ISSUE #33 AUTUMN 12

The Hippodrome: Restoring a landmark

Community Assets — Theatres at Risk 2012 A sustainable future for Hall Ecovenue Showcase: KX Platform Theatre, London

Protecting theatres for everyone 2

9

The Hippodrome: Restoring a London landmark 2–5 Front cover photo: The dramatic head figure which forms the Community Assets – Theatres at Risk 2012 6–9 centrepiece of the topping the A sustainable future for 10–11 proscenium arch at the London Hippodrome © Locker & Riley Showcase: KX Platform Theatre 13–16 Theatres Magazine is edited by Paul Connolly. Ecovenue 18–21 © 2012 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, Theatres Round-up 22–23 queries and letters are always welcome. Current Casework 24–25 ISSN: 1759-7668 Reading Matter 26–27 Designed by www.vincentdesign.co.uk Photo diary 28 Printed by Wyndeham Gait Limited Dates for your diary 28 Advertising sales: Nicola Rowland

"     !      !!!    #   !  

Photo: David Jensen HIPPODROME, LONDON NATIONAL SKILLS ACADEMY, THURROCK NEW VENUE BUILDING FOR THE FUTURE The 200-seat Matcham Room is an intimate A new state-of-the-art training facility for new performance space which has been the entertainment industry, this building AUDIO inserted into the stagehouse of this Grade will deliver industry-endorsed training for II listed theatre and hosts ‘Live at the young people & professionals from the world Hippodrome’. Charcoalblue led the designs of theatre and live music. Charcoalblue for the flexible seating and stage areas and provided strategic input into the masterplan, designed the technical systems throughout and detailed planning and technical design LIGHT the venue. services to the project. OLD VIC CHARCOALBLUE REFURBISHMENT Charcoalblue has collaborated with Andrzej Charcoalblue remains the brightest and LTD Blonski Architects to refurbish this historic most innovative theatre and acoustic SYSTEMS 1780’s Georgian theatre. The scope of the consultancy in the UK. We are inspired by project has included increasing comfort a passion for all types of performance, and and improving sightlines for audience, new we bring a unique blend of collaboration and technical systems throughout the building commitment to all our projects. We enjoy and new rehearsal and ancillary spaces. what we do - and people seem to enjoy working with us too!

‘A HEARTBREAKER...’ DIONNE WARWICK LIVE AT THE HIPPODROME www.AudioLightSystems.com

CBL Theatres Magazine - DRAFT 17 Aug 12.indd 1 17/08/2012 14:08:44 Openings

Mhora Samuel Director

It’s been quite a summer (Olympics One of the theatres on the 2012 TBAR is Our conference broadened out the discussion and Paralympics not withstanding) the . It is due to be on sustainability to include economic, social and we have another full issue of TM demolished for a hotel development at a and environmental issues associated with for you to digest. For us it started with future date. Whilst we are concerned over the triple bottom line. We’ll also be publishing our conference at in the loss of the Cochrane given its central the Conference Report written by Jo Caird June, followed not long afterwards by location on the fringe of Theatreland, in September. Hayley White, Group Director the announcement of our 2012 Theatre we are pleased that a replacement theatre at Hoxton Hall, one of the participants in Buildings at Risk register in July. In the was provided by Central Saint Martin’s, the the Ecovenue project picks up on their triple same month the London Hippodrome Cochrane’s former owner, on its new campus bottom line approach in her introduction to opened to the public as the Hippodrome at Kings Cross. Theatre Consultant, Andrew their three phase redevelopment programme, Casino. Reopening this landmark building Stone of Drama by Design describes the work which includes environmental improvements, in the heart of Square was a his company undertook to deliver the new new and improved educational facilities, major exercise as it involved significant KX Platform Theatre, which opened in historic restoration and plans for a new capital restoration and reinstatement of the November 2011. development to drive increased earned income original Matcham interior. Plasterwork and support their long term viability. specialist, Locker & Riley, was engaged At our annual conference, ‘Delivering to restore the plasterwork of the London Sustainable Theatres’ on the 12 June at Each year we take a stand at the PLASA Hippodrome and in our lead article its Stratford Circus, Tim Atkinson, the Trust’s Show at Earls Court to increase awareness director Jon Riley describes how they Theatre Building Services Adviser gave a of the Trust’s work and at this year’s show approached the work. special presentation on the Ecovenue project. we’ll be publishing the ‘Delivering Sustainable The project will end on the 30 September Theatres’ Conference Report together Our 2012 Theatre Buildings at Risk register and we’ll be publishing an evaluation report with ‘Evaluating Ecovenue’, a report which was published on the 5 July. Once again this in September. Here Tim gives us a flavour summarises the work we’ve be engaged received much publicity, particularly given the of his conference presentation and the with over the last three years. Our opening Government’s new emphasis on promoting Display Energy Certificate findings arising to a busy autumn ahead. assets of community value in the Localism from the project. Act 2011. The Trust’s Planning & Heritage Adviser, Mark Price reports on this year’s list and some of the opportunities for theatres to be reopened once again.

AUDIO LIGHT

SYSTEMS LTD

www.AudioLightSystems.com All photos © Locker & Riley (except where noted)

The Hippodrome Restoring a London landmark

Jon Riley of plasterwork The Hippodrome Casino opened in July 2012. featuring performing animals including horses, Back in the summer of 2010 Locker & Riley snakes, polar bears and elephants. It was specialists Locker & Riley was approached by the new owners of the subsequently converted for use as a variety describes the company’s London Hippodrome to reinstate the theatre’s theatre in 1909, when the proscenium arch extensive plasterwork as part of the ambitious was moved forward and the stage enlarged. work on the reinstatement restoration of this Grade II listed London Sadly, during the late 1950s, when of the decorative features landmark. Although the building was being the theatre was converted once again most brought back to life as a casino rather than of the original decorative plasterwork was of the London Hippodrome. as a theatre, it was nevertheless encouraging destroyed. Such was the extent of internal to hear that the whole volume of the structural alterations when the Hippodrome auditorium was to be reopened and became the Talk of the Town, a cabaret that the owners were keen to exploit restaurant, that the project was christened the building’s theatrical history. ‘Operation Pickaxe’. The auditorium was As many Theatres Magazine readers will ravaged and the majority of the original be aware, the London Hippodrome opened in plasterwork destroyed. 1900 as a hippodrome, or circus, for Edward With little remaining evidence of existing Moss. Designed by , the venue plasterwork and only a handful of historic included vast water tanks and played host photographs, researching the architect Frank to a number of Victorian water spectacles, Matcham’s original designs proved to be

2 AUTUMN 2012 Theatres Magazine a huge challenge. Historical evidence was digital artwork with plaster enrichments Area 3 Beam casings to the auditorium pulled from every available source to provide should funds permit. The final approach ceiling the basis of the reinstatement scheme. was classified into four categories. Area 4 Minstrels’ gallery ceiling We were invited to attend meetings These being: Area 5 Function deck (gallery) ceiling with Cadmium Designs (the lead architect) Type A Area 6  and existing decorative to establish the best method of conservation Existing fibrous plasterwork elements features to the upper balcony and repair. Given the dilapidation and remaining on site to be cleaned, patch Area 7 Diminished coves creating arches destruction of the original interior, it was repaired as necessary and decorated to the monogram cartouches found clear that a significant amount of the Type B to the upper balcony level decorative plasterwork would have to New fibrous plasterwork elements to be Area 8 Mouldings and clasp details to be entirely recreated. To this end, after developed from squeeze impressions taken the monogram arches extensive consultation with The Theatres from existing adjacent plaster details (Type A) Area 9 Columns to the proscenium arch Trust, City Council and reproduced to match in seamlessly Area 10 Scroll to the upper balcony English Heritage, together with Alan Type C Area 11 Upper and lower balcony fronts Baxter & Associates (the client’s historic New fibrous plaster elements as inspired incorporating cartouches, restoration consultant), an approach by existing features or historic photographs. and rinceau mouldings and plan were formulated. Sympathetic recreations of elements visible Area 12 Column and headers forming the The overriding approach was to from photographic evidence were hand arches to the balcony fronts sympathetically restore and recreate the sculpted by Locker & Riley’s artisans. These Area 13 Main proscenium arch incorporating decorative plasterwork in keeping with were initially drawn by Locker & Riley and columns, brackets (two vast sizes), Frank Matcham’s original intent. Given offered for approval by the historical design pediments (left & right handed), the enormity of the project, and mindful team and agreed as part of the planning pendants and the enormous of the commercial budget, an incremental discharge process. Moulds and casts were central cartouche design was carefully drawn up resulting in then created for the final fibrous plaster Area 14 Last remaining damaged panel a tiered delivery approach. The focus would elements for site installation found in the entrance hall be primarily on key features such as the Type D proscenium arch, minstrels’ gallery and the New decorative printed digital wallpaper In preparation, Locker & Riley’s artisans balcony fronts. elements as inspired by historical took record templates, carefully removing Costs were mitigated in other areas photographs. The artwork was developed sections where loose. Wherever possible, by simplifying designs and by the inclusion by Cadmium Design based on photographic impressions of existing plasterwork were taken of sensitive digital artwork in lieu of actual evidence and digitally printed onto durable for reproduction and these then were overlaid decorative plaster ornamentation in areas wallpaper which was applied to the fixed onto AutoCAD drawings to ensure correct such as the main auditorium beam casings elements on site proportions. In relation to the size and scale of and between the enormous brackets at the many of the items destroyed during the Talk minstrels’ gallery soffit. The extensive scope of work included: of the Town conversion the team traced the At all times this simplification was Area 1 Brackets to the minstrels’ gallery outlines of missing elements still visible in the carefully considered and planned in the hope Area 2 Digital wallpaper between the wall plastering. The original timber supports, that future generations could replace the brackets to the minstrel’s gallery that provided the framework for many of the

Theatres Magazine AUTUMN 2012 3 Piece by piece the missing components were carved, with cartouches applied with the “H” monogram and vast brackets being sculpted to the Minstrel’s Gallery and either side of the stage. Being a commercial venture, time played a significant part. We had to be focused on high quality whilst ensuring programme demands were also met. Careful planning was essential to the project’s success and to ensure the Casino was ready for the big opening night. The highly complex and detailed moulds were formed in the latest silicon rubber, which is so accurate that even a fingerprint can be picked up. Carefully cast in Locker & Riley’s workshops in , the finished components were delivered in dedicated vehicles and carefully distributed to the project. In the theatre we were working at over 20 metres above the floor and a maze of scaffolding was necessary to ensure safe working conditions and the close up access needed to undertake the works. Our specialist craftsmen and women main auditorium beams, offered further clues. Measuring some 13.5 metres high undertook the on-site installation. This All this was combined with historic photographs by nearly 16 metres wide, the scale was included in-situ hand carved repairs, taking the and enabled Locker & Riley’s design team to enormous. The first component that was templates and squeeze impressions, and final produce a set of finished workshop drawings. carved was the head feature found in the installation of the newly carved components. After the general AutoCAD “setting centre of the main cartouche. The scale was Working closely at all times with Beck Interiors, out” drawings had been established, our more than twice life size and the detailing, who co-ordinated the fit out, the seamless sculpture team was able to produce both despite being located over 21 metres above interface between all trades proved to beautifully scaled and full-sized sketches of the stage, was carved as if it would be be a huge success. each of the missing components for approval inspected close up and to the high quality Locker & Riley is honoured to have been and discharge of the listed building consent deserved by the Hippodrome. The carved the plaster restoration specialist employed to conditions. Each of these drawings were detailing was such that the full size central undertake this ambitious visionary scheme. works of art in their own right and necessary cartouche was used as the main exhibition The work has recreated the architectural to create the proportion and form for each piece at the London Decorex Exhibition to landmark that is the London Hippodrome sculpt to be produced. showcase the craft of Locker & Riley’s artisans back to Frank Matcham’s brief. A team of nine full-time sculptors’ headed to designers. Visitors had an opportunity to by Robin Lawrence set about carving the observe the close attention to detail that had missing elements. The most challenging of been applied before the piece was installed these by far was the proscenium arch high up above the stage.

4 AUTUMN 2012 Theatres Magazine The Hippodrome c. 1908 © RCHME

Upper section of balcony face cartouche “It was only when the unhappy state of the Hippodrome which faced the contractors after the nightclub era ended was shown in a series of slides that our members could see just what a mammoth task had been undertaken with such stunning results. How could such wonderful results be achieved when there had been so little to work on, they rightly asked! Members had visited the in the previous year and recorded their further congratulations to the Locker & Riley team responsible for plaster work there. Keep up the good work please!” Rupert Rhymes OBE, Chairman Frank Matcham Society

Circle pillar and supports

Theatres Magazine AUTUMN 2012 5 Community Assets Theatres at Risk 2012

Theatres at Risk is one of the Trust’s core service areas and our Theatre Buildings at Risk register provides a means of highlighting theatres in danger of being lost across the UK. Mark Price reports on the 2012 list.

On 5 July we published the Trust’s potential for community based organisations annual Theatre Buildings at Risk (TBAR) to secure the ownership of theatres for the register. Now in its seventh year, this is benefit of their community. For the first time in an important event which generates a legislation the Act defined a community asset, great deal of publicity for many theatres and provided clarity that these included land across the UK and highlights the potential and buildings of cultural interest. It placed an for bringing former theatre buildings emphasis on securing assets that could further back into use. social wellbeing and set out the legislation for The 2012 TBAR register identifies 49 local authorities to prepare lists of assets of theatre buildings in England, Scotland and community value. Once an asset is placed on Wales. Uniquely, the Trust’s register doesn’t just the list the owner of the property has to inform focus on a building’s architectural or historic the council if they decide to sell. Community groups then have six weeks to express an Swansea Palace Theatre interest in buying it and up to six months to © Mark Price put together an offer. The Trust’s hope is that this will encourage more theatre owners to recognise that their theatres are assets – for the community and the nation and work with trusts and local communities to secure their future. The changes in the 2012 TBAR register from last year highlight how a lack of care and investment by owners leaves theatres particularly vulnerable to neglect, whilst opportunities to harness the social and cultural value of theatres are being lost. It also shows how local champions, with the support of councils, grant making trusts and Lottery distributors can provide a new lease of life for theatres at risk. The good news in 2012 is that overall the number of buildings on the register has fallen from 56 last year. And we’re pleased some theatres have found the funds and support they needed, such as Wilton’s in London’s East End, the Gaiety Theatre in Ayr, value, it also looks at the quality of the building and the State in Grays. Wilton’s has received as a theatre and its place in the provision of funds from SITA Trust and the Heritage Lottery theatres in the UK. The new Localism Act, Fund which mean the capital works needed to passed in November 2011 represented a real secure the building’s future can now proceed. milestone in asserting both the values we The Ayr Gaiety has secured vital funding from apply to theatres in the TBAR register and the the Scottish Government and South Ayrshire

6 AUTUMN 2012 Theatres Magazine Hippodrome © Mark Price

Council to enable it to appoint a development (Grade II) Astoria in September 2011; officer, undertake an initial programme of and the Grade II listed Council owned Bedford capital works, and reopen later this year; and Civic theatre was lost due to a change of use. the State, Grays received planning permission The Trust is also very concerned about for a mixed use leisure and retail development the future of the 17 theatres added to the in January this year. In all, a total of 24 theatres register this year. Amongst those, Darlington have been removed from the 2011 register. Borough Council closed the Darlington Arts

“The new Localism Act, passed in November 2011 represented a real milestone in asserting both the values we apply to theatres in the TBAR register and the potential for community based organisations to secure the ownership of theatres for the benefit of their community.”

Centre earlier this year but plans to develop a new arts centre are yet to be finalised; the Precinct Theatre in is yet to find a new as a result of the redevelopment of the Packington Estate; and it is unclear what impact the loss of the Croydon Warehouse, which went into receivership earlier this year, will have for its planned replacement. A new theatre was secured by a Section 106 Agreement as part of the Ruskin Square development site, next to East Croydon Station, but a viable Business Plan is required. Without it the £3 million identified in the Section 106 could be given instead to Croydon Council without any guarantee that it would be used for a replacement theatre. The Theatre Royal in Margate also faces an uncertain future, though Thanet District Council and Kent County Council are committed to finding a solution to keeping the theatre open. Thanet Council took back the lease of Margate Theatre Royal in Theatre Royal, Hyde April 2012 and contracted Thanet Leisureforce © Mark Price But there is also bad news too - we’ve to operate the theatre for 12 months. lost some important local venues. The As well as highlighting theatres at risk Waltham Forest Theatre in Lloyd Park was through publishing the annual TBAR register, demolished August 2011, despite a vigorous the Trust works hard throughout the year local campaign to save it; Brighton & Hove championing those theatres most at risk and City Council granted Listed Building Consent working with local groups and councils to for the demolition of the statutory designated secure a future for the buildings. In preparing

Theatres Magazine AUTUMN 2012 7 our next three year plan we reviewed our There are 38 theatres on the 2012 register in work with theatres on the risk register and England. Those with the highest risk ratings established that we wanted to become more include: proactively engaged with the TBAR group of theatres. Going forward, in our three year Theatre Royal Hyde is currently closed. It plan 2012-15, ‘Theatres at Risk’ becomes one was purchased by an investment company, but is in need of extensive repair and restoration. Works to eradicate the dry rot have included removing the cinema inserted into the stage and levelling the auditorium floor. Hyde Theatre Royal Onward is campaigning to save the theatre. The longer term aim is to restore, reopen and establish a viable commercial or community use for Hyde Theatre Royal that respects its listed status.

Alexandra Palace Theatre in north London currently remains closed and unusable. However, the Alexandra Park and Palace Charitable Trust is developing a business plan specifically for the theatre in the context of the wider offer at Alexandra Palace, which would make the case for capital investment.

At Hulme Hippodrome, Tony Wright, community worker and Operations Manager for social enterprise Youth Village has embarked on a campaign to reopen the full building. Metropolitan University is very keen to support the project in the Alexandra Palace Theatre context of their involvement with Hulme and © Mark Price of four service areas. Our long term aim is to Moss Side (Student residential housing and establish specific projects and programmes community outreach). of work at the Trust to specifically secure the protection of these theatres. Hulme Playhouse was leased to Fountain At our 2012 conference, ‘Delivering Gate Chapel for 50 years in July 2012. Sustainable Theatres’ at Stratford Circus in It is in the process of fixing the roof, drying June we profiled the work of Tony Wright, who out the building and repairing broken windows. has been championing the Hulme Hippodrome, The Playhouse benefited from being in a a theatre which has been on the TBAR register reasonable condition as a result of the capital since its start in 2007. We visited Manchester works when it was the Nia Centre. The to meet Tony and members and officers of auditorium and the former stage area/foyer and also met with are now usable, but some attention is still Charles Nketia of Fountain Gate Chapel, needed to the plasterwork on the proscenium which has recently taken a 50 year lease and areas where the Playhouse adjoins the of the adjacent Hulme Playhouse. Hippodrome. In London, we have been assisting the Alexandra Park and Palace Charitable Morecambe Winter Gardens is owned Trust, supporting the development of a by a Preservation Trust which continues feasibility study to look at options for viable to fundraise and do piecemeal work. use of the Alexandra Palace Theatre. And in Sadly, lead flashings were stolen from Morecambe, we helped to raise the profile the roof in 2011 and the damage is of the Winter Gardens by introducing BBC estimated to cost up to £10,000 to repair. Reporter, Ian Youngs, to the theatre. He subsequently produced a short photo montage Palace remains closed and in with Preservation Trust chair, Evelyn Archer, poor repair since its owner was sentenced for showing him around the building. allowing his nightclub which operated in the theatre to be used to sell illegal drugs.

8 AUTUMN 2012 Theatres Magazine He was recently released on bail and wants to The Theatres Trust’s TBAR register bring the building back to life but has not yet works alongside other at risk registers elaborated on his plans for the Palace, saying of English Heritage, Historic Scotland, much would depend on the outcome of his Cadw, national amenity societies and appeal hearing. Stonehouse Action, a local local authorities. However the TBAR volunteer group is considering setting up a register differs from these risk registers Building Preservation Trust. in that it includes all theatre buildings, old and new, statutory designated, in is owned by Live “The good news in 2012 is a conservation area, or not listed. This Nation. The company has confirmed that it is means that the Trust is able to monitor that overall the number of progressing plans with Brighton & Hove City theatres which are under threat whether Council over the reopening of the Hippodrome buildings on the register has they are afforded statutory protection but the licensing of the venue remains an or not. The risk criteria that we apply are: fallen from 56 last year. And issue and the theatre remains empty. we’re pleased some theatres — Threat through sale or ownership; Empire remains closed and in a poor — Difficulties in obtaining capital or have found the funds and condition, and the owner is not contactable. revenue funding; support they needed.” — The poor quality of operation Derby Hippodrome remains partially threatening continuing or future demolished. Latham Architects have undertaken theatre use of the building; an Options Appraisal for the use of the theatre — High cost of maintenance / for the Derby Hippodrome Restoration Trust. refurbishment works; Restoring the Hippodrome to full working order — Local development adversely affecting as a 1,000-seat theatre would cost around access to the theatre or restricting £15.4 million, and a further £3 million would future expansion/improvements; be required to give the venue the technical — A clear threat of demolition; specifications of a West End-style theatre. — Alteration to a non-beneficial use; — Decay of a building not in use or Doncaster Grand remains in a poor state of removal of significant features; and repair and in private ownership. The Friends — Irreversible works which may prevent of Doncaster Grand Theatre as well as the a return to theatre use in the future. Mayor, Peter Davies, have written to the The Trust applies a ‘star rating’ which theatre’s owners, in effort to establish access also enables it to apply a qualitative and use of the theatre. judgement on the importance of the theatre as: In Scotland, the five theatres at risk include the Tivoli in Aberdeen. Purchased in 2009 by — A theatre (for example, excellent businessman, Mr Brian Hendry, his intention is sightlines, acoustics, warmth, facilities); to operate the Category A listed theatre on a — Its architectural quality; profit-making basis as a mid-scale venue with — Its historical significance; and ancillary facilities, through the Tivoli Theatre — Its uniqueness (in relation to the Company Ltd. The exterior of the building has provision of working theatres within been restored with a Townscape Heritage the locality and catchment and its Initiative grant and a listed building application value to the community). has been made to improve access and install temporary exhibition boards.

And of the six theatres on the 2012 register The Theatre Buildings at Risk 2012 in Wales, the Swansea Palace is of great Register can be searched online. More concern. Last in use as a nightclub, it closed in information on each theatre is provided 2006 and is now a dangerous state of repair through a link to the Trust’s online Theatres both internally and externally. The Swansea Database, which includes around 2,000 Civic Society has begun to prepare a list existing theatre buildings. Each of the top of buildings at risk within the City to target entries has a downloadable information sheet. for action. The Trust met with officers from Swansea Council in April 2012 and they indicated that they were trying to work with the owner to identify a potential community use for the building.

Theatres Magazine AUTUMN 2012 9 phases, each designed to meet three distinct requirements: A SUSTAINABLE 1. Education and Access 2. Heritage and Music Hall Theatre 3. Sustainability FUTURE FOR Each phase has been planned so that the building can remain in use by the community whilst building work is undertaken. HOXTON HALL Phase One: Education and Access The aim of this phase was to provide creative industry-focused youth facilities, access and major infrastructure improvements to position Hoxton Hall as part of the Young Hackney Centres scheme, providing a new youth service neighbourhood venue for Hayley White, Group Hoxton Hall is a beautiful and atmospheric Grade II* listed early Music Hall situated and the wider Borough of Hackney. Director at Hoxton Hall in Shoreditch, East London. Designed by Completed in June 2012 with a remarkably small 1% time and money overrun, phase one describes the juggling act James Mortimer, the hall, which houses adjoining spaces including music rooms has been a landmark in the building’s history, of heritage, modernisation, with recording space, rehearsal rooms, with an upgrade to critical services, which were at imminent risk of failure, many of environmental sustainability dance studio, art studio, design suite, meeting rooms and café (added as part which were untouched since its last and government funding in of a scheme in 1910), is a refurbishment in 1970s. Phase one works included a new lift, extensive new toilets their project to restore this purpose-built Music Hall which unusually did not have its origins in a pre-existing and plumbing, a new heating and ventilation important Music Hall public house. system, fire alarm and revamped facilities For 149 years Hoxton Hall has been such as our music, art and dance studios, the creative hub of its community providing to help achieve an overall building wide ‘education and entertainment for the humbler increase in capacity from 120 to 450. classes’ since Mortimer’s opening night on Phase one has provided over 900 local the 7 November 1863, to our present vision, young people with a place to not only enjoy ‘Nurturing Talent and Creativity of Young the arts but most importantly with space to Londoners’. Through its varied history and actively participate, taking inspiration from the many stories, Hoxton Hall demonstrates historic Music Hall. Through this work Hoxton the rich fabric of society, combining social Hall continues to inspire, support and change change, education and culture, all of which the lives of young people, in partnership are embodied in the physical space, as a with London Borough of Hackney and the pioneering arts, theatre and performance government’s Myplace programme (the main hub in East London. As well as facilitating funders of the work). youth arts, fostering community partnerships and playing a key role in the regeneration of Phase Two: Heritage and Music Hall Theatre Hoxton, the building also provides a stunning This phase addresses heritage preservation venue for performances, weddings, shows, and restoration alongside the challenges gigs and events. of repair and modernisation of the unique Hoxton Hall is one of only four remaining Victorian Music Hall and related facilities. early music halls in the UK, each of which Works include improvements to the fabric of is unique in style and history. Hoxton Hall the listed building, building services, technical is the only building which has been in facilities, seating, means of escape and constant use, never having closed its doors backstage facilities. It will also improve the in 149 years. capacity (from 120 to 250 in Music Hall) ensuring ongoing use and fitness-for- Refurbished Music Room © Amy Scaife Restoration and Refurbishment: purpose for at least another 150 years. the £5 million Master Plan Phase two looks to put Hoxton Hall on A significant capital works project began in the map as a heritage resource looking at March 2010, with Foster Wilson Architects how a theatre space has been at the centre producing a Master Plan consisting of three of a wealth of exciting East End stories

10 AUTUMN 2012 Theatres Magazine “Hoxton Hall is a theatrical survival of extreme rarity in national terms. Its outstanding importance was recognised in 1969 by its inclusion in the statutory Environmental Strategy Our services consultant and architect have list of buildings of special architectural or historic also developed an environmental strategy to interest and its upgrading in 1981 to Grade II*, address factors in design and construction plans and The Theatres Trust’s Ecovenue putting it in the top six or seven percent of all listed project has been a great source of advice buildings.” John Earl, May 2010 and support and provided useful measurement tools. In the context of a project that is largely from Shakespeare’s Rose Theatre and early Monitoring and reducing energy concerned with the restoration of a Grade II* Victorian Music Hall, early feminist stories — Installing sub meters on each circuit board listed building it was decided that BREEAM from the ‘Girls Guild of Good Life’, the to regularly measure any electricity spikes accreditation was not appropriate. We chose poor and the city, to the built architecture or unusual usage to a much more defined instead to focus on producing an energy of the Music Hall, the Quaker temperance location to target and reduce electricity; efficient design within the constraints of a movement’s ‘antidote to the gin palace’ and — Turning lights off when not required, historic building and a limited budget following the current day working theatre. introducing PIR operated lighting where BREEAM principals where appropriate and All themes contribute to the over arching appropriate and replacing bulbs with where they could be shown to add benefit. concept of the heritage at Hoxton Hall, ‘Lives’ energy efficient alternatives; of the people, ‘Leisure’ of the time (culture and — Turning down the thermostat by one The key aspects of the environmental theatre) and ‘Locality’ – the geographical and degree centigrade (cutting heating bills strategy in summary are: culturally diverse areas of Hoxton, Hackney c.8%), installing TVRs and regulating — Efficient mechanical and natural and East London. The sum of £247,400 has and managing heating times; ventilation – the Music Hall is to be provided been secured witha much larger £2 million — Installing 2 new modern condensing with heat recovery ventilation via two air Heritage Lottery Fund application currently boilers, expected to reduce heating bills handler units located on the roof. These pending. Further funding is required and we by over 30%; units have been selected to comply with welcome donations and support to help us — Adding new insulation pipe work to stringent eurovent criteria, requiring efficient achieve our aspirations for this phase. reduce heating costs. motors, controls and air filtration with low pressure drops; Phase Three: Sustainability Recycling and reducing waste and — Efficient lighting and lighting control This future phase will include a new build separate collections including the reintroduction of daylight development on a strip of adjoining land to — Providing appropriate bins to encourage to the Music Hall; create additional facilities for Hoxton Hall staff and visitors alike to recycle more with — Minimise water usage with appropriate including a café/bar, purpose built music an expected saving of £450 per year; selection of sanitary ware; studios and offices, combined with residential — Introducing a 80% paperless office - — Sustainable Materials – the use of accommodation to contribute to financial following phase one Hoxton Hall we considered materials from sustainable sustainability. Land acquisition negotiations are also introduced hot desking, invested in sources. ongoing and we are working on securing the increased server storage, the use of laptops finance for the cost of this phase, estimated in meetings and encourage staff not to print; Funding Juggle at £2.5 million. — Introducing dual flush toilets which are One of the main aims of the Master Plan was expected to reduce average flush from to set out the strategic phasing to secure The Ecovenue challenge 9 litres to 4.5 litres, saving £240 per year. funding and ensure we could meet funders’ Hoxton Hall has remained relatively untouched The taps were also replaced with push tap requirements. Hoxton Hall’s turnover (£1 since its expansion in 1910, and large scale heads saving further water. million), limited resources and the change repair work undertaken in the 1970s means of government in 2010 created additional the building consumes very little energy Green Travel Plans obstacles, with funds from the Myplace as it has limited electrical or mechanical — Providing bicycle parking for staff, with scheme temporarily frozen and an increase in infrastructure. Throughout the restoration 99% of staff travelling into work on public VAT. As a result phase one took over three work Hoxton Hall and Foster Wilson Architects transport, walking or riding a bicycle, years from inception until the final go ahead, have balanced a fine line between achieving reducing our carbon footprint. Hoxton Hall including the receipt of funds. However, the Hoxton Hall business plan, conservation has no car parking and is located in zone 1. phase one has been very successful and has and modern legislation and sustainability left us with a great sense of pride. Fingers measures – any upgrade to the electricity Greener Materials are crossed for the £2 million from Heritage supply would require a new substation costing — Purchasing materials/timber from Lottery Fund and the go ahead in November £80,000! sustainable sources; 2012 to save, preserve, modernise and Key management recommendations from — Purchasing locally manufactured products / sustain one of the oldest most intimate and the Environmental Audit and Ecovenue advice materials and services – reducing distance enchanting theatres and music halls for the we implemented in phase one and to date travelled and further cutting our carbon young people and community of Hoxton have included: footprint. and beyond.

Theatres Magazine AUTUMN 2012 11 Hall Stage are delighted to have been chosen to supply the New Platform Theatre with our Brickhouse System, double purchase counterweight sets, loading galleries, Skydeck front of house catwalks, along with associated steelwork, pulleys and fixed access ladders. As purveyors of Theatrical Engineering products since 1898, we can offer one of the longest histories, widest ranges and largest knowledge bases of any supplier. For all your stage and theatre engineering services, please contact us on UK:- 0845 345 4255 International:- +44 (0) 1582 439 440 Email:- [email protected]

It’s all in the name From design and build services for Garsington Opera Pavilion to stage engineering, including orchestra pit lift systems, orchestra pit rails and lighting rails, for Newcastle Theatre Royal, our name says it all.

Find out more about these and other projects at unusual.co.uk

Distributor for Liftket :: Prolyte :: Doughty :: Kinesys

+44 (0)1604 830083 [email protected] www.unusual.co.uk KX Platform Designed to replace the Cochrane Theatre, the KX Platform Theatre forms an integral part of the new Theatre, King’s Cross campus for the University of the Arts’ Central Saint Martin’s College of Art and Design. Central Theatre Consultant Andrew Stone of Drama by Design Saint Martin’s discusses his involvement in the project.

The new King’s Cross campus for the by the fit-out contractor Overbury plc to College, University of the Arts’ Central Saint Martin’s design and project manage all aspects of College of Art and Design opened at the end the performance spaces, which incorporate London of 2011 and has become home to 5,000 staff a number of custom designed and built and students previously located in a number elements as well ‘firsts’ for the UK market. of disparate buildings on six separate sites This was a very unusual project for us across London. The College forms the centre as, although some input was received from of a new cultural quarter in London, part of theatre consultants during the early design the regeneration of King’s Cross Central, a process of the project, no detailed design was 67 acre development that is the largest in ever completed prior to construction. At the London for 150 years. stage we became involved with the project The new building consists of a four- the building shell was already complete with storey 200 metre long new build section the main theatre space consisting of a huge (incorporating the theatre), which links to concrete box rising up through five floors a refurbishment of the Grade II listed, six- of the building. Our role was to design and storey Granary Building (once part of a goods construct a complete professional theatre interchange at the height of the Victorian within this space to meet the exacting industrial boom) and a Grade II listed transit requirements of the client. shed. An internal street draws daylight in The main theatre space, the KX Platform and acts as a central circulation spine with Theatre, was designed to replace the College’s suspended walkways, cafes, film, graphic existing Cochrane Theatre in central London and light projections. It contains a 300 seat which was utilised as a professional theatre adaptable professional theatre space spread space as well as for College productions. The over four floors with foyer, backstage areas, main client requirement was that offices and workshop, a flexible double had to be extremely flexible to support the height studio theatre space, two multipurpose College as a major force in one of the world’s performance workshop spaces, two lecture cultural capitals, a resource to offer unlimited theatres and numerous rehearsal spaces. opportunities for collaboration not only for The building was developed by Argent students and staff but also with the wider arts plc and constructed by BAM Construction and design community. essentially as a concrete shell. Theatre Although essentially an end-on performance Consultancy Drama by Design was employed space, the auditorium had to be designed

Theatres Magazine AUTUMN 2012 13 © John Sturrock

to cater for any eventuality. This meant that performances when the rest of the University set of handrails to go across the front to stop performances might take place anywhere in was closed. people falling off the front edge. The orchestra the space, not just on the main stage area; they The main seating block consists of three pit area can also be lowered into the floor to could be performing in the orchestra pit, on the separate electrically operated retractable provide three further rows of raked seating main seating area or on the balcony. Seating seating units housing fully upholstered theatre which gives the effect of a 750mm high raised was a major issue in this respect as the client style seats raked quite steeply to ensure good stage area. requirements were for this to be extremely sight lines throughout. The two outside blocks A new balcony area, sound/lighting control flexible, comfortable and intimate and to are set at an angle to ‘embrace’ the stage and rooms and equipment rack room were accommodate an audience of around 300. In bring the audience as close as possible to constructed around the main seating area at order to achieve this all of the seating in the the performance area. All three seating units first floor level. One of the main requirements space is removable, with all the balcony seats can be retracted individually providing further for the balcony was that the area could not being specifically designed for the project by flexibility both for performances and for when only be used for seating for performances UK seating company Hussey Seatway. the space is used as a teaching space. To anywhere in the lower space, but also as a performance area with the audience sitting on the stage or as a band space – essentially every area of the space can either be used as a performance area or audience area. Not only did all the seats need to be removable, but to facilitate performances taking place in the area immediately below the balcony, the side balcony seats needed to either face the stage or face straight forward. We worked with Hussey Seatway to develop a custom version of their fully upholstered Gallery chair to meet these exacting requirements. This consisted of mounting plates recessed into the floor of the balcony with chairs that bolted on to these, but with the ability to rotate the chairs through 45 degrees. As the balcony needed to be used as a performance area it wasn’t possible to construct permanent tiering to keep the floor as flat as possible, so two height versions of the chairs were designed to provide the required seating rake, the higher version having a foot rest to aid access on to the seat base and to ensure the seats were comfortable. A new corridor was designed either side facilitate this two sets of drop-in handrails are It wasn’t only the seating that needed to and to the rear of the main seating area to provided, a smaller set of simple hooped rails be specially designed to provide the flexible bring the audience through from the foyer for when all three seating units are out and balcony area as regulation handrail heights area to the front of the seating area. This then a set of full hand rails for when just the vary for seated and unseated areas. The means of access ensured that the theatre centre section is out. Additionally, as the front regulation handrail height for seating areas is could be used as a self-contained unit for row of seats can be removed, there is a further

14 AUTUMN 2012 Theatres Magazine “Designed by Stanton left. As with the stage lift, the stage right stair prevent sound reflecting around within the case incorporates a trap door over the top of pit area itself. Williams Architects, the it to close it off when not in use. However, just The flooring throughout the stage and building in its entirety in case anyone gets trapped down there, an auditorium needed to be suitable for dance escape ladder is provided down stage right – and drama productions as well as rock was named Winner of the another cost of flexibility! concerts, conferences and exhibitions. It Architects’ Journal AJ100 The front section of the under stage is a needed to be both hard wearing and good large orchestra pit area for up to 30 musicians. looking as well as being sprung. We worked Building of the Year 2012.” The client requirements were to have a flexible with Harlequin flooring to come up with arrangement to not only allow the pit size to a custom version of their Activity sprung 900mm whereas for unseated areas it has to be varied, but also allow the raked seating to floor system. This would normally have an be 1,100mm. Having a permanent 1,100mm continue down into the pit to create a ‘virtual’ engineered board finish, but it wasn’t felt high handrail would have obscured the view of raised stage area or for the pit area to be used that this would be durable enough for large the stage when the seats were in place so all as an adaptable performance area. We worked quantities of people to be walking across it the balcony handrails were custom designed with industry staging experts Steeldeck (which in outdoor shoes or dancing on it during a and built for the project to be dual height. co-incidentally used to be based in the Kings concert scenario. Harlequin therefore devised This was achieved by making the permanent Cross train sheds) and Harlequin Flooring to a version of Activity with a 21mm Parquet Oak handrails 900mm high and then providing design a custom solution consisting of 21 board on the top to ensure greater durability. some additional sections that quickly attach custom designed and built Steeldeck modules Above the stage and auditorium a series of to the main handrail to increase the height to with Harlequin Activity flooring set into trays gantries and an auditorium bridge have been 1,100mm. on the top. This allows each platform to be installed to provide access to all the technical To maintain the flexibility of the space set individually to any height or removed areas and lighting positions. The height above all the handrails are standard 50mm lighting completely. The flooring on top of these the auditorium is limited so we selected bar size to enable technical equipment to modules needed to be sprung to match the Skydeck wire mesh walkways installed by Hall be easily suspended from them and an rest of the floor, but as each module is a Stage for the bridge which runs across the additional lighting bar is provided on all comparatively small area this meant that the auditorium and down either side to ensure that the balcony fronts. floor on the edge of each module dipped it wasn’t too over-bearing above the audience. The stage area was constructed from a down much more than the rest of the floor These incorporate lighting bars, socket outlet steel frame with concrete top finished with presenting a trip hazard. Harlequin came up boxes and audio visual facility panels as well a timber sprung floor. The rear part of the with yet another custom solution of utilising as all the containment systems for the cabling. understage area incorporates a large store different density foam around the perimeter of Access to these walkways is provided via a and the stage lighting dimmer room with a each module to provide consistent springiness ladder up from the balcony or a ladder down hydraulic platform lift up to the stage left floor across all the modules. Custom removable from the technical gallery above. to aid access for heavier items. The lift has a handrails matching the balcony handrails are Technical gantries are provided around the trap door over the top of it so when not in use provided across the front of the orchestra pit stage both at fly floor level and at loading it can’t be seen and the whole stage area can area for when the pit is in the lower state. gallery level. At fly floor level the gantries go be used for performances. Working with acoustic consultants AECOM, down either side of the stage and across the As there is no backstage corridor at ground we created a series of custom designed back of stage and can be accessed from floor level, a stage crossover was created in the acoustic panels for the front/back walls either side via doors into the main building under stage area which has a staircase down and ceiling of the orchestra pit. These were at 2nd floor level. These gantries incorporate to it from the stage right side of the stage and designed to reflect the sound from the lighting bars in the handrail design with mains a second staircase back up from it down stage orchestra pit back up to the stage and to socket outlet boxes and audio visual facility

Theatres Magazine AUTUMN 2012 15 panels along all three sides. Low level blue There is a fully professional stage is a new Danish system utilising a system of LED lighting is provided on these gantries management system enabling the students interlocking plastic moulded nodes and rails and around the stage and at loading gallery to learn the complexities or running a to produce almost limitless arrangements of level. An access ladder is also provided from professional performance. A portable stage both shape and height for staging or seating. the stage left corner up to the technical management desk can be connected down Unlike the normal systems with a steel frame, gantry, but as this is 9m long it is fitted with stage left, down stage right or in the control as the tops rest on the plastic sides the both an intermediate rest platform and a fall room. This contains a programmable cue system is quiet in use and most components arrest system. light system, clocks, timers, house light can be stored in wall hung bags with the tops Above the stage Hall Stage installed control panel, paging control panel and two on wheeled dollies. The same loose seats as a Brickhouse 40-line double purchase video monitors, one of which is permanently specified for the main theatre are provided counterweight flying system ensuring the connected to a low light camera mounted on in the studio theatre enabling these to be maximum available space on the stage so the auditorium bridge providing a view of the moved around as required between all the that this can be used for seating as well stage back to the stage manager. There is performance spaces. as a stage area. The Brickhouse system a show relay and paging system covering all There are two multipurpose workshop from US Company Thern Stage Equipment the backstage changing rooms, offices, green spaces consisting of a black and a white box is a front loading arbor design that allows room and workshop as well as the front of – as the names imply one is completely white counterweights to be loaded at the most house foyer, bar and toilet areas. and the other completely black, quite a weird convenient location. Self-engaging spring The infrastructure installation extends experience walking from one to the other! loaded gates fully enclose the arbor structure into the foyer and bar areas as well as the They are both equipped with an internally to prevent the counterweights from falling out understage and backstage areas enabling the wired lighting grid, perimeter curtain tracks of the cradles. The fly weights can be stored performances to extend into these areas. and high and low level audio visual facility and loaded either on the high level loading As well as the main performance space panels which also link to the studio theatre gallery or on the fly gallery. there is a studio theatre which is more of a and main theatre space. The technical installation was carried conventional black box studio space accessed Designed by Stanton Williams Architects, out by Stage Electrics and consists of a from the main theatre foyer with Harlequin the building in its entirety was named Winner system of stage lighting socket outlet boxes Activity sprung floor. To ensure maximum of the Architects’ Journal AJ100 Building of mounted on the gantries and around the flexibility a Slingco Cablenet tension wire grid the Year 2012 and described as “quite simply stage incorporating a combination of switched is installed over the whole area which can the finest building completed by an AJ100 and dimmed outlets. Lighting positions are either be accessed from the first floor or via a practice in the past year”. We were pleased to provided on the balcony, but as this needed vertical ladder from the studio floor. have been part of this exciting project. to be used as a stage as well as for seating A full internally wired stage lighting grid custom floor boxes were designed to fit with socket outlet boxes and facility panels in-between the main structural steels and is mounted above the tension wire grid seating mounting plates and in the very which can be used for suspending scenery shallow depth. They consist of facility panels and curtains as well as lighting and sound mounted on their sides under the floor with equipment. a space in front with a lid over to allow the As with the main theatre space the connectors to remain in the boxes under the requirement was for both staging and seating floor with only the cables coming out through to be completely flexible with a range of exit slots in the lids. different formats and seating layouts. We specified an Aalborg staging system which

16 AUTUMN 2012 Theatres Magazine

As the Trust nears the end of its three year project, Tim Atkinson summarises some of the lessons learned and the valuable work that has been at the heart of Ecovenue.

In the years following the Trust’s housed in a converted woodshed and bus efficiency, and if a venue has one it must Conference 08, ‘Building Sustainable and tram depot; the Kenneth More Theatre, be displayed (at no less than A3 size) Theatres’, many theatres and theatre one of the few purpose-built amateur dramatic at the major public entrance. groups began to push forward with venues; and , our largest theatre Despite being a document of public record sustainability initiatives of their own. As in the project. there is no searchable database, so we had a result of their relative size and available During the life of Ecovenue we’ve been to appeal for information, and launched our resources, organisations such as the helping the theatres reduce energy water and Theatres DEC Pool at PLASA Focus in National Theatre and Ambassador Theatre materials use, as well as cutting the levels April 2011. We have been able to gather Group, to name but two, were able to of waste. But a key element, where help information from that, as well as from Freedom place sustainability on a par with health was most needed, was with Display Energy of Information requests by other bodies. and safety, and in one case thought it wise Certificates (DECs). DECs were introduced in After compiling all the available data we to integrate the two departments together. late 2008 and are like the A to G rating that didn’t want to create a league table in the The Theatres Trust appreciated that not you’ll find on a fridge, but for buildings. first instance because they can be counter- all theatres were able to dedicate resources They are a measure of actual energy used, productive, but a key fact we have learned is in the same fashion and did not want to see adjusted for local weather and occupancy, that you don’t have to be big to be efficient: small to medium-sized venues left behind. which creates an operational rating based equally being small doesn’t make you It was with this in mind that the Trust on kilowatt hours of energy used per metre inefficient. Size does not matter or at least it conceived the Ecovenue project in 2009. squared of usable floor space. does not appear to matter with the data we In the last three years we have been One of the problems identified with DECs have so far. working with forty-eight theatres across was the accuracy of the methodology behind We’ve also examined the benchmarking London. The venues range in type enormously, them. In the DEC (above) for one of our work by Julies Bicycle and our Ecovenues. from converted churches, to railway arches, venues, the dotted line you can see between Julie’s Bicycle has been looking at the energy rooms above pubs, as well as some ‘traditional’ D and E is defined as a ‘typical’ rating. At the used by the venues adopting its Industry proscenium arch theatres. They include the Trust we suspected that 100 wasn’t average Green tool and we’ve been able to use the Albany in Deptford, a 1980s community at all and we wanted to investigate how a information from our 48 venues fed into the arts facility; the Kings Head Theatre, a pub theatre building actually performed. DECs sMeasure online energy monitoring software, theatre in Islington; the Pleasance, which is are a public record of a building’s energy as well as from the DEC Pool.

18 AUTUMN 2012 Theatres Magazine DEC Running costs per year Efficiency 1000m2 Theatre Band Electricity Gas Total

TTT benchmark A £2,750.00 £920.00 £3,670.00 B £5,500.00 £1,840.00 £7,340.00 In the last issue of the magazine, I looked at a broad picture of the difference between C £8,250.00 £2,760.00 £11,010.00 the benchmarks currently used by the system, D £11,000.00 £3,680.00 £14,680.00 and the information that we had acquired DEC through the project and through the Theatres Efficiency 1000m2 Arts Centre Band Electricity Gas Total DEC Pool. In that, we took arts centres and theatres as one building type, although the TTT benchmark A £2,475.00 £920.00 £3,395.00 underlying methodology actually makes B £4,950.00 £1,840.00 £6,790.00 a distinction. Having taken some time to C £7,425.00 £2,760.00 £10,185.00 refine the results, we see that it is still the D £9,900.00 £3,680.00 £13,580.00 case that the category that theatres fall into (Entertainment Halls) is benchmarked too high. close to £10,000 with an ‘A’ efficiency rate with the building and with the whole concept For arts centres, though, which fall into the over a ‘D’ efficiency rate. It should be pointed of being energy efficient. ‘Cultural Activities’ category, we see that while out that these figures are before other costs, A good example of working positively is the heating benchmark is once again on the such as taxes, climate change levy and service what’s been happening at Circus Space, a high side, the electrical use use bechmarked charges, which considerably increase costs. circus skills training academy in Hoxton. Terry below the level experienced in the DEC Pool. It’s not enough, though, simply to measure O’Dwyer and the team have been monitoring As discussed in the last issue, Julie’s Bicycle a theatre’s energy - there must be practical energy use in depth for the very first time. has also conducted research in this area, and developments too and investigation is key. Using equipment that is easy to get hold of their proposed Entertainment Hall benchmark Theatre staff must look at their boilers, air (and relatively cheap) they’ve been able to is also shown for completeness. handling units, thermostats, switches, boiler analyse exactly how the building performs electrically. The analysis and a concurrent Entertainment Halls energy awareness campaign allowed the (Theatres) TM46 TTT Combined* TTT separated Julie’s Bicycle overnight load of Circus Space to be reduced Heating (kWh/m2/yr) 420 150 160 140 by about 2,000 Watts. That’s about £800 a year. It could fund three new crash mats 2 Electrical (kWh/m /yr) 150 90 100 110 for the building and its students. It also avoids about 3.9 tonnes of greenhouse gas Cultural Activities emissions, which is good news too. (Arts Centres) TM46 TTT Combined* TTT separated There are also simple Ecovenue tools which enable venues to plan for the future, Heating (kWh/m2/yr) 200 150 160 such as our cost/benefit calculator to check Electrical (kWh/m2/yr) 70 90 90 payback figures. Circus Space has worked out that retro-fitting LED lamps will save over *As published in Theatres Magazine, Summer 2012 £2,500 over five years. This is a very simple analysis which enables investment to be So as far as the DEC software is concerned, programming and building management justified, with big results. if you’re a theatre and you achieve 150/90, systems. It really is necessary to investigate The issue of the management of energy it thinks, “You’re amazing, take home a ‘B’”, the fabric of the building and its services and its supply is key and will become while if you’re an arts centre, it thinks, “You’re thoroughly. even more crucial as time goes on. It is less good, take home a ‘D’” – which is clearly Ecovenue has provided advisory reports essential that all cultural venues develop not helpful or informative given the range to each venue that sits alongside their plans to effectively manage their energy and scale of theatres and arts centres. DEC. This provides a written guide to what responsibilities. Energy prices are rising, and For the first time, though, using utilities data improvements a building or venue can make unless venues take action they could be faced from the venues, we can start to approximate to improve its performance. It’s an informed with bills they cannot afford to pay. To that some running costs for theatres of varying outsider’s dispassionate guide, but it does end, Julie’s Bicycle has partnered with The efficiencies. Taking an average price per unit help venues to plug into the fabric of their Theatres Trust to produce Energising Culture, of 11p/kWh for electricity and 2.3p/kWh for building and its services. a high-level report that moves beyond some gas, and applying those to our benchmark One of the things that I’ve noted as I’ve of the more widely-covered actions to provide performance figures for kWh/m2/year for visited venues across London over the chief executives, trustees, building managers electricity and gas, one can create a cost per last couple of years has been the lack of and operators with guidance on how to metre square per year. In the tables (top right), understanding by venues of their heating develop their energy resilience strategy. you can see that (using the revised separated systems. One venue still had its heating on The report was launched at the Trust’s benchmarks) an ‘A’ rated theatre with a in the middle of summer and it was roasting ‘Delivering Sustainable Theatres’ conference 1000m2 floor area could save nearly £11,000 inside. Their comment was “Oh, it’s always at Stratford Circus in June, and can be per year on energy running costs against a boiling in here. It’s part of the charm.” Making downloaded from the Trust’s website. similar sized building with a ‘D’ level of energy theatres more environmentally efficient is not Funding organisations are adding efficiency. Similarly, an arts centre with a just about meters and measurements, it’s also momentum, but even companies not fortunate similar size floor area could make savings of about a mindset. It’s about people engaging enough to receive such funding will be also

Theatres Magazine AUTUMN 2012 19 able to learn a lot. The report has been constructed in such a manner as to make it easier for management to pass strategies down the chain, while allowing interested parties to pass ideas back toward the top. There five key areas of the report: — The drivers for change, which covers topics such as energy and climate policy, current regulation, security of supply, adaptations that may be required by buildings to meet challenges posed by a changing climate, as well as issues such as risks to business reputation through failure to adapt; — Getting your house in order, which takes 1 2 a brief look at some of the issues already covered in this article, as well as over previous articles; disposal costs. And that is in a borough where — Future proofing, taking a look at the wider recycling is actually handled very well by the world of energy supply and demand and its local authority. One thing we found with the application in a modern community setting. project is that borough by borough and council Covering fields such as major refurbishment, by council the performance of recycling varies onsite and community energy generation, as hugely. If you can save £1,000 in a ‘good’ well as generation for off-site productions. borough, then the savings in bad or less Digital energy is also explored, as increasing good ones are immense. use of the internet and mass broadcast Whatever view you may take on energy techniques diversify the power use profile of efficiency, whether you are an agnostic or content creators and consumers; enthusiastic supporter, the world is changing — Funding opportunities and investment and pressures from government and funding models takes a look at how we can start bodies are continuing to focus people’s minds. to pay for some of the adaptations and For example, Arts Council England is the first mitigations we might need to make. There global arts funding organisation to introduce is information on current schemes and as a mandatory requirement the formulation incentives, as well as more innovative ideas of an environmental policy and the on-going such establishing limited companies or measurement and continued improvement community share offers; in performance for all its funded bodies. A — Finally, a framework system allows readers significant element of Tara Art’s successful to put the information contained in the ACE grant award was its pro-activity in report into the context of their producing an environmental policy before the 3 own organisation. organisation began the application process. From a European Union perspective (and The report is contextualised throughout this is an EU-supported project) Ecovenue by the use of case studies, with examples is fundamentally a small business support 4 of successful plans at Theatr Brycheiniog programme, and there’s a fair economic in Brecon, the National Theatre, Sage imperative for arts venues, in parallel with Gateshead, Circus Space in Stratford and the environmental imperative. more. While appendices present information Given the tools, our Ecovenues can now on technical guidance and further resources. start to work with the spreadsheets that we At the time of writing, over 400 copies of the will hand over to them at the end of the project report have been distributed or downloaded. so that they can measure their economic But with over 1,300 extant theatres in the UK performance, make more strategic decisions, as well as museums and art galleries, there is such as joining joint energy procurement still a long way for the message to travel. initiatives, or planning to make upgrades to Outside the energy field, and back in the their buildings. world of the Ecovenues, as a result of better recycling practices at the Union Chapel in This article is an edited and expanded Islington they’ve managed to eliminate one version of the presentation Tim Atkinson of their large Euro bins. One less bin being made at the ‘Delivering Sustainable sent for landfill waste over the course of a Theatres’ conference, which took place year means £1,000 less on annual waste at Stratford Circus on 12 June 2012.

20 AUTUMN 2012 Theatres Magazine 5

Old Vic 1 © Ian Grundy 2 photo: Tim Atkinson 3 photo: Tim Atkinson Albany Theatre 4 © Patrick Baldwin King’s Head Theatre 5 photo: Tim Atkinson

Theatres Magazine AUTUMN 2012 21 Conservation work Futurist Theatre, at Newcastle Scarborough Theatre Royal © Ian Grundy © Sally Ann Norman

Theatres Round-up News on theatres and theatre projects from around the country

Ayr Gaiety to reopen Conservation award double for stay of execution. Mr Cryer, the son Boathouse Theatre, once an old Ayr’s Gaiety theatre will reopen in Newcastle Theatre Royal of comedian , said he had boat store, has been transformed mid-December with a pantomime The recent restoration of Newcastle been amazed by the vocal support for into a little theatre which will host production of Cinderella. This marks Theatre Royal has received a double the idea, but had struggled to keep marionette puppet shows for children. a significant step forward in Ayr accolade by winning both the RIBA investors interested, describing it as The theatre is the brainchild of the Gaiety Partnership’s plan to develop North-East Regional Award for “not a money spinner for an individual, Nomad Studio in London, which the venue for arts and culture in Conservation, and the RICS North- but a cultural money spinner for a was hugely successful for many South Ayrshire. The theatre will host East Regional Award for Conservation. community. For further information years and has now relocated to St a small number of preliminary ‘soft’ The project has also picked up an visit rotundatheatre.wordpress.com. Ives. The theatre has been granted events to help test systems, staffing additional award from the RIBA in a conditional change of use for one and equipment. In addition, the studio the form of its prestigious Hadrian Future of Felixstowe year to measure any objections from theatre will be open from October Award. The restoration project was Spa Pavilion still undecided neighbours, but it is hoped this little for smaller scale events and acoustic conservation-led from the outset, and The Spa Pavilion in Felixstowe is to venue will become a permanent fixture performances. Ayr Gaiety Partnership the Theatre Royal collaborated with be put up for sale again following in St Ives. For further information visit took over the running of the 584-seat Dr David Wilmore of historic theatre the local authority’s rejection of boathousetheatre.com. receiving house after it went dark consultants, Theatresearch, to prepare the sole bid to manage the venue. in January 2009, after health and an in depth Conservation Management The community-based Spa Pavilion Barry’s Theatre Royal bites the dust safety concerns. Plan prior to the commencement of Associates’ proposal to manage it Despite a local campaign to save the the design work. By locating many of as a theatre was deemed financially 100-year old venue, the demolition Phase 1 work commence at the original drawings for the theatre, unviable by the council. The theatre of the Theatre Royal in Barry Wilton’s some of which were scattered is due to close in January 2013, commenced in August. The Theatre Wilton’s Music Hall is currently around the world, it was possible when the current private operator’s Royal, which closed in 2008, has been undergoing a programme of structural to understand precisely what Frank contract comes to an end. The 900- demolished and will be replaced by improvements. The Phase 1 works Matcham’s original intentions were, seat theatre was put up for sale or a new “extra-care” housing facility. commenced earlier in the summer and more importantly reinstate many lease last December after the council A new cinema has been proposed and are expected to take six months of the lost and missing features. announced it could no longer afford for the Barry Island Pleasure Park to complete. Works will include damp the £250,000 annual subsidy for site as part of a residential, retail and and water proofing the brick basement Professional theatre for the company running the venue, entertainment complex. structures, repairs to external walls, Godalming? Openwide International. The council the renovation of windows and doors, The Rotunda Theatre Group has said the first round of bidding was St James Theatre open for the installation of effective heating been set up to establish a new aimed at entertainment and leisure business and ventilation systems, and the theatre in the heart of Godalming. companies that would be able to It’s been a long time coming but the repair of decayed timber in the music The group wish to turn a listed sustain the venue as a performance St James Theatre, the replacement hall floor. The floorboards will all be former church building, currently ear- space, but the new process (to be theatre on the site of the former taken up and numbered so they can marked for residential conversion, open in September) will be open , is now open for be put back exactly in place when into Godalming’s own Globe theatre. to any company that can add to business. The new facility, designed by the new drainage is complete. All The group’s founder, Bob Cryer said, the tourist and cultural facilities in Foster Wilson Architects, comprises the original material will be reused to “Unless we can secure £325,000, Felixstowe. This includes the possibility a 312-seat theatre with an adaptable retain the appearance of the building. then a golden opportunity to establish of demolition to make way for a stage, a studio space, a brasserie The Mahogany Bar will remain open a dedicated professional theatre new venue. and a bar. It also has extensive during the work and tours around the space for this community will be lost multimedia facilities and will feature building (with viewing windows into the for a generation. As it stands, the rival Curtain rises for St Ives an Italian marble staircase in the main construction site) can be taken. bid (with commercial and residential Boathouse Theatre reception. The studio space, which plans) failed to exchange contracts A new puppet theatre opened in has a moveable stage and capacity for and the campaign has been given a St Ives in July. The Grade II listed 150 standing or 100 seated, will host

22 AUTUMN 2012 Theatres Magazine Campaigners show their support for the Precinct Theatre Photo: Mhora Samuel

comedy, music and cabaret nights. the condition of the building’s original stone’s throw from a plaque marking and inadequate proposals for a Funded by private investment, its frontage. An expert in restoring the best guess for its location. The replacement theatre space. revenue will depend entirely on ticket historical buildings travelled to the site is part of a large block owned sales, transfers and tours. town to offer his views on whether the by a development company, Plough Campaign to save theatre could be returned to its former Yard Developments, which plans to Salford’s Victoria Theatre Darlington Arts Centre closes glory. His initial inspection, which saw incorporate the remains as public open A campaign to save Salford’s Grade II Despite a long running campaign to several panels removed, revealed space into a proposed mixed office, listed Victoria Theatre from being sold keep the Darlington Arts Centre open, the hidden ceramic facade was in retail and residential development, now is underway. The theatre is highlighted the venue which has served the local “reasonable condition” for its age and going for outline planning permission. as at risk on the Trust’s Theatre community for 30 years closed in there was no reason why it couldn’t The architects Pringle Brandon Buildings at Risk register 2012. The July. Nick Wallis, Darlington Borough be salvaged. Drew, said they were thrilled by the building was constructed in 1899 Council’s cabinet member for leisure, discovery and hope to incorporate a and was in use, primarily as a cinema said, “I am sorry that we are in this Theatre buildings scoop top RIBA performance and exhibition space in with limited live theatre, until 1958 position, but as a result of budget cuts, architects’ prizes the new buildings. when it closed and became a furniture the arts centre is closing. The venue Theatre buildings including Garsington store. In turned to bingo in the early has offered many happy times over Opera Pavilion and the Lyric in ACE Capital funding awards 1970s, until it closed for the final time the years to a great many people. I have been recognised by the Royal announced in 2008. It now stands in disrepair, am pleased so many groups, clubs Institute of British Architects in its The National Theatre, Royal Opera though many original features such and societies have managed to find 2012 awards. RIBA gongs were also House and Chichester Festival as the balconies, two auditoriums new premises at venues across the won by the Royal Welsh College of Theatre are among five organisations and plasterwork are still intact. David borough. I wish them the very best in Music and Drama, the Royal Opera to win a share of £43.8 million from Dewsnip, a production technician at their future” House’s production workshop in Arts Council England. The funding will the University of Salford, started the Thurrock, Newcastle’s Theatre help restore and upgrade venues, with Help Save Salford’s Victoria Theatre Scarborough Futurist listing denied Royal, the new Marlowe Theatre in London’s National Theatre receiving campaign after seeing that it was up Campaigners battling to save Canterbury and the G-Live Performing the most at £17.5 million. Chichester for sale by local estate agents WT Scarborough’s Futurist Theatre say Arts Centre in Guildford. Festival Theatre was awarded £12 Gunson for £275,000. Nearly 2,000 they are mystified over a government million and the people have joined the Help Save decision to not to list the historic Shakespeare’s Curtain Theatre £10 million. This is ACE’s first capital Salford Victoria Facebook group in building. The Futurist Task Group unearthed investment scheme in nine years. recent weeks with some campaigners lodged an appeal last summer after Remains of Shakespeare’s original posting ideas for alternative uses English Heritage refused to give the “wooden O” stage, the Curtain Theatre, Victory for Precinct Theatre of the Victorian building, such as a theatre listed status. They were dealt have been discovered in Shoreditch, There were cheers in the Town community centre or performance a new blow when the Department of east London. The Curtain Theatre, Hall when controversial plans for space. Mr Dewsnip hopes that saving Culture, Media and Sport announced which preceded the Globe, was a supermarket, which has divided Victoria Theatre will be a project that it would be upholding the original dismantled in the 17th century and opinion on Islington’s Packington involves the whole Salford community. decision. Patricia David, who has its precise location was lost. Now Estate, were thrown out by planners. been fighting to save the Futurist for foundation walls on which the tiers of The Precinct Theatre, which is many years, said, “We are mystified wooden galleries were built have been supported by film director Phyllida by the decision as we consider we uncovered. Experts from Museum of Lloyd is in danger of losing its home more than matched the architectural London Archaeology have found two under plans to redevelop the estate. and historic criteria required by the sections of exterior wall, crucial for The theatre and estate residents were application procedure.” It comes just giving the dimensions of the theatre, angry that Hyde Housing Association For regularly updated after “ugly” panels covering the theatre and are confident of revealing more as was seeking to backtrack on an information on theatres visit were pulled off for the first time in the site is cleared for redevelopment. agreement to replace a precinct of the news section of our website, over 40 years in a bid to determine The site in Hewett Street is only a six shops with a Spar supermarket www.theatrestrust.org.uk.

Theatres Magazine AUTUMN 2012 23 Arts Centre St James Theatre, London © First Street North / Ask Developments © St James Theatre

Current Casework Update on current theatre planning cases

Greater Manchester Arts Centre, satisfied with the proposed internal , Goole London Palladium Manchester theatre layout, where a theatre is not East Riding of Yorkshire Unitary City of Westminster Manchester City Council fit-for-purpose, or when a theatre Authority Listed Grade II* Unlisted consultant does not appear to be Unlisted Ref: 12/02344/FULL Ref: 098438/VO/201 involved. Under the original proposals, Ref: 12/00785 Decision: Pending Decision: Approved the Winter Garden was to be restored, Decision: Conditional approval with conditions extended (for hotel) and repaired The Trust objected to a planning in a sympathetic manner. However, The Trust supported an application application for the use of the building The Trust supported a planning the Trust was concerned about the for change of use from sui generis adjacent to the London Palladium for application for a new cultural facility on Pavilion’s ability to continue its use (theatre) to charitable furniture retail residential purposes on first, second a brownfield site just outside the city as a working theatre and the ability sales unit of the former Gate Theatre. and third floor levels. This followed its centre, which is intended to provide a to maintain a sustainable future. Although the Trust considers very objection to an earlier application (Ref: joint space and replacement facilities Specifically, the Trust requested that carefully the loss of any theatre use, in 11/06868/FULL). Whilst the Trust for Manchester’s Library Theatre and revised plans should be submitted that this case the venue was itself a very noted the general acoustic upgrade the . The three-storey site showed proper backstage facilities simple conversion of a former church within the new scheme, there were still on First Street will include a 500-seat including, dressing rooms, toilets, hall and had been vacant for some concerns over issues highlighted within main theatre space, 150-seat studio storage, technical fit-out, get-in access time. The Trust noted that there are the Environmental Noise Survey (Arup theatre, five-screen cinema, café and circulation. With the involvement purpose-built theatres in the catchment 26 October 2011). The change of use bar and restaurant, creative studio, of theatre consultants, Theatreplan, and such as the Goole Junction, and the to residential continues to be a concern and ancillary facilities, gallery and the submission of new plans the Trust new use of the Gate would not prevent for both the Trust and the theatre associated storage. In the Trust’s view the Trust offered its support, conditional a return to theatre use in the future. owners, The , and the brief had carefully been developed on the inclusion of conditions of is deemed inappropriate given the site around the existing Library Theatre user policy and technical fit-out. Square Chapel, Halifax location and proximity to the London character, format and programming Calderdale Metropolitan Borough Council Palladium and its get in. but would also provide improved Playhouse, London Listed Grade II* facilities. In addition, the redevelopment London Borough of Southwark Ref: 12/00462 & 12/00523/REN National Theatre, London will significantly help to regenerate Unlisted Decision: Approved London Borough of Lambeth the area and positively contribute to Ref: 12/AP/0545 Listed Grade II* Manchester’s cultural sector. This will Decision: Pending The Trust supported planning Ref: 12/00485/FUL ultimately bring new investment and applications for the creation of a new Decision: Approved encourage growth within the area. The Trust supported a planning 100-seat performance space, the application for new temporary premises creation of additional foyer space and The Trust supported a planning Winter Gardens, Ventnor for the . The improved access and facilities at the application for the creation of a ‘pop Isle of Wight Council theatre is required to move to new Square Chapel in Halifax. The project up’ cafe and temporary portico at the Unlisted temporary accommodation while its is linked to the concept of the adjoining National Theatre. Forming part of a Ref: TCP/14651/C & PO/1802/11 existing premises at London Bridge Piece Hall becoming a foyer for a four month ‘Inside Out’ festival, the Decision: Approved are being redeveloped by Network Rail range of publicly accessible buildings aim was to capitalise on the Queen’s as part of the Crossrail Project. The accessed from it. The full scheme was Diamond Jubilee and the Olympics Having previously objected to a office building in Newington Causeway given planning consent in 2009. The - drawing attention to the cultural planning application to convert the requires a change of use from office scheme in the Trust’s view is a sensible importance of the National Theatre. Ventnor Winter Gardens, the Trust (B1) to theatre (sui-generis), with one and the project has been well The Trust supported the intention to subsequently supported a revised ancillary space for cafe and offices developed in accordance with guidance use the theatre’s public areas, creating scheme for hotel and live performance until 31 July 2022. It will revert back from English Heritage and will ensure ‘a theatre with the city as a backdrop’. use. It is Trust policy to oppose any to office use when the theatre returns the architectural integrity of Piece Hall Furthermore, the temporary lightweight planning application when it is not to its original premises. and the Square Chapel. nature of the installation would in the

24 AUTUMN 2012 Theatres Magazine National Theatre, London © National Theatre, 2012

Trust’s opinion have minimal impact take place throughout the rest of the terms, the local authority was under floor corridor were also to be upgraded upon the historic character and the main year. The productions will utilise unused no obligation to consult the Trust. The to modern standards by replacing the features of architectural significance. spaces in the building prior to its Town Mill closed in 2010 and the timber elements with a much more redevelopment in 2013. The capacity owners, Standard Life, submitted this durable and long-lasting black powder St James Theatre, London for each show is limited to 120 people application for change of use from coated aluminium. The works would City of Westminster and would therefore have a minimal public house to offices. Save Our improve the appearance of the structure Unlisted impact on neighbouring properties, Scene had planned and raised funds while ensuring that it will remain intact Ref: 12/02911/ADV particularly given the nature of its to purchase the venue to use it as and fit for purpose for future audiences. Decision: Approved location on a busy high street. It is Trust a training centre for arts, media and policy to support applications for new hospitality. It is Trust policy to support Mayflower Theatre, Southampton The Trust supported a planning theatre ventures in vacant buildings. local groups and object to the loss of Southampton County Council application for signage at the new St cultural and performance use where Listed Grade II James Theatre in Palace Street. The Wilton’s Music Hall, London there is a demand for such use in the Ref: 12/00675/FUL proposed signage would comprise London Borough of Tower Hamlets catchment area and the building can be Decision: Approved with conditions two high level, vertical, 3D illuminated Listed Grade II* practicably and sensibly refurbished as name signs to read ‘St James Theatre’; Ref: PA/12/00625 & PA/12/00626 a cultural or local neighbourhood facility. Having previously objected to a illuminated 3D radius elevation letters; Decision: Approved The Trust was satisfied that future live planning application to provide a backlit door name sign; and show use was threatened by the current student accommodation, commercial signage light boxes. In the Trust’s view The Trust supported two planning application and was happy to lend its uses, parking and other facilities for the application had been carefully applications for repairs and restoration support to the local group by objecting the Mayflower Theatre, the Trust considered and that the revised designs work at Wilton’s Music Hall. The works, to the proposed change of use. subsequently supported the scheme were strong in character and would part funded by English Heritage, following further correspondence contribute significantly to the new include the renovation of the windows; Stahl Theatre, Oundle with the developers. The Trust was theatre’s contemporary appearance. re-slating the roof; the addition of East Northants District Council provided with additional documents The signage will not adversely harm the zinc rainwater goods; new heating, Listed Grade II which answered concerns it had appearance of the new theatre or the ventilation systems and plant as well Refs: EN/12/00526/F & EN/ & raised. In particular, showing that the surrounding area, rather they will make as external paving. 12/00516/LBC corner block had been reduced in a positive contribution. Signs of this Decision: Approved height, while the adjacent block (to the nature are essential to advertise theatre Town Mill, Mansfield theatre) had been set back in order productions as well as supporting the Mansfield District Council The Trust supported associated not to overshadow or dominate the sustainable use of the theatre. Listed Grade II planning and listed building consent theatres street presence. The Trust Ref: 2012/0242/NT applications to replace a staircase also understood that the Construction Theatre Delicatessen, London Decision: Approved with conditions and corridor enclosures at the Stahl Management Plan; noise attenuation City of Westminster Theatre. In the Trust’s view the works surveys; provision for appropriate Unlisted Although the Trust was not formally were necessary and would improve the landscaping and noise attenuation Ref: 12/04141/FULL consulted in respect this planning existing timber lean-to structure, which barriers and signage were contained Decision: Approved application for change of use of is in urgent need of repair. The new within the Section 106 Agreement. Town Mill, following a request from structure complements the existing in The Trust recognised that the The Trust supported a planning campaign group, Save Our Scene UK, both scale and appearance and appears redevelopment will ultimately make application for the temporary alternative it did submit a letter objecting to the as a well-defined element by using a positive addition to the streetscape use of 35 Marylebone High Street, in application. Whilst the building had transparent and relatively lightweight and contribute to the wider the former BBC building. The theatre been used for live performance and materials. It contrasts well with the regeneration of the area and public company Theatre Delicatessen, which was a popular live music and stand-up stone construction of the statutory realm and hopefully ultimately benefit currently occupies the premises has venue it was a public house and not designated Oundle Congregational the theatre and its visitors. programmed a series of productions to designated as a theatre in planning Church. The glass staircase and ground

Theatres Magazine AUTUMN 2012 25 Reading Matter Reviews of recent publications on theatres

I found this book absolutely illustration which then requires towns; management changes, and The Theatres magnetic and read the 452 pages identification. the continual problem of product and and Performance with ever increasing knowledge of the It is the sections on buildings personalities which fall in and out of Buildings of incredible buildings which have been converted to other uses and lost fashion with bill topping stars and allowed to go as well as those which theatres that were the most confusing support acts. The big names were South Wales still exist. The main part of the book and where there is no criticism of the certainly in Eastbourne regularly Rob Firman is given over to the existing buildings failure of the listing system and local from the start, and there is also good £71.99 AuthorHouse – in various states of repair and use authorities to protect listed buildings. reference to the resident staff who were Paperback 458pp and this is followed by sections on Many of the “converted” seem to have essential to the running of the theatre, ISBN: 978 1467885737 ”Theatre buildings converted to other very similar histories to those in the making it part of the community. uses” and “The lost theatre buildings”, main section. This biography of the theatre This large and incredibly detailed with all sections divided However, these are niggling also gives appropriate weight to the survey of theatres and performance into administrative areas. Unless criticisms of a quite splendid book, periods when a repertory company buildings seeks to cover the area one has an intimate knowledge of full of information and an excellent was in residence. This, with variety, which is within a two hour drive of the area this can be confusing and introduction. This is a book for others summer shows, panto and a very Cardiff and has set the standard an additional map would have been to copy and it can only be hoped that wide range of speciality acts, was for future theatre historians. Rob useful to complement the splendid one day all the UK will be covered the standard fare which saw the Firman, an architect and Director of maps covering buildings visited; in such a detailed and accurate theatre move from the age of music the Cardiff-based practice Austin- those derelict and moth listed building manner. Congratulation to Rob Firman hall, through broadcasting and finally Smith:Lord, has followed the basic location and ownership of existing for leading the way by providing a coming face to face with television. structure of The Theatres Trust buildings. book which is an essential volume Throughout its history the database and, in so doing, has avoided The descriptions of the buildings for all those interested in theatre Hippodrome had been in competition the trap that leads many to construct are full and informative, and it is architecture. with the other venues in the town and, yet another approach to defining the interesting to note that some local Michael Sell with decreasing theatre audiences major characteristics of theatres. architects were responsible for a and changes in theatre ownership, the This is a highly detailed and number of the Miners’ Institutes Heyday of the Hippodrome appeared to be surplus informative volume which includes not The approach which only identifies to requirements. only the major theatre buildings but the original architect in the entry for Hippodrome The periods of the two world wars is an encyclopaedia of those splendid each theatre means that important Mark Jones and the immediate peace years make Miners’ Institutes, which were the architects like Frank Matcham receive £8.99 Authors Online particularly interesting reading and centre of so many small communities. only a passing mention in an entry Paperback 230pp show flexibility in programming, an As such it has great value as a book when their work remained the major ISBN: 978 0755213849 important structural change to the on community activity and ownership influence on the building for most of theatre when the pit was abolished which is without compare. its existence. Nowhere are we given This is the second book on the and the stalls divided, as well as the Firman begins by placing information about the decorator or Eastbourne Hippodrome to which success of so many entertainers who his material in an historic and plasterer which is a pity. It is also Mark Jones has contributed; the first had first appeared in unit reviews. contemporary context which ought suggested that in a number of cases in 2006, with John Pick, was entitled It is splendid to know that the to become essential reading for where “stage details” are not known, Mr. Phipps Theatre and there are a Hippodrome is resilient to change politicians at local and national level. reference to early volumes of The number of very pertinent references and that today it is looking for a new He identifies opportunities which are Stage would fill some of the gaps. to material which appears in that role in the community – a role which there to be taken – even in an age The book is rich in illustrations volume, which is frustrating if it is has changed regularly over the last of austerity – as well as opportunities which generally reflect the building as not to hand. 129 years. This book bears testimony lost, which include the successes and it now is. The lack of captions can be Generally the story of the to that success as well as being failures of national bodies. time consuming as each geographic Hippodrome is similar to that of a nostalgic reminder of the artistes section begins with an un-named many other theatres in seaside of yesterday.

26 AUTUMN 2012 Theatres Magazine For those readers who have moved interior as a playhouse. The venue, captions & Theatreland audience often drowned out the film into the digital age the book is also renamed the Windmill Theatre, Through Time offers a fascinating dialogue, and a baffling variety of available to download as an E-book reopened in June 1931. But the series of images of old Soho, which missiles hurled through the air.” from authorsonline.co.uk. rebranding was a failure and movies are presented alongside contemporary She remembered, “half a cucumber Michael Sell quickly returned. Fortunes changed in views of the same streets. As well as and man’s sock landing in her lap at 1932 when Henderson hired theatre spending 30 years as a photographer on performance!” The Story of Soho: impresario, Vivian van Damm, as the London born author, Brian Girling, was Joking aside, Ned Williams covers theatre manager. It was van Damm also as a postcard dealer and has an the areas of Sandwell, Dudley, The Windmill Years who developed the idea of continuous extensive private collection of historic Wolverhampton and Walsall and this 1932–1964 variety. The so-called Revudeville London images on which to draw. volume is an updated version of Ned’s opened in February 1932 and marked If anything, the book is let down earlier book Cinemas of the Black Mike Hutton the beginning of a notorious period in by the contemporary photographs, Country, which was published in £20.00 Amberley Publishing British theatre, with the introduction which are really nothing more than 1982 and went out of print. Hardback 224pp of nudity onto the West End stage, snapshots. But the richness and The book celebrates cinema-going ISBN: 978 1445606842 albeit in the form of ‘living statues’ or wealth images from the past are of the past, but does not ignore the tableaux vivants. what the book is all about. There are fact that twenty-first century cinema The reputation of Soho has been But by choosing to concentrate on far too many marvellous images to going is still active, so includes built around four entertainment the Windmill years it is the seedier mention, but as an avowed ‘foodie’ multiplexes such as Dudley’s Merry industries – film, food, entertainment side of Soho that is brought to the I was particularly drawn to photos Hill 10/Odeon. and sex – and in The Story of Soho fore in Hutton’s narrative, rather of some of Soho’s old restaurants, It’s a fascinating read, with images, author Mike Hutton replays a well-told than the area’s rich social history. including, Joseph Stegmaier’s text and first hand quotes from people tale of entrepreneurship, dodgy deals, Nevertheless, Hutton has an engaging Hungarian Restaurant on Carnaby and the press from the time. It starts crime and corruption in London’s style and the story races along. Street; the Crichton Restaurant at with a list of exhibitors, the people other square mile. Whilst the rise and As well as charting the history of 20 Brewer Street; Ley-On’s Chop in the area that presented film and fall of Mrs Henderson’s risqué venture nude reviews at the Windmill, Hutton’s Suey Restaurant on Wardour brought cinema to the Black Country at the Windmill, from its opening in cast of characters includes soft-porn Street; and Luigi Azario’s Florence and goes on to describe each areas 1932 to its eventual demise, after merchant Paul Raymond, ‘glamour’ Restaurant on Rupert Street. cinema and their relative history. a slow decline, in 1964, forms the photographer Harrison Marks, and Paul Connolly Architecturally, there were some backdrop to the story it is far from his ‘glamour model’ partner Pamela fine purpose built cinemas from the being the focus. Green, and a host of figures from early Wolverhampton Picture House “We Never Closed” was the motto Black Country the criminal underworld including, the (1910) with its swags and cartouches, of the Windmill, referring to the fact Messina brothers, the Sabini gang, Cinemas to the larger, such as the Rink (1930) that the theatre remained open Jack Spot and Billy Hill. in Sandwell, decorated with Moorish throughout World War II, even at the Ned Williams Paul Connolly peacocks above its window surrounds. height of the Blitz. Yet its heyday £25.00 Uralia Press Sadly, many have long since gone, was relatively short. The venue on Hardback 312pp but thanks to Ned we get an idea began life as a Soho & Theatreland ISBN: 1 898528098 of what once was. cinema, the Palais de Luxe, opening Through Time Mark Price in 1909. As one of first dozen or so Black Country Cinemas is sure to cinemas in the West End it prospered Brian Girling delight any cinema building enthusiast, in its early days, but as larger picture £14.99 Amberley Publishing particularly if you attended a film at houses opened it fortunes waned. Paperback 96pp any of the venues mentioned. Indeed, Laura Henderson bought the ISBN: 978 1445602028 Julie Walters CBE in the Foreword All books reviewed in Theatres building in 1930 and hired architect says she attended the Prince’s Hall Magazine are available in the F. Edward Jones to remodel the Although little more than a compilation cinema in Smethwick, where on a of photographs with extended Saturday night, the “shouts form the Trust’s Reference Library

Theatres Magazine AUTUMN 2012 27 Photo diary MAC AuraTM An Aura of creativity!

www.martinpro.co.uk

aura_LDI_theatres.inddDa 1tes for 16/08/12 11.15 your diary

29 and 30 September 2012

Music Hall Memories Britannia Panopticon, 1.00pm and 3.00pm Free admission Tameside Hippodrome Presented on the last weekend of each month, Music Hall Memories brings the Trust Director Mhora Samuel and Heritage and Planning Mark Price visited Tameside Victorian Music Hall back to life with a Hippodrome in June where they met with representatives of the Tameside Heritage cornucopia of traditional acts harping back and Arts Trust. to the ‘Good Old Days’ of yore. With singers, sing-a-longs, magic, comedians, speciality Photos: Mark Price and novelty acts, this is edifying entertainment for all generations. For further information visit britanniapanopticon.org

9 November 2012 General & contact information The Frank Matcham Society presents Trustees The Theatres Trust is the Old Theatres, New Times! Rob Dickins CBE (Chairman), Nick Allott, Dr Phil Clark, National Advisory Public Body Ruth Eastwood, Tim Foster, Oliver Goodwin, Jerry Katzman, for Theatres. The Trust provides Theatre Royal, Newcastle upon Tyne Penelope Keith CBE, DL, Dr Pauleen Lane CBE, Anne McReynolds, leadership in the planning Tickets £25.00 Judith Mellor OBE, Matthew Rooke, Chris Shepley CBE, Suggs, and protection of theatres, (£20.00 concessions and Ben Twist safeguarding existing theatres and improving the planning FMS members) Special Adviser environment for theatres across This one-day seminar will include an account Peter J Wilson England, Scotland, Wales and of the recent restoration of this great, Northern Ireland and is sponsored Consultants by the Department for Culture, 175 year old, Grade I listed building and John Earl, Jonathan Lane Media and Sport. examine the issues raised by theatres under threat or with uncertain futures. There will Staff The Theatres Trust be an extensive tour of the Theatre Royal Mhora Samuel Director 22 Charing Cross Road, Tim Atkinson Theatre Building Services Adviser London WC2H 0QL and sessions will include tracing original Fran Birch Records Officer documentation, addressing planning issues, Kate Carmichael Resources Officer Tel: (020) 7836 8591 assessing present day theatrical needs – Paul Connolly Fax: (020) 7836 3302 Operations and Development Administrator [email protected] both for audiences and productions – Clive Dixon Finance and Monitoring Officer www.theatrestrust.org.uk together with case studies of some current Rose Freeman Planning Policy Officer work returning “sleeping beauties” to active Suzanne McDougall Marketing and Development Officer life. Tickets available via the Theatre Royal Mark Price Planning and Heritage Adviser Box Office on 08448 11 21 21.

28 AUTUMN 2012 Theatres Magazine abtt_tt quart mag advert_:_FINAL 20/08/2012 09:16 Page 1

Association of British Theatre Technicians for people who make successful & safe theatre and the voice of the theatre technician

Th e AB TT p rovi de s t he f ol lo win g se rvi ce s: • a dv i c e o n s a f e ty , p l an n in g , g o o d p ra c t ic e & c o m p li an c e • th e b e s t i n f o r m a ti o n a n d a d vi c e o n c u r r e n t s a fe w o r k in g p r ac t ic e s w i th in th e th e at r e i n d u s t r y • T e c h n i c al S t an d a r d s f o r P l a c e s o f E n t e r tai n m e n t, p u b l i s h e d j o i n tl y b y th e A B T T , th e D is tr ic t S u rv e y o r s A s s o c i ati o n & t h e In s ti tu te of L i c e n s in g • C o d e s o f P r a c ti c e , G u i d an c e N o t e s a n d S i g h t li n e , a q u a rt e r ly J ou r n al o f T h e a tr e T e c h n o lo g y an d De s ig n • te c h n ic a l tr ai n i n g at al l l e ve ls • p e e r r e v i e w s o f s c h e m e s f o r t h e r e f u rb i s h m e n t o r c o n s tr u c ti o n o f n e w t h e a tr e b u i l di n g s

an d a f re e te l e p h o n e e n qu ir y s e r vi c e to h e l p s o l ve s a fe ty & te c h n ic a l p ro b l e m s : te l e p h o n e + 44 ( 0) 2 0 7 24 2 9 20 0 e m a il o f f ic e @a b tt .o r g .u k

Jo i n o n l in e : f u ll d e t ai ls o f p ar t ic i p at io n a n d b e n e f it s a t w w w . ab tt .o r g . u k

HEAVY LOADS - EASY TO MOVE.

The World in Motion. TENTE CASTORS Ltd. 100 Papyrus Road, Werrington Parkway GB-Peterborough PE4 5HN Tel.: 0 17 33 578 111 Fax: 0 17 33 578 123 E-mail: [email protected]

www.tente.co.uk

Anzeige 210 x 95 mm 4c Euroskala How you can help us build a better future

for Become a Friend Become a Corporate Supporter Become a Resource Centre Benefactor theatres Sponsor an event Donate to the Theatres Protection Fund

Visit our website www.theatrestrust.org.uk for further details, email [email protected] or call us on 020 7836 8591.