Theatres Magazine Autumn 2017

Theatres Protection Fund Awards Showcase Dunoon Burgh Hall Moynet revealed Spotlight on Hull New Theatre Repurposing Boscombe’s Shelley Theatre Protecting theatres Bringing Swindon’s culture home

Protecting theatres for everyone The outside of the Shelley Theatre Boscombe Theatres Trust when it was purchased in 2007.

Trustees Tim Eyles (Chair) Richard Baldwin In this issue David Blyth Pam Bone 24 Dara O’Briain Paul Cartwright Paddy Dillon Ruth Eastwood David Ian Richard Johston Gary Kemp Simon Ricketts Peter Roberts Ann Skippers Anna Stapleton 2—3 Bringing Swindon’s Special Adviser Peter J Wilson culture home

Consultants John Earl 5—9 28—29 Jonathan Lane Theatres Protection In the news Mark Price Fund Awards Staff Jon Morgan 30—31 Director 11—14 Our work Ross Anthony Showcase: Planning Adviser Claire Appleby Dunoon Burgh Hall Architecture Adviser 32—33 Faith Borerwe Protecting theatres Interim Finance Officer 17—18 Corinne Beaver Moynet revealed General Manager Kate Carmichael Communications Coordinator Marie Lane 20—21 Resource Centre Manager Spotlight on Stephanie Rolt Records Officer Hull New Theatre Tom Stickland Theatres Adviser 23—27 We believe that current and Repurposing future generations should have access to good quality theatre Shelley Theatre buildings, where they can Boscombe be inspired by, and enjoy, live theatre.

Theatres Trust 22 Charing Cross Road London WC2H 0QL T 020 7836 8591 F 020 7836 3302 [email protected] Special Book London Theatres www.theatrestrust.org.uk @theatrestrust Discount Michael Coveney and Peter Dazeley Foreword | Mark Rylance Theatres Magazine for Friends Jon Morgan Publisher | Frances Lincoln Editor-in-chief & Corporate ISBN 9780711238619 Kate Carmichael Managing Editor Supporters Join leading theatre critic Michael Nicola Rowland Coveney on a tour of the forty-six Advertising Sales Diana Watt theatres which make London the Editorial Assistant theatre capital of the world. With

© 2017 The Theatres Trust Charitable Fund. a foreword by Mark Rylance and All unsigned or otherwise uncredited articles are including stories of the architecture, the work of the Editors. The views expressed editorially or by correspondents in this magazine the staging and the productions are not necessarily those of the Trust. Notes, queries and letters are always welcome. that have defined each theatre as well as breathtaking never-seen- ISSN: 1759-7668 before photographs of the public

Design: Vincent Design areas, auditorium and backstage Print: Lavenham Press by award-winning photographer Peter Dazeley, this is the book Front cover: Great Western Railway for any fan of the theatre. Mechanics Institution, large hall 1916 To receive a 10% discount on STEAM, Museum of the the book visit quartoknows.com Great Western Railway and enter discount code LT10. Valid to 12 October 2017. 1

Theatres Magazine Autumn Bringing 2017 Swindon’s culture home

In advance of the Theatres Trust Conference on Theatres and Placemaking, Daniel Rose, Executive Director of the Swindon Mechanics’ Institution Trust, and also speaker at the conference, reminds us that the idea of culture and placemaking is not new. He argues that it’s time to revive nineteenth century community movements banding together to address mutual social, health, learning and cultural needs in order to transform the places where communities live and work.

‘A hive of community, culture, learning and creativity’ – marketing hyperbole straight from the latest regeneration project? Or the merits of a social, cultural and educational masterpiece stated too often that for a provincial town in the Institution Band, of nineteenth century forward thinking? post-Victorian era there was both variety and 1900 It’s the latter of course, because 175 years ago, range in the productions seen by the residents of STEAM, Museum of the the highly innovative and far-reaching work of Swindon. Swindon workers made up the cast of Great Western Railway Swindon’s Mechanics’ Institution was changing many productions and in turn toured the GWR lives and expectations in a fast-changing and network from London to the West Country. expanding town. The Mechanics’ was the epicentre of New The Great Western Railway (GWR) arrived in Swindon life, so popular and successful that 1842 to establish a new railway works, a site further buildings and organisations were chosen by Isambard Kingdom Brunel and Daniel formed around it, including a host of theatrical Gooch. New Swindon was born. This was a site and performance based bodies, some still in at the base of a hill several miles from the small existence today. market settlement of Swindon, an agricultural The Institution continued to evolve and grow place little changed for hundreds of years. The until faced with gradual decline from the 1960s Railway Works were built in an area with no including the end of the theatre in 1976 with the houses, schools, recreational facilities, shops or creation by the Council of the modern Wyvern a market within easy reach, and against many Theatre. By 1986 with the closure of the Railway odds in these muddy fields emerged a thriving Works the Mechanics’ found itself closed and place known for its engineering success and a botched attempt by the local authority to skilled workforce. Less is known about the take on the building gave way to a series of social and cultural story that developed in ill-conceived schemes by private speculators the neighbouring Railway Village. resulting in eventual dereliction. The GWR provided jobs and built the houses Formed in 1995, The Mechanics’ Institution Trust but the majority of the not insignificant needs operates in a dual role – both as a building and growing pains of New Swindon fell to the preservation trust and community development workers themselves to resolve – a relevant social enterprise. In many ways we were ahead reminder for many towns and cities today that of our time by combining what is commonly a job and a house does not in itself make a referred to now as ‘people and place’, however viable and successful community. Even before our inspiration for this approach comes from the Institution built its premises in 1854, the the past. In its heyday the Mechanics’ Institution organisation was rising to the social, health, was about far more than just a building. Its learning and cultural needs of the day. reach and connection into the community was Among the many aspects of this imposing extensive. Contrary to popular mythology, the building was the impressive theatre that formed Institution was not set up by Brunel, nor was the heart and soul of the town. It cannot be it by virtue of paternal benevolence from the 2 Theatres Great Western Railway. The workers themselves with it the skill of ‘making it work’ forgotten. Magazine Autumn built and managed the building. They were a Before the major challenges to local government 2017 membership body with each workshop electing finances in the last few years we had already a representative to sit on the Management started to see the rise in commercial involvement Committee with a strictly non-partisan and in leisure and even local green spaces – in this non-denominational approach. instance the role has become corporation to customer. But all around us we see another Our Trust reflects this original role today, we approach emerging, or actually re-emerging – too are a membership body having recruited that of community control, management and several thousand members over the years. We enterprise, perhaps most noticeable first in the continue to take on properties surrounding the rise of community pubs and post offices. As Mechanics’ such as a preserved railway workers localists we relish the opportunity to take back house as an independent museum, a community control but this needs to be enabled by a local facility in the former hospital and one of the government that wants to do it because it sees corner pubs which will become a café for the it as the right thing to do to strengthen and community later this year. But we don’t just care empower communities and not simply because about bricks and mortar for their historical value, at best ‘we can’t afford it anymore,’ or at worst we also see their potential for transforming how when community influence is met with a degree local people feel about their place. And we aim of suspicion and attempt at taking power or to bring about regeneration through community credit from the local ‘authority’. enterprise rather than these buildings simply being seen for their narrow economic value, Our central mission to regenerate the Mechanics’ for private control and profit. Our extensive Institution as a place and as a way of doing programme of community development places things continues. The ethos of the original us at the heart of the neighbourhood, a valued organisation has once again become highly part of people’s lives running and facilitating relevant to our lives. The Mechanics’ Institution everything from a community cinema to a youth as both an organisation and a building club, community gardening schemes to toddler understood the social and cultural challenges of groups – we try to be responsive to the needs the day and sought to solve them, with lasting, and aspirations of the community adapting our innovative success. priorities over time. Public services will continue to shrink and with Of course we face numerous challenges – a host of social and economic challenges for resources, becoming financially sustainable our society the role of places like the Mechanics’ and the danger of overstretching our voluntary as a hive of social, community and cultural capacity. However at the top of the list of enlightenment is once again crucial. challenges sits the role of local government. The Mechanics’ Institution of the twenty-first When the Mechanics’ was first created the century should enrich a town by fostering a vast tentacles of the local council simply didn’t place for collaborative thinking, the sharing of exist. Few could argue against the importance ideas, and action. Most importantly it will be a and need for public services and the welfare place that the community truly own and control state post-war. However there have been once again – called an Institution, but never consequences to the broader growth and institutional in culture. influence of the public sector which until recently The Mechanics’ Institution is currently under the controlled the majority of leisure, recreation, jurisdiction of the Crown Estate, following the cultural and community activities and assets. dissolution of the last private owner. The Council Previously these matters weren’t services in the undertook urgent works in 2010 totalling nearly sense of provider and rate payer but community £1m. Our Trust recently completed a successful organisations, clubs and societies – the role refreshed high-level viability report to investigate of the user was often also a member and to the creation of a mixed-use community and differing extents mutually cooperative and jointly cultural venue, complete with restored theatre. accountable. The culture of hyper local mutual With stakeholder support positive we plan to cooperation has arguably been diminished and embark on a full, detailed, viability study and business plan in the Autumn with a view to a Heritage Lottery application thereafter. A group of local You can hear more from Daniel Rose and gardening volunteers called ‘Incredible Edible’ the Trust’s plans to restore the Mechanics’ working at the Railway Institution at Conference 17: Theatres & Village Community Placemaking on 17 October 2017. Centre, run by the Swindon Mechanics’ Book your place by visiting: Institution Trust. theatrestrust.org.uk/latest/events/ 232-theatres-trust-conference-17- theatres-placemaking POWER TO THE (PERFORMING) PEOPLE

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Theatres Magazine Autumn Theatres 2017 Protection Fund Wolfson/Theatres Trust Urgent Repairs Scheme

In July we awarded three theatres a total of £44,313 in the first funding Trinity Centre, Bristol round as part of the Urgent Repairs £15,000 Scheme. The new fund, set up Trinity Centre, Bristol is a participatory Arts Centre in partnership with the Wolfson in Bristol located inside a converted Grade II* listed Foundation, helps theatres in need of Georgian church. The supported works will prevent future water ingress protecting the Fyfe Hall theatre immediate repair and maintenance – space below. The Urgent Repairs Scheme will help which otherwise could face closure. fund works to the roof, including repairing and replacing lead-work on the North Aisle, works “We received a range of applications to repair already damaged timbers, and from theatres of all sizes for this appropriate insulation of the space. scheme and evidently there is an urgent need to fund works throughout the UK. We are pleased to be able to support these successful applicants to keep their theatres open for their local communities to enjoy.” Director Jon Morgan

The Trinity Centre Susan Paige

Someone Should Start Laughing workshop Paul Blakemore 6

Theatres Magazine Autumn 2017 Royal Court Bacup £15,000 Royal Court, Bacup in use since 1893 is a hidden gem of a theatre built into the valley side of the River Irwell in Lancashire. It presents professional acts, in-house and local productions as well as supporting many local groups involved in community activities. Urgent electrical works are required to bring the aging infrastructure up to modern standards. Theatres Trust and the Wolfson Foundation will support these works which include the installation of new distribution boards and re-wiring of the theatre.

Royal Court Bacup

Saltburn Community Arts Saltburn Community Arts £14,313 Saltburn Community Theatre in the East Cleveland District of Yorkshire is located in a Grade II listed church which hosts productions by UK touring theatre groups and is home to the ‘53 Drama Group. The Urgent Repairs Scheme will pay for an overhaul of the fire safety systems front and back of house including a new alarm system and improved emergency lighting. Making this theatre safer will allow it to continue to be enjoyed by audiences and performers alike.

The Urgent Repairs Scheme awards grants of up to £15,000 and is open to all theatres who can demonstrate a commitment to excellence in architecture and programming of live performance. Round Two of the pilot scheme is closing on Friday 15 September 2017. 7

Theatres Magazine Autumn Theatres 2017 Protection Fund

Tobacco Factory UK Small Grants Scheme Theatres auditorium in the round

Hide The Shark

In August we announced the tenth round of awards from the UK Small Grants Scheme (UKSGS), supported by the Andrew Lloyd Webber Foundation and Judy Craymer MBE.

Tobacco Factory Theatres, Bristol £4,635 Tobacco Factory Theatres is located on the first floor of the Tobacco Factory building in Bristol. In a complete transformation of the current footprint of Tobacco Factory Theatres, a capital project will reconfigure the existing space to create a new flexible and multi-purpose studio. Theatres Trust will support the construction of a new dimmer room to jointly support the existing space and the new studio. The new studio space will increase the number of performances presented and create a more sustainable business model for Tobacco Factory Theatres.

Criterion Theatre, Coventry Farnham Maltings £5,000 £5,000 Criterion Theatre, Coventry is a volunteer run theatre. Farnham Maltings’ Going Up! Project is part of a The supported project involves the immediate programme of lift refurbishment to upgrade existing removal of the asbestos roof and gable ends of the facilities and enable visitors to access all areas at scenery store to the rear of the theatre building, all times. Supporting this project Theatres Trust replacing it with a new scenery store. This will will contribute towards the replacement of a lift deal with the urgent need to remove to the first floor, which provides access asbestos from a deteriorating part to studio spaces, and the installation of the building whilst allowing of a new lift to provide access the theatre to continue to the performance area in producing its shows. Criterion Theatre, the Great Hall. Farnham Maltings Coventry Tim Walker 8

Theatres Magazine Autumn 2017

Theatres Protection Fund UK Small Grants Scheme

Acorn Theatre, Penzance £5,000 Acorn Theatre, Penzance is the most westerly, all-year-round, centre for the performing arts in the UK. As part of a larger capital project, Theatres Trust will support repairs and improvements to the building which will make it safer and more secure. Handrails will be raised, floors repaired, secure gates installed and the emergency lighting replaced; all interventions that will protect The Acorn for the future.

Images courtesy Acorn Theatre, Penzance 9 The Bear Pit, Stratford-Upon-Avon Theatres Magazine £5,000 Autumn The Bear Pit, Stratford-Upon-Avon is being 2017 converted from a community hall into a theatre space, with new back of house facilities. Theatres Trust’s grant will support the installation of dock doors for level stage access to allow sets to be brought on to the stage, improve evacuation routes and disabled access. The grant will also improve the ventilation of the space.

Image courtesy Sam Atland

“The UK Theatres Small Grants Scheme provides a lifeline to theatres across the country enabling them to undertake vital works to keep them Round 10 marks open and accessible to all.” the end of the previously announced scheme. To date the Madeleine Lloyd Webber, scheme has generated 241 applications and Trustee of the Andrew Lloyd Webber 51 awards to theatres large and small, ensuring Foundation access to the arts is nationwide, from Penzance to Thurso, with projects covering a range of improvements to facilities, so that theatre buildings are more accessible for audiences, Applications for the UKSGS are open performers and staff. The range of organisations now with a deadline of 7 January that this scheme has supported reflects how 2018. Further details including criteria a small grant can go a long way to protect and application forms can be found: the continued use of a theatre. theatrestrust.org.uk/grants

We are absolutely delighted to announce that repeat funding has been received from the Andrew Lloyd Webber Foundation and that we have a new donor, the Charles Michael Holloway Charitable Trust. This funding will allow us to extend this scheme by a further three years, to 2020. Current projects Project Director The Bush Theatre The Bridge The Old Vic Bristol Old Vic Mamma Mia! The Party Ragged School Museum Shoreditch Town Hall Client Advisor The Nuffield Theatre Theatre 503 The Bike Shed Sadler’s Wells

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Theatres Magazine Summer Dunoon 2017

Burgh Hall Restored stained glass viking

The restoration and reopening of Grade B-listed Dunoon Burgh Hall is an inspiring story of a small Scottish community coming together to preserve its rich cultural heritage. The Dunoon Burgh Hall Trust talk about how they achieved their goal of bringing the Hall back to life for the benefit of the community.

In the 1870s Dunoon was an expanding coastal town with an estimated population of 3,000 and a growing reputation as a holiday resort. A pier, built just north of Castle Rock in 1835, enabled visitors to access the town directly by modern steam ship, making it a convenient holiday and day trip destination for Glasgow’s expanding population.

In 1874 Dunoon Burgh Hall was built to mark the important and newly conferred Police Burgh status of this growing Clyde coast town. A prominent building in the centre of Dunoon, the Burgh Hall was designed by Robert A New café space Bryden, a gift to the people of Dunoon by The new gallery Mr Macarthur Moir. Images courtesy Edmund Sumner Built on a corner site in Scottish Baronial style, the Hall formally opened on 25 June 1874. Its imposing façade is grey-green rubble with cream sandstone ashlar dressings. It housed a suite of municipal offices on the ground floor, which were complemented by a grand main hall on the first floor, and it was established to provide ‘a proper hall for the bulk of the people to assemble in and ‘express their feelings on all matters affecting the community and the nation’.

As the first theatre in Argyll, Dunoon Burgh Hall hosted dramatic performances, dances, local events and ‘improving lectures’ and was an important venue for the town right through the mid-century heyday of this ‘Doon the Watter’ holiday resort. In the 1950s other larger and more modern theatre facilities were built in the town and the Burgh Hall began a slow decline, exacerbated by a lack of care and maintenance. Changes in ownership from the 1980s resulted firstly, in the decades-long closure of the main theatre space and later, in the entire building being locked up and left unused. Showcase 12 Theatres The subsequent threat of demolition ignited Magazine Autumn an active community campaign to rescue the 2017 building and to restore it to its place as a cultural hub for the community. As a direct result of this campaign the John McAslan Family Trust purchased the building from Fyne Homes in 2009 for £1 and began working with the action group to attract funding for the major capital works that were urgently needed.

Soon after Dunoon Burgh Hall had been purchased for the community Dunoon Burgh Hall Trust was incorporated as a Company Limited by Guarantee and a Scottish Charity, with ownership of the building transferring to it in 2010.

From 2009 to 2015 the Burgh Hall was partially re-opened in a work-in-progress condition and a programme of events and activities was developed as action research for potential future uses of the building. This programme included touring theatre, live music, exhibitions, learning opportunities and exciting partnerships with regional and national arts organisations. The resulting response from the community was overwhelming, with an average footfall of 12,000 per year and more that 150 active volunteers playing their part in reviving the fortunes of this important community asset. In June 2017, nearly twenty years on from the start of campaigning, a fully refurbished and accessible Dunoon Burgh Hall was finally reopened to the public.

Improving facilities The extensive restoration project was designed to safeguard the building for the future, making it suitable for twenty-first century uses, and to preserve its important history and heritage. Fundamental to the scheme was the need for major structural improvements to the roof, which had suffered a variety of unsympathetic steelwork interventions over many years.

The overall aim was to provide a warm, dry and accessible community hub where generations can come together to learn, share, enjoy and be inspired by creative events, activities, learning and volunteer opportunities, all informed by the community’s interests and needs.

Existing facilities have now been significantly improved and new areas created, allowing for an expansion of activities and opportunities. The main theatre space now features a restored balcony with 54 seats and invaluable new under- stage storage. Backstage the extended green Top: room includes toilet facilities and a platform Street entrance after lift to the stage, funded by the Theatres Trust. the refurb On the ground floor an extended gallery suite Bottom: has environment controls that meet national Restored balcony chairs gallery standards, allowing for exciting loan opportunities to be arranged.

New spaces include two new ‘messy’ art workshop spaces and a glazed café extension. The work also included the installation of an effective heating system and upgraded toilet and kitchen facilities. Crucially, there is now accessibility to all public spaces for the first time in the building’s history via lifts and a new entrance ramp. 13 An initial strip-out contract began in January Theatres The refurbishment process Magazine 2015 while the procurement of a main contractor Autumn Sarah MacKinnon of Strathclyde Building 2017 Preservation Trust (SBPT) supported the was undertaken, supported by Argyll & Bute campaign group through the initial options Council’s Public Procurement team. In August appraisal process and then acted as Project 2015 W. H. Kirkwood Ltd of Greenock were Manager for Dunoon Burgh Hall Trust from the appointed and work began on site in September outset of the design stage to the point at which of that year. The initial contract was due to be the procurement of the main contractor began. completed in eleven months, but in the end ran to 21 months. Sarah worked with the volunteer board of directors and part-time Venue Manager, Ann The transition programme Campbell, over a four year period to develop a In November 2014 the building closed its raft of funding applications. Significant funding doors for capital works to begin and a creative from Heritage Lottery Fund, Historic Scotland, celebratory event attracted over 800 people Creative Scotland, Highlands & Islands Enterprise, in one day. John McAslan Family Trust, Monument Trust, The Robertson Trust and the Theatres Trust all Central to the refurbishment was the combined to provide the £1.9m needed for the preservation and interpretation of the heritage identified works. of this B-listed building. Interesting features include external stonework features and Regular consultation events were organised grotesques, original etched windows in the Town throughout the process to gather views and Chamberlain’s office, the 1890’s balcony and build community interest and this continued stage and the stained glass Viking rose window. with the board and users once the Design Team, led by Page\Park, was appointed. An exciting activity programme was developed in parallel to the main contract and led by In 2016, due to the winding up of SBPT, project Heritage Programme Co-ordinator, Jenny Hunter management moved in house to be covered to investigate and interpret the fascinating by Ann Campbell, with contract management social heritage of the building. undertaken by the project architects, Page\Park and Quantity Surveyor support provided by Over the course of almost two years a large Doig & Smith Ltd. Additional design team volunteer group has gathered oral histories, members were David Narro Associates created exhibitions and performances, produced (Structural Engineers); Harley Haddow (M&E a newspaper full of history and stories and Engineer); CDM (Scotland) (Principal Designer); developed a guided tour for the building, which Atelier Ten (Fire Engineer). is now receiving rave reviews from visitors.

Rear garden with Main theatre space new café extension with restored balcony Showcase 14 Theatres A vital element during the closure period and in planning for autumn. This has helped to Magazine Autumn capital works was the continuation of community maintain the understanding that this is a project 2017 activity and volunteer engagement from a dependant on continued fundraising, volunteer ‘Pop Up’ shop front premises on Dunoon’s input and income generation, as well as main shopping street. This direct contact with community support. members of the community ensured that the project was able to sustain a transition The aim is that this will be a fully inclusive programme of cultural events and build on the project, warmly welcoming to our whole momentum that had been achieved through community, whether as volunteers, employees, the work-in-progress phase. It also allowed the audience or participants. Dunoon Burgh Hall small, part-time staff team of two to respond to Trust wants to ensure that all programmes enquiries, develop new project ideas, keep the are high quality and diverse and maximise community informed of progress and manage their appeal across all social groups and all expectations and frustrations through the many generations are encouraged to mix at events and delays in the building work. in the running of the venue. Programmes will be truly intergenerational, incorporating children Moving forward and young people, families, vulnerable adults and older people. The response so far, from local Developing sustainability is crucial to ensure that people and visitors alike, has been incredibly this significant capital investment in Dunoon positive and encouraging. Burgh Hall provides long-term benefits for the community. A comprehensive five-year business plan has been developed identifying a range of income generation targets, including the promotion of the space as a venue for weddings, Dunoon Burgh boutique conferences and family celebrations. Hall Trust Vital revenue support has been secured through the Big Lottery’s Growing Community Assets Project Team Fund to support the operational development of the project to meet community needs. Tapering Project Architects support over five years will allow dependence Page\Park on grant support to be reduced as income Quantity Surveyor generation develops. Doig & Smith Ltd. The Big Lottery Fund has also provided Structural Engineers support for the fit-out of the various spaces David Narro Associates with furniture, sound and light equipment and M&E Engineer resources to help ensure that every part of the Harley Haddow building can be used in a flexible and multi- functional way. Principal Designer H&S CDM (Scotland) Welcoming the community back Fire Engineer In May 2017 Dunoon Burgh Hall Trust finally Atelier Ten got the keys to their building and began the Project Co-ordinator process of cleaning and fitting out the various Strathclyde Building Preservation Trust spaces. Five weeks later, on 10 June 2017, the Sarah MacKinnon doors re-opened with a high profile exhibition Dunoon Burgh Hall Trust of ARTIST ROOMS – Andy Warhol. Ann B. Campbell

The response of the community, as audience, users and volunteers, has been phenomenal. In the first three months the initial programme of music and theatre events sold out, more than twenty new volunteers have joined a team Funding breakdown

of Gallery Hosts, and numerous local groups Public funding Creative Scotland* 31.6% and individuals have booked space for public Heritage Lottery Fund* 39.1% meetings, conferences, community events and Historic Environment Scotland 12.3% family celebrations. Business Highlands & Islands 20.4% enterprise Enterprise This level of response directly reflects the funding effective consultation and community engagement undertaken over the years of Trusts & John McAslan Family Trust 17.0% campaigning, fundraising and programme foundations John Young Foundation 0.3% delivery. The restoration of Dunoon Burgh Hall Monument Trust 6.8% Sylvia Waddilove Foundation 0.3% is now seen by many as an indicator of what The Robertson Trust 3.4% this community can achieve and of the future Theatres Trust 0.3% regeneration potential of the town. *included revenue support for Heritage Activity Plan and Transition Programme. A staged approach has been taken to re-opening, with the café to be launched in late summer and a garden development project Behind the scenes of theatrical revolution since 1957

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Theatres Magazine Autumn Moynet revealed 2017

Above: Construction of a rolling ship

Far left: The corps de ballet dressing room

Left: The original book cover, Backstage in the Theatre: 1873 Scenes and Machines

Jean-Pierre Moynet Translated, introduced and annotated by Christopher Baugh in association with David Wilmore Theatreshire Books 2015 ISBN 0953412725

Theatreshire may be a niche publisher, but for anyone with an interest in theatre history, it fills a vitally important niche. After two comprehensive volumes on theatre patents, a study of E O Sachs and his time and a rich collection of appeared to be nowhere to go but we know authoritative essays on Frank Matcham & Co, (as Moynet did not) that a new form of visual Theatreshire has now made Jean-Pierre Moynet’s illusion, the early cinema, was waiting round the L’Envers du Théatre (Paris 1873) available to corner in Paris, to pick up where theatre left off. English readers as Backstage in the Theatre. Moynet wrote in an easily readable style, This is an exciting event for those of us who are often addressing the reader directly, making curious about the history of stage technology. his detailed explanations as accessible to the Moynet’s book is the most detailed and lucid general reader as to the scholar. ‘I assume’, he account of the mysteries of mid-nineteenth says, in Chapter 3, ‘that the reader has seen the century theatre machines and illusions, written performance from the auditorium. Still quite at a time when presentations on proscenium dazzled by the magnificent spectacle, he wishes arch stages had reached their highest peak to know about the ways in which the marvellous of technical brilliance. After this, in fact, there effects he has admired are produced … he does 18

Theatres Below: Magazine Transverse section Autumn showing rigging 2017 of a ceiling piece

not fear the loss of illusions if he should see the reality close at hand’.

It is still true of modern audiences, 150 years later, that the ever-popular backstage tours add to, rather than dilute, the magic of the theatre, but the hazardous close-hand experiences that Moynet describes have never been available to the uninvolved observer.

Chapter 17 (‘If the reader should be so kind as to accompany me into the theatre one hour before the play begins…’) is a step by step tour of the seething action on and below the stage, up on the fly galleries and in the workshops and dressing rooms. Moynet observes the smell of gas as the gas men screw together leather or rubber pipes. Massive scene changes are described in action and it is noticed (just in passing) that a sailing vessel is going to be struck by lightning in the middle of its journey. Fascinating stuff!

The present volume, a flat-spined hardback is, to external appearance, a smartly matching volume in the established Theatreshire series, but the contents step back in time, cunningly reproducing the character of the nineteenth century original, in page size, layout, typography and its 60 woodcut illustrations. I find the effect particularly pleasing, but this is no mere facsimile reissue. STAGE BUILD & Professor Baugh’s introductory chapters and his extensive notes, plus the bibliography and index have together added nearly 100 pages, to make this a new scholarly work in its own right. His ‘Note on theatre jargon and its translation’ REFURBISHMENT reminds us that some French (or English) technical terms have no exact equivalents in the other language, and he has occasionally had to use modern terms (like strike and fit-up) which may not even have existed in the nineteenth century. And, finally, but importantly, Baugh’s EXPERTS sensitive translation is a delight, giving Moynet a completely convincing voice. “We aim to provide something that is world class in every aspect, front of house and on stage.” Book review by John Earl Birmingham Hippodrome performs on Stuart Griffiths, Birmingham Hippodrome, Chief Executive Harlequin Standfast™ black flooring

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Theatres Magazine Autumn 2017

At the height of work, more than 250 operatives were Spotlight on on site each day ensuring deadlines were kept to. Tasks encompassed everything from the installation of 13.5 metres of steel work to create the new entrance, to the gold painting by hand of dozens of decorative ceiling roses in the auditorium.

The scale of the project is staggering when you appreciate Hull some of the statistics involved. For example, fly tower beams weighing more than 16 tonnes had to be lifted into place and 19 tonnes of counterweights installed to operate the flying system.

A total of 232 sheets of plywood were installed in the New final covering of the stage with 1.5km of timber battens used below the final stage deck. In addition, more than 1,500 litres of paint were used and 486 lights installed Theatre on dressing room mirrors.

Following a £16m revamp, the largest since Hull New Theatre after its 1930s launch, Hull New Theatre is looking its £16m revamp to establish itself in the spotlight as a world- Hull City Council/ class venue. Janice Wincott, Theatre and Halls Esteem Consortium Manager for Hull Culture and Leisure, discusses the work involved.

An extraordinary one-off visit from The Royal Ballet will officially reopen Hull New Theatre on September 16 following a £16m redevelopment. The newly extended and transformed theatre has received a total revamp since its closure in January 2016. The refurbishment of the theatre is part of Hull City Council’s £100m capital investment programme designed to regenerate the city’s economy.

The original building dates back to the 1800s when it was built as The Assembly Rooms. Here, great writers of the Victorian age gave readings, including Charles Dickens in 1859 and 1860. The theatre has certainly come a long way since opening in 1939, when founder Peppino Santangelo’s persistent determination ensured that the venue survived the Second World War. Twenty years later a subsequent intervention from Hull City Council saved it from becoming a bingo hall, marking the next stage of its journey to becoming a key player in the UK performing arts scene.

The completion of this major project is a significant part of ensuring a lasting legacy for the city beyond 2017 and commitment by the council to providing high-quality cultural experiences in Hull.

The theatre now houses a state-of-the-art technical and backstage infrastructure, including a significantly larger 27m fly tower and front-of-house enhancements as well as a new, easily accessible entrance and foyer and more comfortable seats with increased leg room. We have also incorporated additional catering and licensed bars and spaces for business, community and social events.

The development consortium Esteem, led by the Hull-based Sewell Group, carried out the works. In addition, the skills of a further 37 local companies and 134 apprentices and trainees were employed throughout the 18-month project. 21

Theatres Magazine Autumn 2017

With three main elements – the development Given the historic nature of the building, of a new extension, building of a new fly tower there were challenges on site, but these were and extensive upgrading of the existing building successfully navigated, whether through the – skilled building, electrical, joinery, plumbing, use of 80 tonnes of water to hold up the walls flooring and decoration work, including to the during construction or the more delicate task of façade, were all involved. removing chairs and wrapping them individually for storage. The finish includes beautiful wood panelling around the box office, new merchandise units, We are grateful to Hull New Theatre’s sister improved lighting and rich velvet covered venue, Hull City Hall, who played an important sound proofing in public areas. role during the refurbishment period by hosting an increased number of diverse events and it’s The refurbishment work also uncovered items fantastic to see the result of the last two years from Peppino’s time such as the signatures hard work as there’s just so much enthusiasm left by the those who built the safety curtain, and excitement from the public. dated 31 August 1939 and this find has now been preserved. The Institute of Theatre Consultants is The institute has an international Members of the Institute advise on the recognised qualifying body for theatre membership with offices in all parts of all aspects of performing arts buildings consultants who are assessed on their the world. At any one time IoTC qualified from the initial business plan to the building proven practical experience both in the consultants will be working on projects on design brief; the public experience in the theatre and performing arts venues and every continent with a total value of many front of house; auditorium and stage or also working in design teams constructing billions of pounds. Members and their platform design to ensure the bond between or refurbishing buildings for the performing practices have completed over 1,500 performer and audience; the design of arts. Over more than 50 years consultants new and re-furbished venues worldwide backstage areas essential to facilitate have developed a very considerable body ranging from opera houses to amateur performances and to attract the best of expertise and practical skills in the field theatres, from concert halls to arenas artistes to the venue. In all these areas they of theatre consultancy. The IoTC supports and conference centres. integrate mechanical, lighting and sound members with research, continuing equipment to serve the performance. professional training and the exchange of information between members. [email protected] T +44 20 8455 4640 23

Theatres Magazine Autumn Repurposing 2017 Boscombe’s Shelley Theatre

The Shelley Theatre is once again Inside this property was the remains of a private Shelley Manor Park from the 1900s a cultural beacon in Boscombe and theatre dating from the mid-nineteenth century. Bournemouth in Dorset, having first Charles Higgins Partnership, a specialist investor served the local community over a developer of NHS Primary Care facilities, worked hundred years ago. As a private theatre, with the local community group, the Friends of Shelley Theatre, to promote the repurposing of the money the original residents this heritage landmark building in competition made from performances would often with residential developers. Charles Higgins be reinvested into the area. Today Partnership secured the right to purchase the building is split between an NHS and then proceeded to renovate the original Shelley Manor under the guidance of Architect, pharmacy and clinic, and the newly Philip Proctor (Proctor Watts Cole Rutter) modernised theatre centre. The team and specialist Medical Property Consultant, behind its restoration discuss how Jon Dunne (Jerrard Keats and Wolley). this relationship with the community This was the second combined Medical Centre continues in maintaining the theatre’s and Theatre project that Charles Higgins local significance even today. Partnership has embarked on, having gifted to Sturminster Newton Town Council land for Our journey started in 2005 when searching for the development of the Exchange Theatre. a suitable property to develop a Medical Centre. Bournemouth Council owned the property and The initial theatre performance was A Year was selling it by tender with a planning brief for Without a Summer in 2010 by Dorset Corset conversion of the derelict Shelley Manor into flats. Theatre Company, which ran on one 13amp 24

Theatres Magazine Autumn 2017

Auditorium mid-renovations

First performance in 2010

The new Mulberry Curve

socket and candlelight. This made for a very Getting this far has been enormously rewarding intimate first performance in over 100 years. – the challenges of pulling together a team to Since then we have steadily worked through deliver the project were immense, with no grant a well thought out and planned approach to funding support from the outset, but key to our building renovation to ensure professional success was maintaining the enthusiasm and theatre can be delivered in the most cost motivation for the project goal. And fortunately effective way whilst funds are secured. our community volunteers had faith in us and shared our excitement and aspiration to deliver With the formation of the Shelley Theatre Trust, an outstanding professional theatre venue. now a registered charity, this has allowed us to approach various grant funding bodies in order Our most recent milestone, generously funded to assist in the development of the theatre by Talbot Heath School, was installing additional and its supporting areas. We were singularly doors and windows to give us some security and unsuccessful in achieving any support until warmth, as we had been running for the last 3 Simon Ruddick’s ‘Spend a Penny’ scheme with years with double glazed plastic windows and the Theatres Trust which has meant we no the main front door. longer have to time the interval by the length of the line for the loo! We then had a huge leap when we installed underfloor heating and WC facilities. This allowed We have had superb support from local business, us to create two wonderful spaces, the theatre individuals and Bournemouth Council. With 160 and the performance café. This in turn led on seats, we are a boutique theatre offering a very to Bournemouth Arts Club donating a picture warm and friendly environment for patrons, hanging system so they could use the space as volunteers and performers. a gallery, and the opening of the café and gallery is now helping to support the venue being open on a regular basis, which will, in turn develop and 25

Images courtesy Theatres Shelley Theatre Trust Magazine Autumn 2017

Understage area earmarked for more dressing rooms

New Pavilion Studio

New ladies loos

support the financial needs of the venue at Farnham Maltings on programming together as a whole. with Bournemouth Council on their second draft of their cultural strategy for 2018, so we will The next few milestones that we are looking learn as we progress. to achieve: As far as our vision is concerned we see our • sound insulation between the theatre raked stage and small auditorium as being and the performance café the perfect venue for testing and developing shows. We would love West End or touring • improved washing and WC facilities for companies to come try us out and get their the side-stage dressing rooms shows on the road with a developing and appreciative audience who are very loyal to • build two large dressing rooms under the Shelley Theatre. We will then be able to offer stage to accommodate bigger casts and our community first rate professional theatre school groups and a wonderful experience for the companies • stage lighting upgrade, and LED who come to perform. Please contact replacements to reduce our energy bill! [email protected] to book your next performance. • create a terrace outside the theatre, providing the opportunity to use part of the 8 acre Our theatre audience has been with us every step Shelley Park as outside performance space of the way, having supported us when we had no heating, no windows, and no doors – blankets At this stage we are delighted that we are helped bring our audiences closer. We still have a getting full houses and great support from the long journey ahead, it’s an exciting one and one community who have fallen in love with the which we are all very keen to involve others and building. We are currently working with House garner their support. 26

Theatres Magazine Autumn 2017

Bottom: As well as being an Below: Theatre Historian David Coates amateur theatre enthusiast, The Boscombe Manor Sir Percy Florence Shelley Theatre auditorium, reveals the lost history of the was a keen photographer, photographed c.1926 yachtsman and cyclist. Shelley Theatre. when the house was occupied by Grovely Lord Abinger Private Manor School. Collection.

Behind this exciting new venue in Boscombe is a rich history that begins in 1849 when Sir Percy Florence Shelley purchased the property, which was then known as Boscombe House. His intention was to make it the main home for he and his wife, as well as his ailing mother, the novelist, essayist and dramatist Mary Shelley.

Born in Florence in 1819, Percy Florence Shelley was the only son of Mary Shelley, the author of Frankenstein or The Modern Prometheus, and Percy Bysshe Shelley, the romantic poet. He was educated at Harrow and Cambridge, where he likely developed his passion for the theatre, and thereafter he is noted by the newspapers as being an avid first-night attendee and regular theatregoer in London. 27 Shelley had married Jane Gibson in June 1848 of house décor and facilities appears in The Theatres Magazine and after purchasing Boscombe House he quickly Bournemouth Graphic in July 1902. This stated: Autumn set in motion plans for extensive development 2017 works there, which included having a private ‘The scheme of colour here is perfect. The theatre built in the grounds. The redeveloped and walls are panelled with bright floral designs refurbished house became known as Boscombe in fresco on a very light ground, and the Manor, and its theatre opened on 18 December beautiful arched roof is painted a deep shade 1851 with two plays written by its owner, titled of blue. The stage is large, and equipped with The Gentleman Over the Way and Candaules, every appliance for dramatic representations King of Sardes. These were the first of many new – wings, flies, traps, and what not. The drop- dramatic pieces Shelley wrote for his theatricals, scene representing Lerici, on the shores of with other titles including the burlesques He the Mediterranean, the last home of the poet, Whoops to Conquer and A Comedy of Terrors; Percy Bysshe Shelley, was painted by Sir or Who is to Marry the Princess Royal? Percy Shelley – a charming piece of work’.

A scrapbook containing playbills from this early A similar description of the theatre had been theatre survives in the private collection of the printed in The Bournemouth Observer and Shelley descendants. The playbills date from Christchurch Chronicle on 28 October 1876, 1852 to 1859 and are accompanied by a series of which also mentioned an orchestra pit and spectacular watercolour images of plays being ‘one private box over the entrance doors’. performed on the theatre’s stage. These paintings All that remains of this private box today give a sense of what these theatricals may have is a hatch at the back of the auditorium. looked like, and from these it can be gleaned that the stage was small, the costumes were elaborate, and the scenery was absolutely superb.

While Shelley enjoyed writing plays and performing in amateur theatricals, he was also Left: passionate about the backstage crafts. He Playbill for 24 painted most of the theatre’s scenery himself, January 1854 for the farce Chaos and in his diaries frequently records spending is Come Again hours or even days working on canvasses for and Shelley’s upcoming productions. The watercolours show extravaganza Lord Bateman. that he was interested in stage trickery and For this event special effects, and the playbills record that Shelley experimented he was responsible for the stage machinery. with gas lighting. Lord Abinger A playbill from 1854 also shows his interest in Private Collection. stage lighting, stating that ‘Sir Percy Shelley hopes that no inconvenience will result from the experiment he has ventured on trying – namely, the adoption of gas as an illuminator’. Shelley’s fascination with backstage trappings is humorously chronicled in a prefatory note to Robert Louis Stevenson’s Island Nights’ Entertainments, written by his wife Fanny. She recalls how Shelley’s butler was disgusted with his employer for working with carpenter’s tools, and was concerned for his dignity, ‘being unable to stand the strain of his master’s low occupation’. The Theatre at Boscombe Manor was used from 1866 until Sir Percy Florence Shelley’s death in It was likely Shelley’s interest in scenography that 1889, with the last recorded performance being led to the development of a new larger theatre held in January 1885. Its legacy, however, has attached to the house at Boscombe Manor in been longer lasting. Shelley had encouraged 1866. In the sale guide for the house in 1911, over theatrical activity in an otherwise isolated area 20 years after Percy Florence Shelley’s death, of the country, where professional performances potential buyers were told that the stage was in public theatres were not available. The theatre wider than the auditorium, allowing for ample became a cultural haven and had the purpose wing space. The stage was also ‘equipped of bringing together the local community to with footlights (gas), trap doors, flies and sunk witness high quality entertainments in a unique orchestra’. There was a cosy green room with space. It is great to see this historic theatre various nearby offices, which probably originally being used in this way once again. served as dressing rooms. Most significantly, ‘at the rear of the stage’ was the ‘Theatre Yard’ where there was ‘a paint shop, carpenter’s shop, photographic studio, dark room and W.C.’.

The sale guide tells us that the auditorium could be ‘fitted with tiers of seats’ and could ‘accommodate about 300 persons’, but a far more enlightening description of the front 28

Theatres Magazine Summer 2017 In the news

ABTT launches theatre toilets survey Pavilion remains on our Theatres at Charity secures future of York’s for venue operators Risk and we will continue to work with Joseph Rowntree Theatre The ABTT’s Standing Committee Blackpool Council to find a new use On 30 August the board of trustees for Technical Standards for Places that will fully restore and preserve this of the Joseph Rowntree Theatre of Entertainment, the recognised important Grade II* listed building. Limited bought the premises of the industry guidance for ensuring the Joseph Rowntree Theatre from York safety and comfort of the public, Sutton’s Secombe Theatre could St John University. The charity agreed staff and performers in performance reopen as community-run business a lease with Nestle UK in 2003, which venues, are reviewing guidance on A group in Sutton is proposing a transferred to York St John University toilet provision. As part of a routine ‘community run venture’ to help when they purchased the property review the editorial group are seeking re-open the Secombe Theatre. The in 2012, however, that lease was due feedback from venues of all types and 396-seater venue on Cheam Road to expire in 2025 with no right to sizes to ensure the guidance continues closed in 2016 after the trust that took renew. This sale brings mutual benefits, to achieve the right balance between over venue from Sutton Council in making it easier for the theatre to need and provision. Robin Townley, 2014 went into administration. One act independently, whilst releasing chief executive of ABTT, said: “We year since its closure, Sutton Secombe resources for the university. The theatre hope the survey will help address issues Theatre Revival is now calling on the will continue to be a community of access and inclusivity. It’s about borough’s community to manage facility, run by the community for the seeing if, and what, amendments to the theatre themselves. The group community. The charity is planning the guidance are required.” Theatres plan to draw on local expertise in the to develop the venue, building on its can provide feedback by downloading community, including activists and facilities and reputation by improving the survey: abtt.org.uk/toilet-survey- enablers, to reopen this vital asset, the public areas of the theatre. The technical-standards-for-places-of- and are calling on people to get art deco style Joseph Rowntree entertainment-proposed-revision involved. Their aim is to follow in the Theatre was built in 1935 by the footsteps of the many charitably run Joseph Rowntree Village Trust (now Historic England enhances listing theatres throughout the UK, such the Joseph Rowntree Foundation) of Ambassadors Theatre London as the Leatherhead and Shanklin as a venue to provide great quality, Historic England was asked to Theatres, and to reopen the Sutton reasonably-priced entertainment reassess the listing description of the Secombe as a community interest for the people of York. Ambassadors Theatre, London. They group. Track updates via the decided to expand and enhance the revival group’s Facebook page: Stakeholders reveal results of list description for the Grade II listed Sutton Secombe Theatre Revival. Burnley Empire Viability Study Ambassadors Theatre in London’s West The second stage of the Viability Study End. The list description now includes Coventry theatre secures for Theatre at Risk Burnley Empire is reasons why the theatre is of historic long-term future now complete. The study by Bonnar significance, provides a history of the The Albany Theatre, which featured in Keenlyside and Theatresearch and building, improves the description of TM Spring 2013, has signed a 25-year commissioned by a stakeholder group, its various architectural features, and lease with the option of a further 25 which includes Burnley Empire Theatre corrects anomalies regarding the stage years to occupy its existing building Trust (BETT), Burnley Borough Council, equipment installed in the stage house. and, as part of the agreement, will University of Central Lancashire, take on 1,000 square metres of Burnley College, Burnley Civic Trust Plans to build museum in Blackpool’s additional adjoining space to support and Theatres Trust, has concluded Pavilion Theatre withdrawn its Arts for Life agenda, which aims to that there is a clear opportunity for Blackpool Council has announced promote well-being through the arts in the restoration of this Grade II listed that they will not proceed with the partnership with other organisations. As theatre through a long-term venture proposed museum in the Pavilion and preliminary refurbishment work starts with partnership and training at its Horseshoe at the Winter Gardens due on the new space and other areas of core. The proposal, which includes to the restoration and development the theatre, a consultation is currently restoring the historic auditorium to its costs involved with the conversion. The taking place until the autumn to engage original splendour, is seen as a great works carried out to date have included the local community and find out what opportunity for local heritage skills surveys of the building’s condition and Coventry people want and need. education and vocational training for further investigation into the historic Find out more and submit your young people. Key to the project’s significance of the Pavilion, all of which comments: albanytheatre.co.uk/ success will be harnessing the current will be useful moving forward. The have-your-say-the-east-wing local support as well as securing 29

Theatres Magazine Autumn Our news 2017

the ongoing partnership of key Theatres at Risk launch moves name in The Stage from 1976 to 2006, stakeholders. The Council continue to early 2018 as a reviewer, mainly for Chichester to maintain their support for a reuse Many of our readers will be aware Festival Theatre. Mike co-edited the of the building and would welcome that we raise awareness of the Trust’s Guide to British Theatres a viable community operation for the theatres at most risk across the UK 1750–1950, published in 2000, which Empire and will be progressing work at our annual Theatres at Risk register became the foundation of the Trust’s on a masterplan for Burnley Town launch, bringing their stories to a theatres database. Since then, with Centre which will include the national audience to ensure these his extensive knowledge of UK and Empire. Theatres Trust and BETT incredible buildings are kept safe. European theatre history, he has are to be consulted as a part of the Trustee Dara O Briain launched written extensively about theatre masterplan exercise. BETT are also our 2016 register in September last architects including Frank Matcham currently holding fundraising events year. This year, due to the move in Frank Matcham Theatre Architect to support the future restoration in our Conference to October, the published in 1980, and Frank Matcham of the Empire. Find out more register will now be launched at the & Co published in 2008, as well as and how you can support BETT: beginning of 2018. We will continue to writing The Theatres and Concert Halls burnleyempiretheatretrust.weebly. provide case updates in NewsDigests, of Fellner and Helmer, published in com e-communications and via Social 2014. Mike is currently Vice President Media. You can also read about of the Frank Matcham Society and Stockton’s Globe theatre gets each theatre online: theatrestrust.org. continues to be an active Friend and £10.5m council revamp uk/how-we-help/theatres-at-risk rapporteur for the Trust, keeping an The National Lottery has awarded the eye on progress of theatres at risk, Globe Theatre in Stockton-on-Tees Trustees changes as a guardian of information on our £4.5m towards its restoration as a A big thank you to out-going Trustees theatres database and as a regular live music and comedy venue with Nick Allott OBE, Oliver Goodwin, contributor to Theatres Magazine. capacity for around 3,000 people. The Professor Gavin Henderson CBE, Jerry Ambassador Theatre Group (ATG) Katzman, Dame Penelope Keith DL, Francis Reid Collection donated to will operate the Globe for the next 25 Judith Mellor OBE and Simon Ruddick, Theatres Trust Library & Archive years. Following detailed investigative whose terms on the Board have come Lighting designer Francis Reid was work and consultation with operators to an end. We would like to extend well known in the industry, to Theatres the restoration project has evolved our greatest thanks to Dame Penelope Trust as a valued Friend, and was a considerably to meet ATG’s operational Keith DL who joined as Trustee in keen supporter of our work. Francis and business needs. Among the new July 2008 and has been with us for sadly passed away in June 2016, aged elements incorporated is a main hall to an unprecedented 9 years. We have 85. Earlier this year, in accordance allow for several seating and standing pleasure in welcoming seven new with his wishes, Francis’s family kindly configurations which will increase Trustees to our Board: Pam Bone, donated his collection of nearly the maximum capacity of the venue David Blyth, Paul Cartwright, David 200 theatre-related books and an from 2,500 to 3,000. Additional bar Ian, Gary Kemp, Richard Johnston and estimated 1,000 postcards depicting and toilet facilities have been added Simon Ricketts. They have a diverse theatres in the UK and Europe to to reflect the larger capacity using range of backgrounds including Theatres Trust. With the help of areas of the Globe, together with 153 theatre ownership, theatre production, volunteers the books and postcards High Street next door, which will also and the performing arts, planning law, are gradually being catalogued and operate as a café/bar when the Globe private equity and arts fundraising. will become part of our Library and is not in use. The new project will cost Archive. The collection of books, which £15m in total. It is anticipated that the Mike Sell becomes an has a particular focus on international venue will create 250 jobs and attract Honorary Life Friend theatre architecture, forms a wonderful artists and performers who will bring Mike Sell is a theatre historian and has addition to our Reference Library, more than 200,000 visitors to Stockton been involved with Theatres Trust for which is open to the public on Town Centre every year, generating over 30 years. Mike was a key member weekdays from 10am to 5pm. It is an estimated £18m boost to the local of the team that produced the ground- hoped that some of the postcards economy each year. breaking Curtains survey, published can be digitised, to enhance our in 1982. During its production he met online Image Library. John Earl, who he later continued to support when John became Director in 1986. You may have seen Mike’s 30

Theatres Magazine Autumn 2017 Our work

Conwy County Borough Council has granted permission windows are in keeping with the design of the building as (applications 0/43979 and 0/43978) for the dismantling well as other Moro theatres, the Trust was strongly opposed of Colwyn Bay’s Victoria Pier and Pavilion and the to the alterations to the internal stair due to the impact on reconstruction of a replacement, but truncated pier. An circulation and its incompatible design with the angular earlier scheme in 2015 for the complete demolition was shapes of the building and Moro’s ethos. Unfortunately, if rejected by the Welsh Government, and since then the the Certificate of Immunity is issued, the University is able to Council and the Colwyn Victoria Pier Trust had been working proceed with the damaging internal alterations without the together to develop a restoration scheme for a second need for planning permission. round Heritage Lottery Fund (HLF) bid. After recent storm The Mercury Theatre in Colchester has submitted plans to and fire damage, both the pier sub structure and the pavilion refurbish and extend the theatre with funding for the capital super structure have deteriorated to a point in which they works project from Arts Council England (Colchester CC, are now in an extremely unsafe and unstable state. Much of application 17/1964, pending). The scheme will upgrade and the bandstand and the seaward end of the pier collapsed renew the front and back of house facilities to improve the earlier this year and work has already been undertaken to customer experience, encourage wider community use, record and remove the collapsed structures. Unfortunately, and provide additional facilities to support productions the extent of damage led to HLF terminating the second bid, and generate additional income. The reorganisation of the main source of funding for the restoration. The approved the entry, café, box office and infilling the porte-cochere scheme, which is supported by the Colwyn Victoria Pier will create significantly more useable ground floor space Trust, involves recording and dismantling the remaining within the existing building footprint, and open up these structure, storage of the salvageable structural elements, and spaces to improve appearance, accessibility and audience reconstruction of a truncated pier three bays long out from circulation on this level. It also allows for the relocation the promenade, approximately 42m in length. The scheme of the main entry point so that it is more clearly visible makes provision for the reconstruction of the rest of the pier and facing the main pedestrian and vehicle access routes at a later date reusing the salvaged elements, when funding from the town centre to the east. A new production block can be obtained. Following the lessons learnt from the extension will be built behind the stage and provide much loss of the Brighton needed additional storage, dressing room and rehearsal Palace Pier Pavilion in Eric Ravilous murals at Colwyn Bay, space. Given the sensitive heritage sites that surround the the 1980s, the Trust 1934 theatre, much consideration has been given to the materials ensured that a storage and appearance of this new extension to minimise its management plan impact, and archaeology investigations are being carried was included as a out to determine the appropriate design for the buildings condition of consent, foundations and substructure to avoid damaging the and a full recording foundations of a Roman structure known to be on the site. of the Pavilion will be carried out and The Trust supported proposals to refurbish and all efforts made to restore the auditorium of Southampton’s Grade II listed dismantle, conserve, Mayflower Theatre, and to provide a small side extension and store or reuse to link the front and back of house areas (Southampton what remains of the CC, applications 17/01054/FUL, 17/01055/LBC & 17/01100/ Eric Ravilious murals LBC, pending). Access between the front of house and and paintings by back of house areas is currently only provided externally Mary Adshead. or via the auditorium and the new three storey extension which will provide a much needed separate and enclosed link between these areas In Swansea an application has been submitted for alterations to improve circulation to the entry and foyer of the Taliesin Arts Centre at and connectivity for Southampton Mayflower Swansea University, the last theatre designed by Peter staff and performers Moro, which opened in 1984 (application 2017/1402/FUL, around the whole pending). The University also applied for a Certificate of complex. The last major Immunity from heritage listing, which the Trust opposed. refurbishment of the The Taliesin is typical of the later buildings by Moro and his auditorium was over practice, and features bold and distinct angular/ hexagonal 30 years ago and the lines and strong layered volumetric massing. The external restoration will involve materials are simple, being unornamented brick walls topped the repair, maintenance with a band of dark horizontal windows and overall, and and redecoration of the the building has been relatively unaltered since it was built. existing plasterwork, The application seeks to change the use of the former bank, joinery, panelling, metal book shop and gallery in the ground floor foyer area, and to work and other fixtures open up the foyer to create a student lounge. This includes and fittings; replacement the installation of new windows and the replacement of the of the carpets, drapes stair in the theatre foyer with a spiral stair. While the new and rester rails, and 31

Theatres Magazine Autumn Contact us if you are planning a capital project, 2017 or want advice and guidance on maintaining your theatre building [email protected]

the upgrade and replacement of the orchestra pit, lighting, electrical and mechanical systems to improve safety, working and the environmental conditions within the Winter auditorium as well as making the theatre more sustainable and efficient to operate. A new colour scheme will be introduced and will be based on investigations in to the Building schemes of other theatres designed by W and TR Milburn, such as the Empire in Sunderland. Better Theatres Listed building consent has been granted for internal alterations to the Royal Court Theatre in Liverpool Workshops (application 17L/1134). The Trust has been closely involved in the redevelopment and refurbishment of the theatre for many years, including the restoration of the auditorium announced and the creation of the new entry foyer and bars. To help Our popular workshops are back again this winter develop the proposals for the next stage of the restoration, to provide training to local authorities and theatre the Theatres Trust facilitated an independent peer-based organisations at the early stages of a capital project. Advisory Review with a panel of theatre design, operation, The workshops bring together specialists with expertise and conservation experts in July 2016. The new scheme in theatre building projects and live case studies to will create a new 150 seat basement studio and performance give attendees an introduction to managing capital venue in the former Queen Mary Lounge that requires the projects of all sizes. The following workshops are existing support columns to be removed and new structural currently scheduled: beams to be installed to support the stalls level above. The look and feel of the existing bar will be maintained by the reuse of key features such as the panelling, mirrors Planning a Capital Project and glazed doors. Alterations will also be made to the Wednesday 1 November 2017 upper balcony by the creation of a new access point Capital projects require careful planning to ensure through to a new bar, facilities and foyer which will be success. Using case studies of recent capital projects, created on level 3. The balcony is currently accessed on you will gain an overall understanding of what is levels 2 and 4 and the new entry makes effective use of involved in planning a capital project for a theatre the otherwise vacant space and creates a more accessible and the confidence to lead one. and useable balcony area.

Bristol Hippodrome current stalls seating The Trust supported proposals to Delivering a Capital Project refurbish the Bristol Tuesday 21 November 2017 Hippodrome which The design team, contractors and building contract will see the seats you use to deliver your capital project need to be and carpet replaced right for you. This course helps you to understand and the orchestra the client role, the language of construction, and pit given a major the challenges you’ll face when leading your theatre overhaul (applications through this process. 17/03025/LA & 17/01493/LA, The workshops are designed to complement each permitted). The other so you may find it useful to attend both, but existing seating, you may attend them independently. The fee for each which are not original, workshop place is £132 inclusive of VAT. To book have become a your place visit theatrestrust.org.uk/latest/events maintenance and safety hazard as the Note: These workshops are suitable for local authorities and tipping mechanism of a large number of seats no longer theatre organisations considering or at the early stages of a capital work, meaning they block the safe exit from the row in project. They are not designed for construction professionals and the event of an emergency. The stalls and balcony seating, consultants. If you fit into the latter category please contact the along with the carpet, will be replaced and will replicate Theatres Trust so we can consider how we can cater for your training needs. the colours and designs of the existing fixtures, and will complement the carpets already replaced in the foyers. In addition, alterations will be made to the orchestra pit to install an automated pit lift to enable the safe and efficient movement of equipment and instruments between the sub- stage, auditorium and stage levels. This will greatly improve the way the theatre operates and help sustain this important heritage asset. 32

Theatres Magazine Autumn 2017 Protecting theatres Heritage Lottery Fund Top Tips

In a follow up article to Summer TM 2017 Sara Crofts, Head of Historic Environment at the Heritage Lottery Fund (HLF), highlights their top tips 3 Take inspiration from others on developing a heritage-led project It is easy to become too wrapped up in internal for your theatre. discussions, processes and thinking, so before embarking on your project, look beyond your own team and organisation to see what you can learn from others: 1 • Are there other organisations who have Define the idea completed a successful project that you Theatre buildings are often large and complex can learn from? places hosting a myriad of functions and • Can you take your team to see completed activities, so defining clearly what a project projects for themselves? Remember that might achieve can sometimes be difficult. good examples can often be found outside You therefore need to ask some questions: with the arts or heritage sectors. • What heritage-related activities within • Have you made use of our online community? the theatre need investment? This is a great source of advice and ideas. • What difference could HLF support make? • Will an HLF project help to transform the organisation or transform how the theatre relates to its local community? 4 • Will the project enable you to work with Understand your outcomes new and existing audiences to help share When we talk about outcomes, we mean the your theatre’s heritage? difference that your project will make, rather than what your project will do. We look at outcomes in three areas – the impact that your project will have on heritage, people and your community. Successful projects are those that 2 can demonstrate the best value for money in Express the vision the outcomes they will deliver. Successful projects have a clear vision and Outcomes should be: purpose. Successful applicants are those who can demonstrate that they have a good • Appropriate within the context of your understanding of the heritage importance of project. The number of outcomes you their building and its collections and stories. might address will depend on the size Projects need to be: of the grant you are seeking. • Engaging – enabling positive relationships • Proportionate to the size of the grant with a wide range of people requested. We are looking for quality and depth rather than quantity. • Creative – making good use of the available resources in exciting and innovative way • Clearly differentiated from your project outputs. Outputs are the things that your • Coordinated – aligning the project project does or creates, such as conserving aspiration, budget and programme scenery or training volunteers. • Committed – embracing the idea of partnership and genuine community engagement; it’s not about ‘ticking boxes’ 33

Theatres Magazine Autumn 2017

5 Theatre Royal, Build the right team Glasgow To develop a successful project you need Andrew Lee to bring together a team with the right mix of skills and experience. This will mean: • Ensuring that your team benefits from Case Study strong internal leadership – the best projects are rarely consultant-led. Theatre Royal, • Setting up a project structure with clear lines of reporting and communication. Glasgow

• Identifying someone to champion the As part of the multi-million pound transformation of the project and be the ‘keeper of the vision’. Theatre Royal, Scottish Opera wanted to celebrate the history • Finding an energetic and effective project of the theatre as well as conserving and restoring the A-listed manager to manage the team, liaise with auditorium. They put together a high quality package of public stakeholders and communicate with engagement activities and secured a Heritage Grant of £1.135m consultants. from HLF in 2012. • Being honest about the skills that you’ve The “Opening Up the Theatre Royal” heritage project had got in-house and where you will need to a number of strands, including an oral history project which bring in additional support or expertise. captured the memories of people with links to the theatre. Reaching out to younger audiences was also a key aspiration • Making sure that you delegate tasks to and so a programme for schools and community groups the people most suited to tackling the across Glasgow was created. “Pop Up Theatre Royal” involved different elements of the project. converting an old trailer into a mobile theatre space, allowing school children and locals to learn about the history of the Theatre Royal through fun and creative performances. The creation of a permanent heritage display as well as a temporary exhibition space was another important strand of 6 work, allowing members of the public to learn more about the Our final piece of advice performance history of the theatre. A particular strength was Major capital projects often take a long time that Scottish Opera placed a strong focus on communities to develop and deliver – much longer than that were currently under represented amongst the theatre’s people originally predict. So if you have a audiences. major anniversary approaching, start thinking about your project as soon as you can! Taken as a whole, the redevelopment project has contributed positively to the regeneration of the northern part of Glasgow city centre, attracting more people to use the café facilities and also acting as a social hub. Significantly, the project sat Further information firmly within the local strategic regeneration plan and received If you have an idea for a potential project considerable local support. Overall, the project demonstrated then you can obtain initial advice from your that it would meet HLF’s outcomes for people well, in addition local HLF office by submitting a project to bringing back to life a fantastic heritage asset. However, it enquiry form: hlf.org.uk/looking-funding/ had been hoped that the work would be complete in time for do-you-have-idea-mind the theatre to contribute to Glasgow’s arts and cultural offering during the Commonwealth Games of 2014 but, as noted above, major projects often take longer than planned and the doors actually re-opened in December 2014. ETC products help make your show a success

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