Hackney Empire

Total Page:16

File Type:pdf, Size:1020Kb

Hackney Empire Hackney Empire Charity No: 1062085/0 Company No: 2060996 www.hackneyempire.co.uk Description A Grade II* listed building, opened as a music hall in 1901. The auditorium has a seating capacity of 1,275. The theatre was a bingo hall for over 2 decades and reopened as performance venue in the late 1980s. In 2001 the building had a £17m refurbishment. The venue is famous for comedy but also hosts music, theatre, opera and films. The theatre has a community and education programme and a small performance studio. The theatre bars are run by Parola LDN and the café bar by pop-up, Platterform. In the year ending March 2014 the venue attracted £61k in location filming fees. In 2011 the theatre had a 9 month dark period and most of the staff were made redundant. A rescue plan was put together for the venue including donations from celebrities such as Griff Rhys Jones and Lord Alan Sugar. Budget Summary Comments Income Only £3k profit made from bars and catering. Donations 19k Box office was £941k and theatre hire £377k. Trading 1,760k Arts Council 476k The venue has substantial support from Arts LB Hackney 193k Council England and LB Hackney ACE Capital 339k Other Grants 124k The venue has a large main auditorium with 1,275 seats making it commercially attractive Expenditure to comedy promoters. Publicity 235k Fundraising 57k Staff 877k Depreciation 638k Productions 728k Premises 858k Other 78k Greenwich Theatre Charity Number: 246186 Company Number: 860847 www.greenwichtheatre.org.uk Description It was originally built as a music hall in 1855 as part of the Rose and Crown Pub. It went through a number of incarnations, including a cinema, before being rescued from demolition in the 1960s and reopened as Greenwich Theatre in 1969. Greenwich Theatre is a mid-scale receiving house for touring theatre. It has 411 seats in a raked auditorium. They also do co-productions mainly theatre but also some musical productions. Their average ticket price in the year ended March 2014 was less than £11. In additional to the professional programme the theatre is used by local colleges and amateur productions. The main funder is Greenwich Council who provided a grant of £259k in 2014. Accounts show 6 office and management staff with total salaries of £127k Budget Summary Comments Budget Traditional subsidised theatre model. Reliant Income on council subsidy and careful management of LB Greenwich 280k box office income. Fundraising 32k Coproductions/hires 42k Only £15k profit from bar and restaurant in Box Office 658k 2014. Other Earned Income 137k Expenditure Production Costs 624k Operating Costs 186k Support Costs 336k Wilton’s Music Hall Charity Number: 1003041 Company Number: 02553922 www.wiltons.org.uk Description Wilton’s is Grade II* listed, oldest surviving Music Hall in the world. It is located in the East End, close to the Tower of London. The Hall receives no regular public subsidy. The income comes from box office revenue, location hires, bar sales and public fundraising. The programme is a mixture of community performances, Heritage events, craft, music, film and cabaret. There are two bars open Monday to Saturday evenings and operate as a destination in their own right. They do not serve food but encourage people to order local takeaways and have a pop-up restaurant for Christmas. They have a trading subsidiary that runs the bars providing £250k of profit in the year ending March 2014. The auditorium is available for hire along with 5 other spaces. The main auditorium has a maximum capacity of 300. In 2014 there were 18 staff, 7 for trading activities and 10 for charitable activities with one fundraiser. Budget Summary Comments Income Bars, hires and other trading forms important Trading 740k part of turnover and supports other aspects of Public subsidy 0k the programme Projects 223k Fundraising 497k Very well connected group of supporters, well placed close to City of London to attract Expenditure donations. Trading 456k Projects 654k Very extensive restoration project and Governance 9k unsurprisingly heritage projects are a key part Fundraising 58k Restoration 130k of the programme. HLF key funder of restoration but substantial match funding target. Hoxton Hall Charity Number: 1107196 www.hoxtonhall.co.uk Description Hoxton Hall is a grade II* listed building first built as a music hall in 1863. It spent many years as a place of worship before reopening as a community and performance space. The main auditorium has a capacity of 250. Cabaret, music and comedy makes up the majority of the programme. The venue has been used for location filming (including Season 4 of Downton Abbey). Partnerships with emerging performance companies provide diversity to the programme. Heritage Lottery Fund provided £1.8m towards the recent refurbishment with £412k of match funding being raised. This is part of a 10 year capital plan for the building. Venue hire for corporate events and weddings and letting workspace are important parts of the trading income. There are 16 staff but 13 of these relate to the Youth Arts Programme rather than the venue operation. Budget Summary Comments Income Hoxton workspace subsidiary provided £89k Trading 370k income in 2014 Subsidy LB Hackney 26k Fundraising 18k Strong youth arts programme funded by Youth Arts Programme 414k Hackney and Islington Councils Expenditure Made a net profit of £189k on their trading Governance 10k income which covers overheads and Overheads 63k contributes to Youth Arts Costs. Youth Arts Expd 555k Trading Costs 181k Other Venues Churchill Theatre, Bromley It is currently operated by Ambassadors Theatre Group on behalf of LB Bromley. It is a modern, well equipped theatre able to host West End productions. In April 2016 the management will pass to Qdos Entertainment, following a re-tender process. Qdos are the UKs leading panto producers and producers of shows for cruise ships. They also manage a further ten venues, mainly in coastal towns. They are receiving a management fee of £317k per annum from LB Bromley and a 25 year lease. Granada Theatre, Walthamstow There has been a venue on the site of the Granada Theatre Walthamstow since 1887. It is Grade II listed. In the 1970s it was converted into 3 cinemas. In 2003 it was bought by UCKG but they failed to get planning permission to operate it as a church. In 2014 the venue was bought by the Antic Pub group who have ambitious plans to redevelop the building including a 1,000 seat auditorium, bars, restaurant, cabaret/cinema club and boutique B&B. The Assembly Halls, Tunbridge Wells The Assembly Hall Theatre was built in 1939. The auditorium has a capacity of 993 people and is operated by Tunbridge Wells Council. The theatre was refurbished in 2001 and was closed in August 2015 for a £1.5m refurbishment funded by the council to replace tiered seating, roof repairs, fire alarm replacement, new air handling and some cosmetic improvements to public areas. Tunbridge Wells Council has an ambition for the venue to be able to attract West End productions and commissioned a study on the costs to address what are perceived as some of the venues limitations. These include: Not big enough, current capacity is 940 but West End promoters require 1,200 minimum. Not enough space, there is inadequate wing space. Loading and storage, no loading bay facility and little storage, poor access for production trucks Too hot, poor ventilation and air handling in auditorium Poor seating, uncomfortable seating that does not meet modern standards Poor FOH facilities, small, outdated bar area. The study provided costs of two different scales of refurbishments. Option 1 would provide a 1,250 seat venue with upgraded facilities that would meet needs for the next 10-15 years at a cost of £12.5m. Option 2 would achieve the same as Option 1 but to a much higher specification making it the venue of choice for large-scale promoters and meet needs for a further 75 years at a cost of £25m. Comparison to Broadway Theatre budget As the case studies demonstrate, venues are all very different and influenced by a number of factors including their location, scale, management arrangements, levels of public subsidy and ability to raise earned income. Following the recent budget savings the Broadway Theatre revenue budget looks as follows: Budget Summary Income Community Services Budget 106k # Regeneration Budget* 172k Bars and Catering 40k Box Office/Hire Fees 215k *the regeneration budget contribution is part of a corporate budget and is not specifically assigned to the Broadway Theatre but is extrapolated from average spend over the last 2 years. Expenditure Salaries 107k Agency staff (FOH, technical etc) 84k Supplies and Services 170k Cleaning contract 35k Utilities 59k R&M 51k Rates 27k The council subsidy of the Broadway Theatre covers the building costs including cleaning and the salaries of the two permanent staff members. These make up the majority of the fixed costs of the building leaving approximately £40k of other costs such as software licences, marketing etc to be covered by earned income. The theatre hires and bar income therefore need to cover the costs of agency staff required when the building is open to the public, any other supplies and services and generate at least a £40k profit over the course of the year. The theatre operates a trading budget where the income and expenditure can rise and fall from year to year depending on that year’s activities but should provide a balanced budget at year end. The theatre is projecting an overspend in 2015/16 which is largely due to the delay in delivering the staff reorganisation as well as the extended dark period restricting the opportunity for earned income..
Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Tina Turner Said: “I First Met Aisha During Early Rehearsals for Our Show
    AISHA JAWANDO TO PLAY TITLE ROLE IN T I N A - T H E T I N A T U R N E R M U S I C A L AT THE ALDWYCH THEATRE Aisha Jawando, who has been with the Company since its world premiere in Spring 2018, steps up to play the title role in TINA – THE TINA TURNER MUSICAL from 8 October 2019. Having originally played Tina’s sister Alline Bullock, Jawando has subsequently performed the iconic role of Tina at certain performances. Tina Turner said: “I first met Aisha during early rehearsals for our show. She was in our original West End Company playing my sister Alline and I loved her performance. It has been special to watch her journey with us and see the development of her extraordinary talent. I am so pleased that Aisha will now lead our company through its next chapter here in London.” Aisha Jawando said: “I have loved being part of this show from the very beginning, and I am thrilled to have the opportunity to play this exceptional role. Tina Turner is such an inspirational woman and I hope that I continue to make her proud.” Based on the life of legendary artist Tina Turner, TINA – THE TINA TURNER MUSICAL will continue its open-ended run in London at the Aldwych Theatre with new seats on sale this Autumn. Jawando takes on the leading role from Nkeki Obi-Melekwe, who will join the Broadway company later this year to play Tina at certain performances. Adrienne Warren, who originated the role here in the West End, will lead the Broadway cast.
    [Show full text]
  • Press Release Fourth Round of Small Grants Announced
    Email not displaying correctly? View it in your browser. PRESS RELEASE FOURTH ROUND OF SMALL GRANTS ANNOUNCED BY THE THEATRES TRUST 8am, 29 January 2014, London, UK The Theatres Trust is pleased to announce its fourth round of small capital grants to theatres across the nation. Awards are made to five community theatres for projects that will make important capital improvements, including one of the rarest surviving music halls, Hoxton Hall, and the community-owned and volunteer-run Beccles Public Hall & Theatre. Grants have been awarded to: Alnwick Playhouse: This cultural hub in Northumberland receives £5,000 towards the ‘Alnwick Playhouse & Community Arts Centre Roof Repairs’ project to enable it to carry out urgent remedial repairs and protect the fabric of the building. Beccles Public Hall & Theatre: It receives £5,000 towards an ‘Improving Access to the Stage’ project, removing part of a side wall to give better access to the stage, and remedial works to remodel the roof as part of a larger programme of renovation and improvement works. Hoxton Hall, London: This rare Grade II* listed music hall in Hackney, East London, receives £5,000 towards its ‘Conservation, Restoration and Modernisation’ project to carry out structural and strengthening works to its upper balcony which will enable it to create four new and accessible performance formats. Tara Arts: London’s first Asian-led theatre, based in Wandsworth, receives £5,000 towards the installation of a set of internal double-leaf, fire-proof acoustic doors for its new auditorium as part of the ‘Tara Theatre Renovation Project’. Yvonne Arnaud Theatre: Guildford’s Grade II listed theatre receives £5,000 towards the ‘Refurbishment and Installation of Automatic Sliding Doors’ to improve accessibility through upgrading the main entrance to the theatre and the entrance to the auditorium.
    [Show full text]
  • A PSILLAS Biog Audiocraft
    Sound Designer: Mr Avgoustos Psillas Avgoustos established AudioCarft Scandinavia in 2020 after 12 years at Autograph Sound in London, where he worked as a sound designer. Autograph Sound is a leading British sound design and equipment hire company, responsible for numerous theatre productions in the UK and abroad, including: Hamilton, Les Misérables, Wicked!, Mamma Mia!, Book of Mormon, Marry Poppins, Matilda, Harry Potter and the cursed child and many others. Avgoustos’ designer credits for musical theatre and theatre: The Sound of Music Stockholm Stadsteater Circus Days and Night Malmö Opera & Circus Cirkör Matilda The Musical Royal Danish Theatre Funny Girl Malmö Opera Sweeney Todd Royal Danish Opera BIG The Musical Dominion Theatre, London Blues in the Night The Kiln Theatre Matilda The Musical Malmö Opera The Ferryman St James Theatre, on Broadway, NY Kiss Me Kate Opera North, London Coliseum Pippin Malmö Opera Elf The Musical The Lowry, Manchester BIG The Musical Theatre Royal Plymouth & Bord Gais, Dublin Oliver! The Curve, Leicester AGES The Old Vic, London Pygmalion Garrick Theatre, London Strangers on a Train Gielgud Theatre, London Spamalot The Harold Pinter Theatre, London Spamalot (Remount) London Playhouse EPIDEMIC The Musical The Old Vic, London Henry V Open Air Theatre Regent’s Park Hobson’s Choice Open Air Theatre Regent’s Park Winter’s Tale Open Air Theatre Regent’s Park AudioCraft Scandinavia AB | Svanvägen 59, 611 62, Nyköping, Sweden e: [email protected] | t: +44 79 50292095 | Organisation no: 559281-2035 | VAT
    [Show full text]
  • Artistic Director Rupert Goold Today Announces the Almeida Theatre’S New Season
    Press release: Thursday 1 February Artistic Director Rupert Goold today announces the Almeida Theatre’s new season: • The world premiere of The Writer by Ella Hickson, directed by Blanche McIntyre. • A rare revival of Sophie Treadwell’s 1928 play Machinal, directed by Natalie Abrahami. • The UK premiere of Dance Nation, Clare Barron’s award-winning play, directed by Bijan Sheibani. • The first London run of £¥€$ (LIES) from acclaimed Belgian company Ontroerend Goed. Also announced today: • The return of the Almeida For Free festival taking place from 3 to 5 April during the run of Tennessee Williams’ Summer and Smoke. • The new cohort of eleven Resident Directors. Rupert Goold said today, “It is with enormous excitement that we announce our new season, featuring two premieres from immensely talented and ground-breaking writers, a rare UK revival of a seminal, pioneering American play, and an exhilarating interactive show from one of the most revolutionary theatre companies in Europe. “We start by welcoming back Ella Hickson, following her epic Oil in 2016, with new play The Writer, directed by Blanche McIntyre. Like Ella’s previous work, this is a hugely ambitious, deeply political play that consistently challenges what theatre can and should be. “Following The Writer, we are thrilled to present a timely revival of Sophie Treadwell’s masterpiece, Machinal, directed by Natalie Abrahami. Ninety years after it emerged from the American expressionist theatre scene and twenty-five years since its last London production, it remains strikingly resonant in its depiction of oppression, gender and power. “I first saw Belgian company Ontroerend Goed’s show £¥€$ (LIES) at the Edinburgh Fringe last year.
    [Show full text]
  • City, University of London Institutional Repository
    City Research Online City, University of London Institutional Repository Citation: Pick, J.M. (1980). The interaction of financial practices, critical judgement and professional ethics in London West End theatre management 1843-1899. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/7681/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] THE INTERACTION OF FINANCIAL PRACTICES, CRITICAL JUDGEMENT AND PROFESSIONAL ETHICS IN LONDON WEST END THEATRE MANAGEMENT 1843 - 1899. John Morley Pick, M. A. Thesis submitted for the Degree of Doctor of Philosophy in the City University, London. Research undertaken in the Centre for Arts and Related Studies (Arts Administration Studies). October 1980, 1 TABLE OF CONTENTS Acknowledgements 4 Abstract 5 One. Introduction: the Nature of Theatre Management 1843-1899 6 1: a The characteristics of managers 9 1: b Professional Ethics 11 1: c Managerial Objectives 15 1: d Sources and methodology 17 Two.
    [Show full text]
  • Women in Theatre 2006 Survey
    WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company 2006 copyright. No part of this survey may be reproduced without permission WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission The comparative employment of men and women as actors, directors and writers in the UK theatre industry, and how new writing features in venues’ programming Period 1: 16 – 29 January 2006 (inclusive) Section A: Actors, Writers, Directors and New Writing. For the two weeks covered in Period 1, there were 140 productions staged at 112 venues. Writers Of the 140 productions there were: 98 written by men 70% 13 written by women 9% 22 mixed collaboration 16% (7 unknown) 5% New Writing 48 of the 140 plays were new writing (34%). Of the 48 new plays: 30 written by men 62% 8 written by women 17% 10 mixed collaboration 21% The greatest volume of new writing was shown at Fringe venues, with 31% of its programme for the specified time period featuring new writing. New Adaptations/ New Translations 9 of the 140 plays were new adaptations/ new translations (6%). Of the 9 new adaptations/ new translations: 5 written by men 0 written by women 4 mixed collaboration 2 WOMEN IN THEATRE 2006 SURVEY Sphinx Theatre Company copyright 2006. No part of this survey may be reproduced without permission Directors 97 male directors 69% 32 female directors 23% 6 mixed collaborations 4% (5 unknown) 4% Fringe theatres employed the most female directors (9 or 32% of Fringe directors were female), while subsidised west end venues employed the highest proportion of female directors (8 or 36% were female).
    [Show full text]
  • PROGRAM the TEMPEST Actors from the London Stage
    PROGRAM THE TEMPEST Actors From The London Stage Thursday, February 27, 2020; 7 pm Friday, February 28, 2020; 7 pm Saturday, February 29, 2020; 7 pm Media Sponsor The Actors From The London Stage residency at the University of Notre Dame is generously supported by the McMeel Family Endowment for Excellence for Actors From The London Stage, the Paul Eulau Endowment for Excellence for Actors From The London Stage, the Deborah J. Loughrey Endowment for Excellence in Shakespeare Studies, the D & J Smith Endowment for Shakespeare and Performance, and the College of Arts and Letters. THE AFTLS APPROACH For most of his working life, William Shakespeare was a sharer in the King’s Men, London’s leading theatre company. He knew the actors he was writing for and collaborated with them on seeing the plays into performance. All theatre is a collaboration, of course, and while actors can no longer collaborate directly with Shakespeare, the Actors From The London Stage (AFTLS) company always aims to work with him, respectfully and creatively, throughout the rehearsal process. Our company’s aim is to make his words exert their magic and their power in performance, but we do this in a vital, and perhaps unconventional, way. We have no massive sets to tower over the performers and no directorial concept to tower over the text of Shakespeare’s play. In fact, AFTLS does not have a director at all; instead, the play has been rehearsed by the actors, working together to create theatre, cooperating with each other in their imaginative engagement with the play’s words.
    [Show full text]
  • Theatre Archive Project
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Auston Cole – interview transcript Interviewer: Dominic Shellard 6 November 2007 Theatre-goer. Frank Adie; Tommy Cooper; Cecily Courtneidge; Noel Coward; G.H. Elliot; Roy Hudd; Jack and Claude Hulbert; London Coliseum; Murray and Mooney; music hall; new writing; Ivor Novello; Beryl Reid; Sheffield theatres; theatre seating; variety; Waiting for Godot; West End. DS: Well, welcome to the British Library Austin, and thank you very much indeed for agreeing to be interviewed for the AHRC British Library Theatre Archive Project. AC: Thank you. DS: Could I just ask you first of all whether you’re happy for the interview to deposited in the British Library Sound Archive. AC: I’m totally happy with that. DS: Thank you very much indeed. And perhaps we can start by discussing how you first became interested in the theatre. AC: That’s quite simple Dominic, and I’m glad you asked me that as a kick-off, because before the war my parents took me to London, to the theatre. And also we had two theatres in Cambridge. I was born in a village not far from Cambridge, and that was our weekend visiting town – now it’s a city. And I realised that anywhere I went, if I could get in theatre – that’s what as I thought of as I worked so hard, no matter all stages of my life – I found that when I’d finished that, the thought was ‘where can I get into the theatre?’. DS: Wonderful. AC: Now, as a consequence of that, little wonder then when the war came and I was recruited into a particular service of the Royal Navy.
    [Show full text]
  • A Hackney 4Th of July
    A Hackney 4th of July A Walk Between Hoxton Hall, Hoxton Street to the Building Exploratory at Orsman Road (via The Regent’s Canal), Hackney. 2-4pm Saturday 4 th of July, 2009 Mark Hunter and Conan Lawrence 2009 1. Hoxton Hall. 130, Hoxton Street, London N1 6SH. [Conan] Ladies and Gentlemen, Welcome to our walk A Hackney 4th of July. I’m Conan Lawrence, this is Mark Hunter and we’re your guides for the next ninety minutes. When Mark and me were offered the chance to lead a walk on one of Discover Historic Hackney’s weekends we chose today -the 4th of July- for its obvious resonances. Independence Day, a reminder of an early loss; of Empire, land, subjects. And tea. What would happen if we told a story in Hackney about something that happened 233 years ago and 3549 miles away? Could Hackney throw new light on an old story; what could Hackney learn from that story? We were given a geographical beginning and an end and had to invent the middle, with you in mind. One of these inventions was the name we chose for this walk: A Hackney 4th of July. Another was a letter we wrote to the American Ambassador inviting him to join us on the walk, of which more later. What we decided not to do was walk past a lot of buildings and point at them, although there’s one we haven’t quite made up our minds about yet. The beginning was, and is, Hoxton Hall, built in 1863, as MacDonald’s Music Hall, although it only survived eight years in this capacity before mid-Victorian piety closed it down.
    [Show full text]
  • Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
    Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s
    [Show full text]
  • Black and Asian Theatre in Britain a History
    Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation.
    [Show full text]