreciated the importance of the building and was happy to enter into discussions surrounding possible uses and ways forward to develop a Trust to look after the theatre, but as far as they were concerned that there was little local support for the building. All agreed that this was because few people had been inside and there was no current plan of action. In addition, the Council pointed out that it did not have the funds or capacity to operate and run another historic building as part of its portfolio. It was suggested that in order to move forward, a short paper was required to convince Council Members that theatres of this nature (even if unlisted) can and do attract funding and sustainable uses. A paper will go to the PBC Executive Committee in September 2009. This report will summarise the significance of the theatre, make a case for its retention, and propose the establishment of a Trust to take forward future proposals for the building. The new Trust would then undertake a feasibility and options study to identify a productive future use for the theatre, future ownership and management arrangements. Spot listing is often the only savour of theatre buildings to prevent demolition but the preservation of a theatre by listing does not stop there. There needs to be a sustainable end use, and users, and certainly in the case of the Nelson Palace, The Theatres Trust will continue to explore all avenues and support those who are fighting to secure the future of one of Pendle’s theatrical gems. Theatres Magazine AUTUMN 2009 11 Following the announcement of its £3.5 million restoration project Chief Executive, Philip Bernays, provides a history of the theatre and reveals their plans for the future. Theatre Royal, Newcastle Upon Tyne The majestic Theatre Royal in Newcastle is often referred to as ‘the greatest building on Britain’s greatest street’, and it is undoubtedly one of the finest theatres in the UK. Granted its Royal Licence by King George III in 1788, it occupied a modest site before being reconstructed as the flagship building in Grainger and Dobson’s famous city plan in 1837. Today, its impressive colonnades still stand as the crowning glory of Grey Street. The interior is no less imposing. After a fire tore through much of it in 1899, it was treated to an entirely new auditorium courtesy of the eminent theatre architect, Frank Matcham. With its rococo panels, opulent fabrics, and excellent sightlines, the Theatre Royal’s 20th century interior came to be as celebrated as its famous façade. The Grade I listed theatre today is both neo-classical monument and cultural engine, with an annual audience of 337,000 and over 380 performances each year. The third home of the Royal Shakespeare Company, alongside Stratford-uponAvon and London, its programme is rich and varied featuring world-class drama, including National Theatre productions, an Opera North season, and a rich array of contemporary dance, musicals and comedy. The survival of the Theatre Royal depends on conscientious stewardship, sensitive restoration, charitable support and perhaps most significantly, continued Photos: Ian Grundy commercial success. With 91% of income coming from ticket sales, consistently supportive audiences are vital. In the summer this year, a major £3.5 million restoration project was launched. The aims of this ambitious three-year scheme are perfectly in line with the needs described above - to conserve the building and to create an improved theatre-going experience for the public. A further aim is to ensure the theatre is looking its very best for its 175th birthday in 2012. The conservation programme has now begun, with a comprehensive survey complete and some of the more timeconsuming restoration techniques (such as paint analysis) well underway. The work will also include a series of measures to protect the external fabric of the building including the famous portico that has been subject to rainwater damage. In the auditorium new seating will be installed at all levels, new lighting and ventilation systems introduced and major renovations will be made to all fabrics, with new carpeting and paintwork and reinstatement of extensive gold leaf work present in the Victorian era. As the theatre is an independent charitable trust, a Heritage Fund has been set up to enable members of the public and businesses to contribute to the refurbishment. A limited number of patron packages are available, offering seat dedications, invitations to exclusive patron events and various other benefits. The cost of every theatre ticket purchased also includes a contribution to the fund. The Theatre Royal is not only one of the most impressive buildings in Britain, but it is also a major monument of civic pride. It has a place in the hearts and minds of every person in the North East and also many further afield. For this reason alone, its restoration is of vital importance for our present customers and also for the future generations who will inherit this much-loved theatre. We also know far more about the famous theatre designer Frank Matcham than ever before, and there has never been a better time to re-instate some of the magnificent features and details he intended. For more information about the theatre and its restoration visit theatreroyal.co.uk. Theatres Magazine AUTUMN 2009 13 Hull’s new Truck GROUND FLOOR PLAN 1 Foyer 2 Hull Truck theatre 3 Studio theatre 4 Dressing rooms 5 Workshop 6 Box office 7 Bar / Servery 5 2 7 6 1 4 3 6 5 7 2 1 4 3 4 2 3 7 5 1 6 14 AUTUMN 2009 Theatres Magazine 8 FIRST FLOOR PLAN 1 Foyer 2 Hull Truck theatre 3 Studio theatre 4 Dressing rooms 5 Workshop 6 Education 7 Bar / Servery SECOND FLOOR PLAN 1 Administration offices 2 Gantries 3 Green room 4 Rehearsal room 5 Production and design 6 Directors 7 Terraces 8 Artwork Hull Truck’s new purposebuilt home has received critical acclaim. Creative Director, John Godber, reflects on the development process and on getting his own office after 25 years! I think it’s perhaps best to admit from the start that whilst I’m putting these thoughts together about being involved with the delivery, design and the running of the brand new £15 million theatre for Hull Truck that I am still more than a little bit in shock. It is not so much the fact that the theatre has been built, more or less on budget, nor the fact that it has been received with great warmth and praise, nor that the main 440seat auditorium has large comfortable seats, nor even that the studio is likeable and adaptable but essentially a theatre space at 135 seats; but perhaps because I actually have an office; for the first time in the twenty five years I have been associated with the company. Granted I share this new prize with the Company’s Artistic Director Gareth Price, but I have my own desk now and my new title Creative Director above the door. Well it was above the door, but it fell off last week! I have a phone and a computer. It’s like all my birthdays have come at once. One might ponder what to do with a new theatre I’m wondering what to do with my new office. Up until now I had been working from various offices at home or from a lap top in the foyer or green room; or variously from a caravan or my car, or other theatre’s I have visited over time on tour… but an office? So if this article is full of ramblings and Photo: Ian Grundy euphoria it’s probably because the dizzying reality that I have somewhere to go in the theatre to call my own for the first time in a quarter of a century hasn’t quiet sunk in; I still find myself sat in the bar with my computer primed; what was it that David Mamet said about writing in restaurants… I think the actual reality of having an office built especially must have been lost on me over the last eight years, and maybe it’s easy to see why when you consider the gestation period of the project and the plethora of meetings, consultations and discussions which were initially about spaces and theatres and structure and rig heights and sight lines and workshops and dressing rooms, rehearsals rooms, youth theatre spaces, foyer ergonomics, roof terraces and the all important green room and its location and facilities, to mention just a few topics we debated over. Later on I was surprised when the discussion took on a more domestic hue; variously about flatbread, soup and toilet tile colours. Indeed the more the theatre became a reality the more the detailed discussion was not about the core reason for being involved; it was about those all important ancillary activities which have proved to be so much a part of our theatre going experience. There were times I can tell you when I thought I was working for Ikea. For what felt like years we seemed to be caught up in a discussion about anything but theatre. Maybe its function, role and purpose was a given but for a while it did seem strange. I’m not sure it ever struck anyone that this was not the reason that I became involved with the theatre world but I was happy to put my point forward when asked what colour worktops might be best in the wardrobe department. Indeed I may be speaking for the whole production department, the artistic team and the management staff when I make this point, because all of them had ownership of the project, and all of us seemed happy to sit for hours discussing the nature of the bar stool. Of course after the bar stool we had to consider the various tables for use in the upper foyer and thereafter the colour of the sofas. Again we all threw ourselves into these discussions with a verve and passion that would have made even Terence Conran Theatres Magazine AUTUMN 2009 15 jealous. It was another example of theatre professionals possessing transferable skills. If ever Hull Truck was to come off the road I am sure that we could all get jobs with as interior designers. I suppose, joking apart, that we were blessed with a team of architects –Wright and Wright of Camden - who encouraged discussion and involvement and who very much wanted us to feel ownership of the project as the “client”. They were right to do this of course. We have a reputation as both a home base theatre and a touring theatre company. Over time we have perhaps toured to every venue in the country though I suspect like many other theatre professionals we had hardly stopped for a moment to think of ourselves as experts in the world of building theatres. We were too busy making theatres work. I do wonder though whether or not the manner of these projects doesn’t place the client in an odd position at times. Though it could be argued that it was our money we were spending; i.e. essentially public, as a theatre outfit we were not geared up to deal with such large figures. Indeed up until the project came online, if we made a mistake, with a bad production or serving a poor pint or a casting error, the consequences were relatively minor. Now we were somewhat all equally responsible for building a large theatre that couldn’t be hidden, right in the middle of the city where most of us have chosen to live. You could almost feel the weight of responsibility at times. Of course, we had project managers and consultants, but the truth was they didn’t know how “this” theatre was going to work - nobody did, and that’s what became clear after a while; theatre projects are so unique that experience on a previous project is almost meaningless. Like the act of making theatre, when you build a theatre sometimes you’re not quite sure where you are going since every one is different, and what may work for one client may be anathema to another. That’s not to disrespect either the consultants, nor the project manager by the way, all involved were sensitive, communicative and supportive, but in my view we were all moving towards a no man’s land that we couldn’t actually be sure of; it was as you might imagine exciting and frightening in equal measure. As I reflect, now it’s clearer for me to see that it was very wise of Wright and Wright to actively encourage everyone on the staff to become involved with the move and to express a view about their department and the brave new world they 16 AUTUMN 2009 Theatres Magazine Photo: Hull Truck would be entering. I certainly feel that they have a relationship with the building which is deep and personal; in short they care; it’s an essential ingredient for making anything work, no less the case for a new theatre. It is also interesting how you can quickly forgive the past. Those eight years wrestling with the project, the short falls in funding; the contractors delays; the slippage; whatever that means and sundry other building speak parlance are forgotten and forgiven with the first full house. And since I’m in reflective mood it also seems that the building of a new theatre plays in directly the opposite direction to what my impulse to make theatre is - you have an idea - you find a space - you put the show on! For me theatre is about the “now”, it’s not about what will happen in eight years time when the building is open. I wanted it to be open already, maybe I had been waiting too long, and maybe we had been promised much before. Maybe I thought that they just would never build it? But they/we did and there it is; and I have to admit that I do get a ripple of excitement when I see the theatre standing proudly on Hull’s Ferensway, a city centre site beside the new Albermarle Music Centre, the new Holiday Inn and St Stephen’s the new £250 million shopping complex; a mere eighty yards from the bus station and the railway station. Yes you could get a train to Hull, stay at the Holiday Inn, eat in the theatre take in a play at Hull Truck, shop till you drop, and be Photo: Ian Grundy on the next train again the next morning. It’s almost as if it’s all been designed; and did I mention the extensive parking in the car park nearby, with a nominal charge of one pound after four o’clock should you wish to drive? Who would have ever thought that Hull would have such facilities working in harmony? There were times when I had doubts that a single brick would ever be laid, how easy it is now to dismiss those worries as merely phantom, but after a twenty five year struggle the shock of the new is still very much with me. Of course, anyone in this position would be biased, it would be crazy not to admit to that, but like a new Dad I catch myself telling people that Hull Truck have delivered a new theatre in the centre of Hull; currently the greenest theatre in Europe at a snip of a price; less than many overspends and that we boast a Youth Theatre 320 strong, a new writing policy, a purpose-built educational suite - Interact - an in-house rehearsal room, three roof terraces, state of the art dressing rooms, meetings spaces, good bar stools, comfortable sofas, iconic design and very good food on offer - don’t believe me, try the soup!...and she’s only three months old. So buoyed by the new arrival I informed Alan Plater of this when he came to see his tribute to Hull City A.F.C., Confessions of a City Supporter. I even went further explaining how delighted I was that the theatre was complete; that it didn’t look like an excuse of a building, that it looked robust and muscular just as we’d wanted in those discussions a millions years ago, so effusive was I that I mentioned that it would be in Hull forever and that they would have to bomb it to get rid of it. Alan dryly remarked that it wouldn’t be the first time they’d done that to Hull; so I’d not to hold my breath! And then he said “Maybe they wouldn’t have ever built the theatre if you hadn’t come to Hull twenty five years ago?” And do you know what: that that may be the biggest shock of all. The new Hull Truck Theatre opened on April 23rd 2009 as planned with a new play with music; Funny Turns, which John Godber wrote to accommodate six professional actors and a youth theatre ensemble of 16. Theatres Magazine AUTUMN 2009 17 From left to right: The new Greenock Arts Guild Hoxton Hall Photo: Ian Grundy Neptune Theatre, Liverpool Photo: Ian Grundy Theatres Round-up News on theatres and theatre projects from around the country Demolitions and new designs for Doncaster Despite a strong local campaign to save the Doncaster Odeon, permission was granted for its demolition in July. The local authority planning committee voted five to three in favour of a scheme submitted by Lazarus Properties that will see the cinema torn down and replaced with a four-storey, mixeduse leisure and retail complex. The Theatres Trust voiced its objection to planning and conservation area consent applications, arguing that the building had particular merit as a ‘building of its time’ and could easily be repaired and preserved as part of the street scene. News of the decision came as a blow to the Friends of Doncaster Odeon campaign group who had tried unsuccessfully to have the building listed. A Facebook group set up online to fight the redevelopment plans had also attracted nearly 2,000 members. Meanwhile, proposals for a new arts centre in the town have moved a step closer after a £300 million civic and cultural quarter development was given the go ahead. Doncaster Metropolitan Borough Council has now signed a contract with Muse Developments so allowing work to begin on the major redevelopment scheme to transform the centre of the town. The current scheme will see the creation of a new theatre and arts centre designed by architects RHWL. Initial plans provide for a 600-seat main auditorium, together with an adaptable studio space, and drama and dance studios. It is hoped that the building will be completed by 2012. 18 AUTUMN 2009 Theatres Magazine Glasgow Coliseum demolished Following the disastrous fire that engulfed the Glasgow Coliseum in May, what remained of the Frank Matcham designed theatre was quickly demolished. Although inspectors had deemed the building to be unsafe, supporters of the theatre expressed disappointment about the speed at which the decision was taken. Dr Gordon Barr, of the Scottishcinemas.org project said, “We feel demolition was very quickly being talked about as the only option. We would have liked to have seen a decent investigation taking place into the option of retaining the foyer block and tower at least.” It is not known what will happen as far as the redevelopment of the site is concerned at this time. The Guild has now settled on a site on the waterfront in Greenock, alongside to the Customs House, the area now being referred to the harbours. In finalising plans, the location of the new building has been rotated through 90 degrees and moved in a northerly direction so that it will be situated closer to the river. The Guild’s new home is being supported by a grant of £2.7 million from Scottish Arts Council and £2.5 million from Inverclyde Council. The new facility will provide a 500-seat main auditorium, 130-seat studio space, together with a multi-purpose rehearsal room, conference room, and waterfront café/bar and bistro. It is anticipated that construction work will commence early in 2010. The Greek theatre at Bradfield We are grateful to Peter Ruthven Hall for alerting us to an incorrect report in the last issue of Theatres Magazine concerning the demolition of the Greek theatre at Bradfield College. Despite our earlier report, the demolition has extended only to the wooden temple building, which was rotten and posed a health and safety issue. The theatre itself – the tiered seating and the ‘sacred grove’ are in adequate condition and have been retained and there are plans to return it to its original state in the future. Scotland’s thematic study of theatres Following a thematic study undertaken by Historic Scotland, into which The Theatres Trust fed its views, a number of theatres are being recommended for either listing or re-grading. New listings are being proposed in respect of Haddo House Hall in Aberdeen at Category B, and Abroath’s Webster Theatre, the Brigend Theatre in Dumfries and the ABC Cinema in Sauchiehall Street, Glasgow, all at Category C(S). Two theatres have also been proposed for re-grading from Category B to A – Dundee’s Caird Hall and Glasgow’s Pavilion Theatre. Greenock plans move a step closer The redevelopment of Inverclyde’s theatre and arts centre - the Greenock Arts Guild - moved a step closer at the end of June when their planning application was submitted to the local authority. The latest from Derby Hippodrome As The Theatres Trust continues to press for a long-term strategy for the conservation and future use of Derby Hippodrome, the partially demolished theatre once again featured on the Trust’s Top Ten Theatre Buildings at Risk (TBAR) register. Meanwhile, a trial date has now been fixed for 22 February 2010 at Derby Crown Court after the two defendants, owner Christopher Anthony and demolition contractor, Mr Watson, formally entered not guilty pleas at the committal hearing in June. The trial is estimated to last two weeks. Edinburgh Odeon wins reprieve Plans to demolish the former Odeon Cinema in Clerk Street, Edinburgh have been halted temporarily following the decision by the Scottish Government to ‘call-in’ the listed building consent application. The resultant public inquiry will now decide the future of the Grade B listed cinema. Local councillors agreed the plans for a boutique hotel, bar-restaurant and art gallery after just one hearing, despite protests from Historic Scotland. Under existing proposals, only the Art Deco façade of the would be retained as part of the £20 million redevelopment scheme. Theatres in the round 360-reality.com, a non-profit website designed as a showcase of the commercial company’s virtual tour photography, has captured a number of the North East’s theatres using their high definition photography system. Performing arts venues currently available to view online are the Theatre Royal and the Tyne Theatre in Newcastle Upon Tyne, The Sage in Gateshead and The Customs House in South Shields. Visit 360-reality.com for further information and click on the ’Music Venues & Theatres’ link. Live Nation theatres for sale News that Live Nation is looking to sell its UK theatres is of particular interest to The Theatres Trust as it is the freeholder of London’s Lyceum Theatre. The live entertainment group, which sold its US theatres back in 2007 in a $90 million deal is seeking bids for its portfolio of 17 UK venues. Stanford Hall plans under threat Chek Whyte, owner of Stanford Hall, is fighting bankruptcy after amassing debts estimated at £30 million. Having fallen victim to the ‘credit crunch’ and the fall in property values, his financial problems are likely to threaten the redevelopment and restoration of the Grade II* Stanford Hall in Leicestershire. The Theatres Trust had previously supported a scheme that would have protected the future use of the theatre within the Hall. Liverpool’s Neptune may reopen Liverpool’s Neptune Theatre, which has been closed for over four years after a long-running dispute between the city council and the building’s owners, Hanover Estate Management, has been resolved. The owners of the theatre put the annual rent up in 2005 from £6,000 to £60,000, forcing the closure of the venue. The Grade II listed Neptune on Hanover Street in the city centre opened as a concert hall, Crane Hall, in 1911 but was soon brought into regular theatre use. It is expected that the theatre will undergo a programme of refurbishment with the hope of it reopening in summer 2010. The local authority is now seeking an external partner to run the theatre. information contact Tony Layton, 12 Loampit Hill, London, SE13 7SW, telephone (020) 8691 6361, or email [email protected]. Hoxton Hall celebrates its 99th anniversary London’s Hoxton Hall celebrated the 99th anniversary of the laying of the foundation stone of the Quaker funded extension and “Mission Centre” on 18 June. The guest of honor was Allan Noel–Baker whose forebears laid the foundation stone of the extension. Anthony Burton gave a fascinating speech summarising the history of the Hall and the Quaker involvement. Hayley White, Hoxton Hall Director, spoke of the exciting new developments that had taken place recently, including the securing over £1 million from the National Lotterybacked ‘My Place’ scheme to continue to develop the buildings. Live theatre returns to the Alhambra Following its re-opening in 2008 as a music and entertainment venue, live theatre is to return to Dunfermline Alhambra in October 2009 when the National Theatre of Scotland present Fredrica Garcia Lorca’s The House of Bernarda Alba. Simon Fletcher, the theatre’s manager, said: “It was always the aim of the Alhambra Trust to bring live theatre back to the venue and there is no better way of doing this than with the NTS. We are delighted.” Frank Matcham Society seminar The Frank Matcham Society, in conjunction with the Ambassador Theatre Group, is holding a one-day seminar at Richmond Theatre on Friday 23 October 2009. Victorian and Edwardian Theatre: The Matcham Legacy, will be chaired by former Theatres Trust Director, John Earl, and topics covered will include, Matcham’s experience in restoration and improvement of theatres, an illustrated review of decoration and furnishings of the period, a Matcham theatre at work in the 21st century, and an actors appreciation of period theatres special qualities. There will also be a chance to see Richmond Theatre’s Matcham Room. For further Dunfermline Opera House DVD After much delay, the documentary DVD about the demolition and resurrection of the Dunfermline Opera House, as mentioned in the Winter 2008 issue of Theatres Magazine, is now available to buy from Talisman Films. Dunfermline Opera House – From Fife to Florida began life as a stills photography project but was expanded into a film containing comments from many notable local personalities and contains the only moving image of the Opera House being demolished. It charts the history of the theatre, which was torn down to make way for the Kingsgate Centre and bus station in 1982 before being ‘cut up’, saved and stored and eventually shipped to the USA, where it was rebuilt in Sarasota, Florida. The DVD is available to buy online at talismanfilmsscotland.com. Rosehill celebrates 50 years Whitehaven’s Rosehill Theatre celebrated its half-century at the beginning of September with a series of Hungarian-themed events. The Rosehill was the creation of Sir Nicholas Sekers, who emigrated from Hungary (hence the themed celebrations) in 1937 and opened a silk mill in the Cumbrian town. He engaged one of the leading theatrical designers of the day, Oliver Messel, to produce a design for a theatre interior in a converted barn in the grounds of his home at Rosehill. Today, the theatre retains its original atmosphere, acclaimed at its opening as a, “rose-red silk lined jewel box”. Wallsend Borough listing request fails Acting on the advice of English Heritage, the Secretary of State has turned down a Theatres Trust request to list the Borough Theatre in Wallsend. The Trust had been concerned about the threat faced by the theatre and had included it on its Theatre Buildings at Risk (TBAR) register. After bingo use ceased its owners placed it on the property market as a ‘development opportunity’. In rejecting the Borough for listing English Heritage argued that the theatre had suffered from significant levels of external alteration which have severely compromised its original design, and were also unconvinced by the quality of its interior. For regularly updated information on theatres visit the news section of our website. Theatres Magazine AUTUMN 2009 19 From left to right: Key Theatre, Peterborough Photo: Ian Grundy former Old Nick Gainsborough Photo: Ian Grundy The new Maltings Arts Centre Current Casework Update on current theatre planning cases Fortune Theatre, Bristol Bristol City Council Unlisted (in Conservation Area) Ref: 09/01154/FB and 09/01155/LC DECISION: Conditional Approval The Trust initially objected to planning and conservation area consent applications to erect a replacement theatre at Bristol Cathedral Choir School on the basis that limited information was submitted regarding the proposed replacement theatre. Following receipt of revised plans, the Trust was happy to support the application, in principle. The proposed new facility, replacing the original theatre that was housed in a converted garage seating just 100, and with limited facilities, will provide a 220-seat multi-use drama and dance studio. The Trust recommended that the applicants undertake an independent peer review exercise regarding the internal technical design and spatial configuration of the scheme and offered to attend a Design User Group meeting. compromised both as a functioning auditorium, and architecturally, by a succession of alterations over the years. Despite welcoming the proposals, the Trust’s view is that there are areas that will need further attention and revision that it hopes will form part of a later phase. There are also some concerns about the limited get-in, however with the current configuration of the theatre and its listed status it is considered something that cannot be improved. Adelphi Theatre, London London City of Westminster Listed Grade II* Ref: 09/02373/LBC DECISION: Pending The Trust has supported a listed building consent application to redecorate the auditorium at the Adelphi Theatre. The works will, in the Trust’s view, improve the appearance of the auditorium and are de minimis in nature, as they will replicate the existing colour scheme within the theatre. Paxton Suite, Buxton High Peak Borough Council Listed Grade II* Ref: 2009/0264 DECISION: Approved Maltings Arts Centre, Dorchester West Dorset District Council Listed Grade II Ref: 09/000283 DECISION: Pending The Trust has supported a listed building consent application that will see the Paxton Suite in Buxton’s Pavilion Gardens transformed into a new performance venue to be known as the Pavilion Arts Centre. A 100seat studio theatre is to be created within the existing stage area and the existing auditorium refurbished. The Paxton Suite has been The Trust gave its principled support to an application for alterations and extensions to the former Eldridge Pope’s Brewery to create a new arts centre. The application provides for revisions to an earlier scheme that was approved previously. The Trust supported the concept of a 450-seat theatre, particularly as there has been a business planning 20 AUTUMN 2009 Theatres Magazine exercise (effectively a Needs and Impact Assessment) carried out by the applicants, which established that there was demand for a medium scale repertory theatre in the town. In terms of external design the fly tower has been carefully considered and the design concept does not, in the Trust’s view, adversely harm the character of the Maltings or the appearance of the surrounding area. Old Nick Theatre, Gainsborough West Lindsey District Council Listed Grade II Refs: 123836 and 123835 DECISION: Pending The Trust has supported planning and listed building consent applications to refurbish and extend this venue, housed in a converted Victorian courtroom in the Lincolnshire town of Gainsborough. Under current proposals, a creative business centre is to be incorporated within a new building to the rear of the site. The Trust’s decision has been informed by its understanding that the theatre company’s overall strategy is to enliven the area and engage with the larger cultural audience that exists in and around the county. Together the alterations and additions proposed should provide a sustainable business model for the venue. Royal Hall, Harrogate Harrogate Borough Council Listed Grade II* Ref: 09/02036/SOSLB DECISION: Approved The Trust has given its principled supported a listed building application to install handrails to the internal stairs at Harrogate’s Royal Hall. The plans were accompanied by a Planning and Access Statement which stated that ‘the special character of the building will be unaffected by his proposal’, and from the Trust’s interpretation of the plans the work would appear to be lightweight and reversible in nature and therefore agrees that they will not adversely harm the special architectural interest or character of the listed building. Barbican Theatre, London Corporation of London Listed Grade Ref: 09/00253/LBC DECISION: Approved The Trust has supported a listed building consent application for the removal of existing windlass systems from the theatre’s grid area. The application provides for the retention of one windlass so as to allow the theatre to function effectively whilst also preserving the historic technical interest of the listed building. Almeida Theatre, London London Borough of Islington Listed Grade II Ref: P090774 DECISION: Pending After initially objecting to a planning application to demolish the former Royal Mail sorting office and redevelop land to the rear of the Almeida Theatre, the submission of more detailed plans together with discussions with representatives from the theatre encouraged the Trust revise its position and offer its support to the scheme. The mixed use retail/residential redevelopment plans now also provide for additional accommodation for the Almeida, so allowing the theatre’s operation to be housed on one purpose-built ‘campus’. The Trust did, however, recommend that a Construction Management Plan be submitted as part of the planning application in consultation with the theatre management, which should address issues of noise and vibration around the theatre during construction. New Westminster Theatre, London London City of Westminster Unlisted Ref: 09/00996/FULL DECISION: Approved (Subject to S106 agreement) The Theatres Trust has supported a planning application for alterations to an earlier approved scheme in respect of the new Westminster Theatre. The new scheme requires the existing terraced roof level extensions (currently under construction) to be reconfigured providing 36 residential units in total, as well as some redesign of the external cladding. In terms of the theatre’s internal integral design, this has been carefully redesigned. The applicants have also agreed to secure an occupier for the theatre who has experience in running arts venues, and the lease for the theatre will be signed and attached to the Section 106 Agreement. The Trust was concerned, however, that the plans did not adequately show the proposed signage – both the large letter ‘THEATRE’ signage and the necessary advertising panels and fascias are at the lower levels. The building has also been designed without a canopy and for clarity it was suggested that these elements be a requirement to any consent. Apollo Victoria, London London City of Westminster Listed Grade II* Ref: 09/03893/LBC DECISION: Approved The Trust has supported a listed building consent application for the display of 11 non-illuminated show display boards and three internally illuminated signs at ground level at the Apollo Victoria. The light boxes proposed are to be slender in section, and as they will be located at low street level they will not adversely harm the character of the listed building or the surrounding streetscape. The design concept also follows advice and positions endorsed within the City of Westminster’s Theatreland Lighting and Signage informal guide published in November 2008 and recent precedents on other West End theatres. London Hippodrome London City of Westminster Listed Grade II Ref: 09/00372/ADLBC DECISION: Approved The Trust has supported a listed building consent application for the strip-out of the London Hippodrome auditorium prior to the commencement of demolition works in respect of the earlier consent granted for casino use. The application was accompanied by a detailed schedule of work and plans indicating the full extent of demolition. All of the works proposed relate to the removal of later additions to the venue that have no special interest, and are in preparation for the conversion for casino use and the restoration of the theatre auditorium. for the installation of ventilation extracts in the studio extension at the Key Theatre. In the absence of clear plans and supplementary information regarding the installations it was suggested that the Council request revised plans and more detailed statements from the applicant. Pegasus Theatre, Oxford Oxford City Council Unlisted Ref: 09/00880/FUL DECISION: Approved King’s Theatre, Southsea Portsmouth City Council Listed Grade II* Ref: 09/00654/FUL DECISION: Conditional Approval The Trust has supported a planning application relating to the installation of photovoltaic panels to the pitched roof elements of the theatre. The benefits of solar electricity are obvious: it will help save the theatre money, with electrical energy produced is either used directly in the building or sold back to the electricity supplier, as well as enabling the theatre to reduce its carbon footprint. The additional benefit of installing photovoltaic panels is that they generate electricity using daylight as opposed to direct sunlight, so producing energy on cloudy or overcast days. The Trust has supported an application for the formation of a surface car park for public use (after demolition of existing garages) in Exmouth Road, Southsea. The King’s draws its audience from wide area and the Trust is conscious of the conflicting interests of ‘out of town’ theatre visitors requiring parking places and those of local residents, whose roads become congested. As the theatre expands its programme this scheme should address previous difficulties. Key Theatre, Peterborough Peterborough City Council Listed Grade II Ref: 09/00322/FUL DECISION: Approved Whilst the Trust would have expected there to be a report showing that the efficiency of the proposed units and equipment, it nevertheless offered its principled support for a planning application Parr Hall, Warrington Warrington Borough Council Listed Grade II Ref: 2009/14386 DECISION: Conditional Approval The Trust has supported a listed building consent application to upgrade, refurbish and renew technical installations within the auditorium and roof space at Warrington’s Parr Hall. The works will improve the technical facilities and provide better safety conditions for users. Theatres Magazine AUTUMN 2009 21 Reading Matter Reviews of recent publications on theatres Theatreland: A Journey Through the Heart of London’s Theatre Paul Ibell £25.00 Continuum Books Hardback, 240pp ISBN 9781847250032 If theatre reflects everyday life then Paul Ibell has certainly made an exhaustive study of that area of London we call Theatreland, and of those who work and play there. This remarkable book provides a series of snapshots of such a wide variety of activities and people that it has to be read to be fully appreciated. This brief review can only give a flavour of the disparate information that Paul Ibell covers, some of which is also to be found in the regular columns of the theatre sections of the press. His chapter on “audience” reflects upon their behaviour, good and bad, and he advances the interesting view that the increase in standing ovations is because people want to stand up as a result of the cramped legroom in many theatres. The book contains information about the major organisations which support the theatre, like the SOLT (The Society of London Theatre) and The Theatres Trust, as well as looking at the way that theatre supports the economic well being of the local community, particularly the restaurants and bars. There are many minibiographies of performers, playwrights, and administrators, either as independent chapters or contained within a review of a particular theatre or organisation. 22 AUTUMN 2009 Theatres Magazine It is not surprising that Paul Ibell also includes comment upon the poverty of many of the dressing rooms in the capital’s theatres and the shortage of women playwrights, a criticism he counter balances by welcoming the significant increase in the number of female theatre administrators and theatre publicists. These are all interesting and useful contributions. As far as promoting an interest in theatre is concerned, the author comments upon the recent history of the Theatre Museum and also draws attention to the Mander and Mitchenson collection, which is housed at Greenwich University. In both of these major collections there are significant numbers of theatre programmes, which he points out, are an important social record. If I have any small niggles about this book it is the lack of firm information on the theatres themselves. We are not told, for example, that the Prince of Wales Theatre was a total rebuild, and he makes no connection between “The New” and “The Coward” although this singular theatre, renamed, is mentioned on successive pages. The most glaring mis-statement is that Andrew Lloyd Webber “purchased” the Lyceum before its reopening in 1996 – but he has not done so – yet! Nevertheless, this is a very readable volume, part history, part criticism, part biography, and part explanation of the existing situation and with a few pointers to the future. MICHAEL SELL Piers of Sussex Martin Easdown £12.99 The History Press Paperback 160pp ISBN 9780752448848 It is with the greatest pleasure that I am reviewing this book by Martin Easdown. Having grown up in Worthing, these structures provide me with many fond childhood memories. As with Martin’s other books on piers, it is meticulously illustrated with a combination of old photographs, postcards and examples of posters and programmes. Together with text, the book provides an interesting insight into each individual pier within the County of Sussex, and a chronological history of the alterations that have been undertaken over the years as well as a host of curiosities about the people that were involved or enjoyed these seaside pleasure structures. The book also gives examples of all the pier crazes and entertainments associated with such structures. Some are obvious such as tea dances, rollerskating, parading, diving, Punch and Judy shows, angling, bowling, and concerts. But some of the more obscure include a rifle range at Eastbourne; an exhibition of embroidery by the Royal National School of Needlework featuring twenty-seven panels of English history since 1066, housed in the purpose built ‘Triodome’ at Hastings; and at St Leonards, performing fleas where there was even a funeral laid on and the flea cast into the sea! With my Theatres Trust hat on, it is interesting to note that many of the piers illustrated in the book include pier theatres, and the old photographs included show what these opulent theatres used to look like. Sadly, almost all of them are now lost or in other uses. Of course my favourite is Worthing Pier. Partly because I spent my early years running up and down it and in later years clubbing and courting, but also because of its architecture. Worthing is essentially 20th century with the Pier Pavilion being added in 1926 and the rest of the pier dating from the 1930s. I have always admired the ‘Jazz’ style appearance of the later seaward structures, which are funky and well maintained, enlivening Worthing’s Edwardian seafront architecture. Eastbourne Pier, however, to my mind is the most architecturally significant as a survivor of what these Victorian pleasure piers looked like, particularly now that others have been altered or destroyed. Eastbourne was in fact upgraded recently and given a Grade II* statutory listing to reflect this importance. Certainly it is the most complete Victorian example with its seats, windbreaks, kiosks, lights and enriched architectural seaside paraphernalia you would expect for a pier of this date. It also had a pier theatre dating from 1901 and a music room/dance floor added in 1925. However, one pier I was not aware of was the Brighton & Rottingdean Seashore Electric Railway – known as the ‘Daddylong-legs’. This bizarre structure had pier landing stages at Brighton and Rottingdean and a platform car (on long metal legs), known as the ‘Pioneer’, which was powered by electricity and ran on railway tracks between the two stages through the sea. I am not going to dwell on the Brighton piers as I was too young to ever experience the finest pier in the UK, the West Pier, now sadly destroyed, and the much altered Palace Pier that lost its fine 1500-seat oriental-style theatre in the early 1980s. Other piers featured in the book include those at Littlehampton amd Bognor Regis together with the Brighton Royal Chain, the Selsey Lifeboat Pier and piers that never were. MARK PRICE Piers of Sussex is available online at thehistorypress.co.uk. Coventry Picture Palaces Gil Robottom £14.50 Mercia Cinema Society Paperback, 188pp ISBN 9780946406647 This book, the result of its author’s life time interest in the cinema in his native Coventry, begins with the surmise that “moving pictures” were probably first shown in Coventry as part of a variety programme at the Sydenham Palace Music Hall in 1896. His researches then account for the conversion of an auction room as the Star Cinema in 1910, the development of five purpose built cinemas in 1911 and the arrival of three “super cinemas” in the 1930s.The devastating effects of the air raids on Coventry during the Second World War included the destruction of three cinemas and severe damage to a number of others. Much credit in this volume is also given to a number of local men who invested in and developed cinemas before the arrival of the likes of the ABC and Odeon chains. As is usual with this society’s publications, much diligent search has provided a wealth of illustration from local sources and private collections. A gazetteer lists more than thirty cinemas in the city at one time or another. Also listed, with technical details, are Coventry’s dozen or more cinema organs. Sadly Gil Robottom, the author of this comprehensive work, died before it was ready for publication. However, the addition of an afterpiece by Ian Meyrick brings the story up to date and the book, designed, edited and indexed by Mervyn Gould in exemplary fashion, will remain a lasting memorial to one man’s dedication. GRAEME CRUICKSHANK Coventry Picture Palaces is available (£14.50 p+p free) from: Mercia Sales, 23 Thrice Fold, Cote Farm, Thackley, Bradford, BD10 8WW, or online at merciacinema.org. Cinemas of North Tyneside Frank Manders £12.95 Mercia Cinema Society Paperback 140pp ISBN 9780946406654 It is always a delight to read the work of Frank Manders – his wellresearched books have become standard texts for the cinemas of the North East. This new offering is no exception with plenty for both cinema and theatre lovers alike. I was particularly interested to see a significant entry for the Borough Theatre in Wallsend – currently under threat – unoccupied and unlisted and unfortunately turned down for listing by English Heritage at the end of August, so depriving the theatre of the protection that it so richly deserves. Not only does it contain one of the best decorative sunburners that I’ve ever seen, it clearly has an architectural pedigree obtained from the North East architectural practice of Hope and Maxwell. Given their prodigious output it is sad to report that only their Swansea Grand remains. The Borough Theatre is by their architectural pupils J. Fleming Davidson and Charles D. James The book takes the form of a gazetteer, charting the rise and fall of cinema dynasties. It is both an architectural and social record of an almost forgotten time when entertainment was the primary focus of our leisure time. The photographs also include images of the Spanish City, Whitley Bay – currently under partial restoration, as well as the Whitley Bay Playhouse (before its current reconstruction). The book is also a salutary tale of loss. I first came to the North East in 1975 and 34 years later this book serves as a stark and personal reminder of the losses that have been incurred. Nevertheless, life would be much poorer without this book – and I heartily recommend it to one and all. DR DAVID WILMORE Cinemas of North Tyneside is available (£12.95 + £1.20 p+p) from: Mercia Sales, 23 Thrice Fold, Cote Farm, Thackley, Bradford, BD10 8WW, or online at merciacinema.org. Theatres Magazine AUTUMN 2009 23 Friends & Corporate Supporters news New Friends The absence of this column from the last couple of issues means that we must belated welcome a long list of new Friends, as well as offering our apologies for the delayed acknowledgement. We are pleased to welcome the following individual Friends: Eric Mountain, Keith Hutton, Colin Winslow, Simon Hardy, Rev. Simon Grigg, Fiona Blackett, Andrea Bennett, Alan Rennie, Richard King, Mitchel Lewis, Ian Johnson, Stanley Smithson, Brian Loudon, Dr Andrew Filmer, Rick Bond, Liz Wilson, John E Clarke, Simon Erridge, John Murphy, Martin Moore, Roxy Daniells, Caroline Noteboom, Richard Bunn, David Fearns, Gillian Shaw, Gayle Jeffery and Keith Evans. We would also like to welcome as new Life Friends Tom Healey and Gillian McCutcheon, and extend our thanks to the Octagon Theatre, Bolton, Arup NY, and the Everyman Theatre, Cheltenham who have joined us as Corporate Supporters. Trust news Two Trustees retire The Trust has lost two long-serving Trustees following the retirement of Dr Phyllis Starkey MP and Pat Thomas OBE. Both Phyllis and Pat joined the board of Trustees in 2000 and had served the maximum three terms of office allowed by the DCMS. The Chairman, Director and fellow Trustees are grateful for the dedication and commitment, as well as invaluable expertise, they have provided over the last nine years. The Trust is now three Trustees short of its full complement of 15, although all three vacant posts have recently been advertised. Under current timetabling laid down by the Department for Culture, Media and Sport we would hope to be able to announce the names of newly appointed Trustees in the next issue of Theatres Magazine. Conference 2010: The Trust is in the intial planning stages for its 2010 conference, ‘Designing School Theatres’, which will take place on 26 April 2010 in Leeds. It will focus on the design of theatres co-located or within schools, colleges and higher education institutions, looking at the particular design challenges of creating spaces that feel and work like theatres whilst also serving a range of educational, learning and community needs. Further details will be published in the next issue. Trust publishes its Annual Report The Trust publishes its 32nd Annual on 15 September. In recording what was a year of change for the Trust, the illustrated Report covering the year to 31st March 2009 includes an introduction from our new Chairman, together with the Director’s review, summaries of some of the key theatre cases, as well as providing complete casework listings. A pdf version of the Annual Report will be available to download from the Trust’s website. Copies are also avalable by post. Please send a large (99p) SAE. Dates for your diary 26 - 27 September 2009 Music Hall Memories 1.00pm & 3.00pm Britannia Music Hall, Glasgow Join the Britannia Panopticon Company for an old fashioned vareity show with music, magic, songs, singa-longs, comedy sketches, novelties and exhibition of artefacts found in this historic music hall. For further details visit britanniapanopticon.org 24 AUTUMN 2009 Theatres Magazine General & contact information Trustees Rob Dickins CBE (Chairman), Jason Barnes, Dr Phil Clark, Marilyn Cutts, Venu Dhupa, Tim Foster, Baroness McIntosh of Hudnall, Penelope Keith CBE, DL, Dr Pauleen Lane CBE, Chris Shepley CBE, Sam Shrouder, Ben Twist Consultants John Earl, Jonathan Lane Staff Mhora Samuel Director Mark Price Planning and Architecture Adviser Paul Connolly Administrator Suzanne McDougall Assistant to the Director Rose Freeman Planning Assistant Kate Carmichael Resources Officer Fran Birch Records Officer Damian Le Sueur Design and Web Creative The Theatres Trust is the National Advisory Public Body for Theatres. The Trust provides leadership in the planning and protection of theatres, safeguarding existing theatres and improving the planning environment for theatres across England, Scotland, Wales and Northern Ireland. It is sponsored by the Department for Culture, Media and Sport. The Theatres Trust 22 Charing Cross Road, London WC2H 0QL Tel: (020) 7836 8591 Fax: (020) 7836 3302 [email protected] www.theatrestrust.org.uk The Frank Matcham Society, in conjunction with the Ambassador Theatre Group presents: Victorian and Edwardian Theatre: The Matcham Legacy Richmond Theatre, Richmond Upon Thames Friday 23 October 2009 For further information contact Tony Layton, 12 Loampit Hill, London, SE13 7SW, T: (020) 8691 6361 E: [email protected]. While the Prague Quadrennial celebrates the best theatre scenery and costume designs, there is another international four-yearly event which focuses on the buildings that house this scenery – and the associated performers, audiences and technicians – the Theatre Engineering and Architecture Conferences. The first was organised in 2002 in order to provide a forum for the dissemination of good planning and design information on auditoria and stage engineering. The success both of that and of the 2006 Conference led to the event being replicated in New York in 2008. The next London date is June 2010 when designers, architects, consultants, engineers, directors, managers and others interested in ensuring the creation and maintenance of good theatres will come together for three days of professional papers and debate. Details of the programme and booking information will appear on the theatreevent website in the autumn and will be updated as the Conference develops. Anyone interested in contributing should contact Richard Brett, the Conference Director on +44 20 8549 6535 or [email protected]. This unique Conference runs from Sunday 13 June to Tuesday 15 June in three venues at the Central Hall Westminster. Over the three days there will be 30 sessions as well as 13-15 June 2010 plenary addresses, design master classes, and debates on topics as wide-ranging as Central Hall Westminster sustainability, electro-acoustics, seating and www.theatre-event.com the role of live theatre in the modern world. Join Us Become a part of theatres future By becoming a Friend or Corporate Supporter of The Theatres Trust you are showing support and playing an important role in our work. All donations and subscriptions go directly towards helping promote and protect theatres for future generations to enjoy. Members benefit from being well informed of important developments through Theatres Magazine and our monthly News Digest. For details on becoming a Friend please call the office on 020 7836 8591 or email [email protected] For details on becoming a Corporate Supporter please call the office on 020 7836 8591 or email [email protected] UK_Ad_Theatres_Mag:UK_Ad_Theatres_Mag 8/3/09 Open HOuse LOndOn Open HOuse LOndOn 19 – 20 September Open House London SELADOR Celebrate the Capital's Architecture ELEMENT SENSOR, EOS ION, CONGO SINEWAVE SOURCE FOUR Your chance to explore hundreds of inspiring buildings including theatres, cinemas and music halls for FREE. Discover how great buildings shape our lives. See openhouse.org.uk for details Supporters Media partner Local authorities in London UNISON PARADIGM SMARTFADE REVOLUTION Award winning lighting. HALF PRICE PRE-REGISTRATION FOR 10 IS AVAILABLE NOW AT See us at PLASA 2009, Earls Court, London, 13-16 September, Stand no.1-G39 WWW.PLASASHOW.COM /REGISTER VISITOR ENQUIRIES +44 (0)845 218 6024 London, UK ETC Ltd, 26-28 Victoria Road Ind. Estate, Victoria Road, London, W3 6UU Tel +44 (0)20 8896 1000 www.etcconnect.com