Theatres Magazine Summer 2016

Protecting Theatres Showcase: Theatre Royal York From Street to Seat Theatres Trust: First 40 years Managing Matchams

Protecting theatres for everyone Theatres Trust

Trustees Tim Eyles (Chair) Nick Allott OBE In this Welcome Richard Baldwin Paddy Dillon Ruth Eastwood issue Welcome to the summer edition of Oliver Goodwin Prof Gavin Henderson CBE TM which traditionally accompanies Jerry Katzman Dame Penelope Keith DL our annual Conference. Conference 16: Judith Mellor OBE Protecting Theatres, looks back at the Dara Ó Briain Peter Roberts last 40 years since the Trust was founded Simon Ruddick – but more importantly, looks forward Ann Skippers Anna Stapleton to the next 40. Mark Shenton, our

Special Adviser Conference Chair, highlights some of Peter J Wilson the content and themes in his article.

Consultants As part of the celebration of our history, John Earl we have complied a timeline of major Jonathan Lane 5 events from the Trust’s history – which go Staff Mhora Samuel back well before the Theatres Trust Act Director (1976). We could only include highlights Ross Anthony Planning Adviser in the article, but we hope to get a fuller Claire Appleby 1—3 Architecture Adviser Conference 16 account on our website soon. Mary-Ann Avotri One of the questions we will ask at the Finance Officer Corinne Beaver 5—7 Conference is: What changes need to be General Manager made to existing theatres, so they can Kate Carmichael From Street to Seat Resources Adviser continue to serve the needs of audiences Rebecca Morland Theatres Adviser and producers alike? To examine this in Stephanie Rolt 8—12 more detail, we asked two operators of Records Officer Showcase: Theatre Royal York theatres designed by renowned theatre We believe that current and future generations should have architect, Frank Matcham, to write about access to good quality theatre the challenges and delights of their buildings, where they can 14—17 be inspired by, and enjoy, Theatres Trust: wonderful theatres – the Grand live theatre. First 40 years and Kings Theatre, . We will Theatres Trust also hear from architect (and Theatres 22 Charing Cross Road London WC2H 0QL Trust Trustee) Paddy Dillon, with his T 020 7836 8591 19—24 thoughts on the important role foyers play F 020 7836 3302 Managing Matchams [email protected] in an audience’s experience of theatre- www.theatrestrust.org.uk @theatrestrust going, and how their design has changed over the centuries. Paddy will be chairing one of the sessions of Conference 16, and Theatres Magazine we are sure this will be discussed further Mhora Samuel Editor-in-chief on the day. Kate Carmichael Managing Editor One of the architects who will be Nicola Rowland joining us to talk at the Conference is Advertising sales Rebecca Morland Angus Morrogh-Ryan, Partner at De Matos Contributing Editor Ryan, who recently completed a major © 2016 The Theatres Trust Charitable Fund. All unsigned or otherwise uncredited articles are refurbishment project at the Grade II* the work of the Editors. The views expressed 27—29 editorially or by correspondents in this magazine In the news listed York Theatre Royal – a project that are not necessarily those of the Trust. Notes, queries and letters are always welcome. has significantly changed the way the front

ISSN: 1759-7668 of house space and auditorium are used. 30—31 We are delighted to feature the York Design: Vincent Design Our work Print: John Good Theatre Royal as our Showcase. 33 Grants

Front cover image: Theatre Royal York Photo: Hufton & Crow 1

Theatres Magazine Summer 2016 Conference 16 Protecting Theatres

In Chekhov’s Conference Chair Mark Shenton The Seagull, the sets the scene for the Trust’s aspiring theatremaker 10th annual conference on 21 June Konstantin, and son of veteran actress Madame Arkadina, calls for a new kind of theatre: “We need new forms, and if we can’t have them, then we’re better off with no theatre at all!”

Theatre has, since the time it was created by the ancient stage and Greeks, been in a constant state of evolution and revolution, audience. and is changing again inexorably even now, as our world As Tom Morris, its itself does. We have no special claims on the uniqueness of artistic director who presided this situation – change is a given in life – but could it be that over its latest refurbishment in 2013, the huge cultural shift that’s been occasioned by the rise pointed out in an interview with me for of our constantly plugged-in, online life of the last twenty- The Stage when it was completed that they five years has led, whether inadvertently or inexorably, tasked themselves with “finding out as much as we the biggest challenge yet to what theatre can mean? could about how it was designed originally – no drawing Digital distribution is already seeing off such former survives – and then to refurbish it in a way that was inspired certainties to our lives as newspapers and CDs, as the by that geometry. We know that this is the oldest working convenience of being able to download both to a laptop, theatre in the country, but the advice we had was that all of tablet or even a mobile phone mean that physical 3D the remains of the original footprint had been destroyed in copies no longer need to exist. But what about theatre, that 1970. But it hadn’t, and that enabled us to find out exactly depends on the “liveness” of its experience – the fact that where the original floor of the pit was and exactly where you are breathing the same air as the people creating it? the original stage came to, and therefore exactly what the Or is that really over-rated? Can theatre not be a bit like relationship between the actors and audience had been cinema – an experience created live by living people, in front when it was originally built. It was designed as a middle of living people, but then beamed digitally to audiences term between an Elizabethan thrust circular playhouse and from Aberdeen to Alaska and Australia, as the success of a 19th-century proscenium arch theatre, but instead of a NT Live has proved? Or do you need, in the words of the circle, it has an oval, horseshoe shape. But you still have the current Broadway smash hit Hamilton, to be “in the room stage coming right out into the middle of the horseshoe, where it happened?” and when you are onstage, you would have originally been And what is that room anyway? We’ve seen massive lit by a single light source over the audience, so the actor changes, of course, in the way theatres are organised and is absolutely in the same room as the audience and alive to constructed, from the large, open-air amphitheatres of every response he may get.” the ancient Greeks to the advent of gas and then electric The actor is the focal point – but is nowhere without light that enabled theatres to go indoors. This year an audience, so theatre buildings are always a negotiation Old Vic celebrates its 250th anniversary as Britain’s oldest between those interests. As Morris also put it to me, there’s continuously working theatre, which itself has undergone been a conversation between past, present and future several revolutions and rebuilds during that time, but at the as they’ve actively considered each of those eras and heart of it lies theatre’s essence: the interaction between interests as they planned and executed the refurbishment. 2

Theatres Magazine Summer 2016

“If you see theatre as an interactive negotiation with an As Mackintosh’s press release puts it, there has been, in audience, radical, forward-thinking theatremakers of the last the past 50 years, a “rapid rise of productions using thrust 20 years such as Simon McBurney, Emma Rice, and Felix and open stage formats”. The fact there has not been a Barrett of Punchdrunk have based their practice around theatre created in the West End that can accommodate that interaction in different ways. Film does the other thing these types of shows is, according to Mackintosh, a “major completely – if you want to have a glowing picture at the lost opportunity”. If and when these plans come to fruition, end of the room, that’s there. But only theatre can do that the theatre will – in the words of his company’s managing interactive thing. And what we’ve discovered by finding director Nick Allott – offer “something that the West End out about how the theatre was originally designed is a has never had before, which is a transfer house for non- unique opportunity for this organisation. If theatremakers proscenium work that originated in the subsidised sector,” are interested in that interactive relationship between the at places like the Donmar and Dorfman in London, or stage and the auditorium, they can come here and play Sheffield’s Crucible or Manchester’s Royal Exchange this instrument, and play it with the most up-to-date kit beyond it. we can provide.” Instead of being shoe-horned into pros arch houses, the It is similar to what the Globe provides, but indoors: new Sondheim Theatre could offer them a mid-scale home “There aren’t aeroplanes flying overhead, and it doesn’t where they can actually reach larger audiences, but without rain, but it has the same geometry and imaginative appeal, compromising their intimacy and integrity. of actors talking directly to the audience. Alongside the The simple fact, too, is that the West End is already other opportunities directors get to make work, this is a overcrowded (and overpriced), and with long-runners very exciting one. This theatre no longer has to be a slightly taking a lock on around half its stock, producers find it smaller, weak copy of a Victorian proscenium arch theatre difficult to place work in London as it is. No wonder that – there are already plenty of them and better ones all over producer Tristan Baker broke the model completely last the country. But this theatre can be absolutely, uniquely year and created a brand-new flexible space, built out of itself: an interactive crucible that is the only surviving mid- tents, at King’s Cross, which has proved to be an ideal 18th century theatre in the country where theatremakers home for the transfer of Playhouse’s In the can do things that they can’t do anywhere else.” Heights, where it plays alongside established hit The Railway So even, or especially, a 250 year old building can be Children. Baker has also cleverly made the venue fully alive to the forms and interests of theatremakers today. We Olivier eligible as a full member of the Society of London are blessed in Britain with a wonderful stock of Victorian Theatre. The Donmar Warehouse have recently announced and Edwardian theatres all over the country that – thanks plans for another temporary theatre, also at a site at King’s to the efforts of the Theatres Trust, other organisations Cross, to stage their all-female Shakespeare trilogy for like Historic England and the private as well as public a season from September 2016. owners of the buildings – have been saved and preserved. Pop-up theatres like this are one instant response to the Nowhere is this more readily or publicly apparent than in housing crisis in the West End. But they also point to new, the business empire of producer-turned-theatre owner exciting ways of presenting theatre, too. Like Broadway, Cameron Mackintosh. His company has self-funded, without drawing on the public purse, the extensive (and expensive) refurbishment of every theatre in its stable, which now includes some of the most prestigious addresses in the West End. Going to a Delfont Mackintosh theatre (as the theatre owning division is called) is a luxurious experience. But even he is not resting on his laurels or intent on maintaining the status quo at all costs, in every sense. He has announced plans to acquire the West End’s Ambassadors Theatre, re-name it in honour of Stephen Sondheim, and reconfigure it as a thrust, open stage. 3

Theatres Magazine Summer 2016 the West End has long been defined – and confined – by A thriving London fringe also constantly morphs around the stock of its mostly venerable theatre buildings. But as state funded theatres like the Royal Court, fulfilling the Mackintosh may prove with the Ambassadors, those venues famous diktat that all you need to create theatre is “a board, can be re-purposed without sacrificing their integrity; and two planks and a passion.” Peter Brook, of course, said an other brand-new spaces can be created, like the King’s empty space was by itself enough. We’ve duly seen empty Cross Theatre or the new home of the Nicks (Hytner and spaces beneath railway arches become thriving theatrical Starr) London Theatre Company that is set to open at concerns, from the tiny Union Theatre in Southwark – soon Tower Bridge in 2017, to attract theatregoers to West End- to relocate to a newly refurbished arch right across the scaled work beyond Shaftesbury Avenue or The Strand. street – to Southwark Playhouse (now in a former car repair But mainstream theatre has also stretched itself far workshop near the Elephant and Castle, but due to return to beyond the West End, both geographically and spiritually. the railway arches below London Bridge station it vacated Theatremakers and audiences today alike crave far more while that station is being comprehensively overhauled). intimate experiences: we’ve become used to – some may The joy of these and other theatres has been the say spoilt – by the close-up opportunities of studio theatres resourcefulness of their creation, but also sometimes the that have emerged up and down the land. There’s no hotter very sense of impermanence, too. As Michael Billington ticket in London than getting in to a show at the Donmar wrote of the temporary Courtyard Theatre built by the RSC Warehouse, which only has 251 seats and is therefore at Stratford-upon-Avon in 2006 while its main house was regularly sold out. That’s not a conventional, purpose- being rebuilt (and taken from a traditional pros arch theatre built theatre, but a “found” space that the RSC originally to the thrust auditorium it now has), “in its transience lies its reclaimed from its prior uses as a hop warehouse in the excitement.” The same was recently true of the National’s 1870s for a local brewery, then a banana-ripening depot Temporary Theatre, built to replace the Cottesloe while for market traders, to become a theatre the National undertook its NT Futures project. It was such first in 1977. a success that it was maintained even after the Cottesloe The Royal Court’s Theatre Upstairs, carved out of a roof re-opened as the Dorfman, but has finally closed. Theatre space at the top of the theatre that first opened in 1969, has buildings are not necessarily forever; they can also adapt even fewer seats – around 90, depending on the versatile and change. That’s one of the message of the future, configuration – but punches far above its weight in terms even as the Theatres Trust continues to be committed to of its size. It was here that such Royal Court hits as Death protecting theatres, as the conference will address. and the Maiden, Constellations and even The Rocky Horror Show first saw the light of day. And the model is replicated Mark Shenton is joint chief theatre critic for The Stage in small, temporary found spaces that crop up all the time, as well as contributing editor, writing a daily online column like Found111, created in the former home of the St Martin’s as well as regular interview features. He is also theatre School of Art on Charing Cross Road, that recently played critic for London Theatre Guide (londontheatre.co.uk) host to high-profile productions starring Andrew Scott and and London correspondent for Playbill.com. His own James Norton. website is ShentonStage.com. Twitter: @ShentonStage

Far left Bristol Old Vic © Philip Vile

Left middle Royal Court © Ian Grundy

Near left National Theatre, Temporary Theatre © Philip Vile p ERFORm S IN THEATRE

THEATRE SOUND REDEFINED 5

Theatres Magazine 2006 were in for a very different experience. Summer 2016 Couples were separated. Their tickets were exchanged for cloaks and white masks. Stern- From faced attendants forced them into a creaking goods lift that disgorged them, disoriented and slightly scared, into the dimly-lit murk of an abandoned warehouse. Different audiences, in different cities and Street centuries, gathering for theatrical experiences that could hardly be further apart. But for both Punchdrunk fans and the fashionable opera- goers of fin-de-siècle Paris, a similar magic was to being performed. By the time the audience had taken its seats in Garnier’s lavish auditorium, by the time the conductor bowed and the plush curtain rose, the noisy streets of Paris had been Seat left far behind. The audience was in another world, a place far removed from the everyday, in which Wagner’s music or Mozart’s could take Director of Allies & Morrison, precedence over business or fashion; a world not and Trustee of the Theatres Trust, of bars, cafés and cabs, but of Gods, sorcerers, love and death. Paddy Dillon, writes about the In other words, the audience had already Garrick Gold Bar © Siobhan Doran role foyer spaces play within the been on a journey before a single note had overall theatre-going experience. been played. And – most important of all – the Paddy is chairing Session 3 of 2,200 individuals who filled Garnier’s auditorum Conference 16: Protecting Theatres. had made that journey together, up the marble staircase, through the glittering corridors. “I can picture it now, this rainbow crowd,” 2,200 strangers had entered the opera wrote Charles Garnier, architect of Paris’s house in the half hour before the flamboyant opera house, as he imagined show. By the time the curtain audiences arriving at his building. “It climbs the rose, they were joined steps of the staircase; it leans over the balconies; together into it circulates beneath the high ceiling of the outer something foyer. Its colours are gold, brocade, damask more and velvet … the colours of a painter’s palette. They glitter as they mount the staircase; they shine; they sparkle. What a dream for a colourist! What a feast for the eyes!” Visitors arriving for Punchdrunk’s Faust at a derelict Wapping warehouse in 6

Theatres Magazine Summer 2016

than the sum of its parts: an audience. The architects of the Victorian and Edwardian Punchdrunk’s lift and facemasks (and even theatre boom plucked audiences off the street before that, the journey to an unfamiliar tube into havens of polished wood, and candles and the walk through Wapping in search of an reflected in bevelled glass. Like Garnier at the unknown warehouse address) performed the Paris Opéra, they planned foyers as architectural same task. It was theatre before the show began, journeys, taking visitors through a carefully- a physical and emotional journey undertaken modulated sequence of spaces: some grand, before any actor had appeared. The sinister some compressed, but each acting as another masks underlined the point as clearly as possible threshold to separate us from the outside world, for those of us who wore them. We were no to prepare us for the thrill of the auditorium itself. longer individuals. We were an audience. Unfortunately, although those audience Theatre architects and practitioners are journeys were carefully planned, they were often rightly preoccupied with auditorium design. appallingly cramped. Theatre entrepreneurs of But the experience of going to the theatre the late Victorian boom needed as many seats starts long before we enter the auditorium. It as possible to be crammed onto the constricted begins when we leave home, get off the tube, city-centre sites they developed. The result or pull up in the NT’s underground car park (not was to squeeze foyer space to a minimum. much of an emotional journey, that). It builds as Matcham, Sprague and the other great theatre we see people standing outside the theatre – architects conceived brilliant effects for their the strangers who will share with us the audiences – but their promenades architecturales experience of King Lear or London Road. It often unfolded in miniature. Bars of fifty square increases as we enter the foyer, buy a drink, metres served an audience of a thousand. Toilets read a programme, climb stairs – and culminates became cells, and cloakrooms, cupboards. when we dive down what is, in all likelihood, Edwardian theatre-going was a magnificent a narrow and crowded corridor, to experience but rarely a comfortable one. arrive in front of the stage itself. A reaction against those stifling foyers Great theatre architects can be seen in the first scheme for a National have always known that Theatre, drawn up by Harley Granville Barker and a foyer is a theatre William Archer in 1904. “The staircase, corridor all of its own. and foyers,” they decreed, “must be ample and dignified … [The theatre] should be agreeable as a popular place of resort, irrespective of the particular entertainment on stage.” Interval drinks, they added, must not be overpriced. Seventy years later, the promise of more generous foyers would be fulfilled in Denys Lasdun’s building on the south bank. At the NT’s opening, the writer Mark Girouard was relieved to leave behind the West End’s ritual “dash through the rain to the nearest pub” to escape overcrowded and overpriced theatre bars. But the wave of theatre building after the Second World War had more radical aims than simply to expand foyer areas. Victorian and Edwardian theatre architects cocooned audiences in a fantasy world of muses and nymphs. To architects of the mid-twentieth century, those richly-decorated foyers, dirtied by half a century of gas light and soot, seemed less a wonderland, and more like the tawdry fantasy of a funfair or amusement park. Besides, theatre saw itself, by then, as altogether a more serious affair. The plays of Beckett and John Osborne were not to be performed under the gaze of chipped angels and tarnished cherubs. As speeches were stripped back and tired formulas abandoned, as pioneering directors like Tyrone Guthrie sought a way to break free of the proscenium arch, so architects in the wave of theatre-building after the second world war, sought a new paradigm for public foyers. Nottingham Playhouse and Chichester

Chichester Festival Theatre Festival Theatre were the fore-runners, but it was © Philip Vile at the National Theatre that the new model was explored most thoroughly. The National Theatre was to be for the people. And in the high-minded vision of the post-war Arts Council, theatre should not just entertain the people, but improve 7

Theatres Magazine Summer 2016 us. It happened – not entirely by coincidence – drives the best retail and catering outlets. Few that architecture was going through a similar receive it. For all too many shows, the build-up revolution, and the architecture of the post-war is a shabby antechamber with a tired carpet years had become equally high-minded, equally and a bar where sandwiches wilt and a glass of austere. So at Chichester and on the south bank, doubtful wine costs double the pub price. The raw concrete and unadorned brick replaced flock worst foyers are an ordeal to be suffered before wallpaper, while porticoes gave way to plate the lights go down. glass. New foyers were built not in the escapist Fortunately, an increasing number of mode of Edwardian gin palaces, but in a demotic theatre managers and producers understand language of plain formica and classless concrete. the importance of seeing a show as a complete The National Theatre would be a place where no experience, commencing when the audience one need feel intimidated, a factory of culture, a arrives; complete only when they leave the theatre not for audiences in evening dress, but building. Nimax’s recent refurbishment of the for everyone. Its foyers would make it, as the Garrick is an object lesson in confidence – NT’s founding fathers had hoped, “visibly and its regenerated Gold Bar is one of the most unmistakeably a popular institution, making a spectacular meeting places in London. Delfont large appeal to the whole community.” Mackintosh has sought a sense of excitement And yet the magic of foyers, their drama, their and anticipation in refurbishing foyers, wanting alchemy in transforming strangers into audiences, arriving audiences to know they are not entering was as vital as ever to the experience of theatre. an ordinary building. In the subsidised sector, For Denys Lasdun, the National’s architect, the Opera House, the Coliseum, the RST, RFH the NT’s foyers and external terraces were its and National Theatre have all carried out major “fourth auditorium”. However different their foyer refurbishments. Meanwhile the Young Vic’s styles, Garnier’s ecstatic evocation of an arriving foyer has become a local hub, and the audience could be applied as appropriately to Everyman’s, a bond between theatre and the Olivier or Lyttelton. Lasdun was well aware of community. that, though he took his imagery from the river Successful foyers greet audiences with an outside. “I want the feeling,” he wrote, “that the atmosphere of warmth and human contact. audience – like the tides of the river – flow into They are places of transition, in-between zones the auditoria and become a community within that both separate the everyday from the them. Then the tide ebbs and they come out into world of drama, and connect them. Literally - the creeks of the small spaces that are made by physically – they link art with reality. More than all these terraces.” that, they are places where emotion is anticipated Some of the new mid-century foyers worked. or processed. Their stairs and lobbies channel The NT’s Lyttelton atrium is as thrilling as any audiences towards the crucible where theatre space in London. Others fell flat. If anything, will be made. And that is why theatre designers the experience of post-war theatres shows how and owners ignore foyers at their peril. hard it is to get foyers right. They need to knit Charles Garnier’s damask and brocade may audiences together – but what audiences? And be long gone, but his vision, like that of for what shows? Foyers must be so flexible in Punchdrunk’s, is as crucial as ever to successful mood as to suit an audience arriving for Mamma drama. It is in the foyer that the shared Mia or departing traumatised from Medea. experience of theatre begins. Architecture rarely has to cover so wide an emotional range. And increasingly, foyers have another burden to carry as well. Front of house is about money as well as mood. Whether to make up for dwindling public subsidy, or as a cushion National Theatre against the risks of commercial shows, good © Ian Grundy bars and cafés are not only part of a worthwhile evening out, but an important column in theatre’s balance sheet. No harm in that: to win and retain audiences, theatre must offer a full evening’s experience. Commercialisation has its dangers, though. Foyers must lift audiences above the high street. Fill them with high street brands, and they are unable to perform that magic. On the other hand, if commercial imperatives are ignored, foyers succumb to yet another danger. Out on the high street, shops and restaurants rebrand and refurbish at an ever more hectic pace. Few theatres have that luxury. Instead, most theatre foyers spiral downwards through cycles of increasing shabbiness. Christmas lights are hung and never removed. A4 notices are blu-tacked to mouldings and cheap barriers set out round box offices. Theatre foyers need the close management, the hawk eye for detail that LONDON, OLYMPIA | 18-20 SEPTEMBER

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LEEDS | 9-10 MAY, 2017 | 18-19 JANUARY, 2017 Image: Showcase © Hufton & Crow York Theatre Royal

York Theatre Royal was founded in 1744 and is one of the UK’s oldest producing theatres, serving audiences of all ages, and welcomes over 200,000 visitors each year. welcome, The buildings are Grade II* Listed and improving a wonderful patchwork of periods. The access throughout Georgians built on top of the mediaeval the venue and hospital foundations for the Victorians to then enhancing the audience widen this core with the Gothic shell that you experience in the main auditorium. see today. The Edwardians made their own Secondly, to create the context for a stylistic improvements for Patrick Gwynne in sustainable business. Most importantly, this 1968 to then add a unique glass and concrete meant a more commercial front of house, but vaulted foyer extension and in doing so Angus also, by making efficiency savings through introduced the notion of modern hospitality. Morrogh-Ryan backstage technical and storage upgrades, The theatre had learned to adapt to Director, there was an aspiration to reduce operational these surroundings and had become flexible costs and improve safety. There was also the De Matos and creative as a result. However, the site’s ambition to reduce energy use by updating Ryan incremental development meant that their mechanical and electrical equipment. buildings were also holding them back. The Thirdly, to improve the scope for high theatre needed more spaces with revenue quality creative output. This meant creating potential and more opportunities to bring the conditions for a wider scope of artistic people into the building beyond their core possibilities by expanding the potential of the offer of theatrical productions. This project’s staging and improving acoustic separation role was to unlock the potential of the site, between the main spaces in the theatre. opening the theatre’s doors to a wider Our first exercise was to create a masterplan community, and encouraging a higher for the whole site so that we could assist the spend per head. theatre in making the necessary but hard decisions about which tasks should be prioritised We focussed on three now, as set against those that they would like fundamental ambitions: to achieve long term. Although the overall long-term ambition for the site was beyond the Firstly, to improve the customer experience. actual budget available, we did not allow this This meant creating the conditions for a better to narrow anyone’s initial thinking and research. 10 Theatres In order to establish the right scope, we Magazine Summer reviewed everything afresh through extensive 2016 consultation with key stakeholders, including the Youth Theatre, members of the theatre’s ‘Take Over Board’, staff members and general public (even those at the bus stop outside). To adjudicate this process we created with our client specific project tools to help form strong platforms for decision-making. The most critical was our ‘7 Lenses’, which enabled the theatre to scrutinise and prioritise the benefits of each and every potential adaptation or intervention. The lens of each particular attribute was set aside from all other criteria momentarily and allowed for a clear questioning of the validity and purpose of each proposal as follows:

Image: © Hufton & Crow

1 Safety 6 Visitor Experience Will the proposal How well does it improve the visitor address urgent Health & experience and does it respond to Safety issues or improve the research with audiences? safety for staff and users? 7 Sustainability 2 Efficiency Savings Does it have a positive impact on Will the proposed intervention or the environment and energy use? new equipment improve the theatre’s working procedures and therefore Another key area of research was the save time and money? discovery of archive drawings of the theatre in a salt mine in Cheshire by Heritage Consultant 3 Income Generation James Edgar. This allowed us to overlay the many layers of history, understand the building’s Will it make the theatre more deeper narrative and provide a rationale for financially resilient? not only the significance of each element of the building fabric whether seen or unseen but also 4 Aesthetics the impact of any intervention against these. Does it improve the appearance and On first inspection, the most demonstrable provide a better quality environment? changes are within the Front of House spaces. Having had an almost entirely House Left 5 New Opportunities emphasis since Gwynne’s 1968 extension, the House Right Georgian staircase had more How will it support wider artistic recently been limited to a back of house access and creative opportunities and and fire escape. By glazing in the street facing greater accessibility? Victorian colonnade and by re-raking the Stalls up to meet the Dress Circle, we were able to reconnect these two sides of the house again and to discover a new civic space where previously there had only been a passageway and broom cupboards. Trust, we carefully excavated under the Stage Stage the under excavated carefully we Trust, use. energy improves roof the in insulation new and comfort improves further also handling air New levels. different on house whole the across options pricing of democracy better a and yield ticket increased sightlines, and comfort improved much for provide Gallery and Dress Stalls, the throughout seating New overall. seats of number optimum an maintain to order in Gallery the re-seat to necessary then also was it Stalls, the in seats of number the reducing and Stage raked previously the flattening By audience. intimate and unified more a for conditions the created have we Circle, Dress the meet to up Stalls the ramping By theatre. the of survival economic the for re-staging, expensive or pantomime, the on reliance the reduce and popular, more become will they that result the with houses, non-capacity for relationship actor-audience stage. on actors the to lines sight clear having audience the to impediments were Stalls the of rake shallow and riser Stage high the Auditorium, intimate superbly a of basis the formed balcony of levels three the Whereas Stalls. the in particularly audience, and actors the between relationship diminished a from suffered that seats poor of number large a contained Auditorium the capacity previous its at Even regulations. safety and fire with comply to requirement the and seat individual an of size average increased associated an with comfort of standards higher of expectation their to due time over reduced had capacity audience the theatres, old many with as However, place. of sense wonderful a had always has Auditorium The experience. audience and opportunities creative increased for sightlines and seating staging, its of layout the improve to fundamentally more and mood its affect to keen were we itself, Auditorium House Main the of character original programme. artistic the with consistent mood create to change colour can counters Corian Backlit linings. wall colonnade the of layering the within from revealed now doorway original its floor; terrazzo the in denoted is vaults hospital’s medieval the of memory The site. the and theatre the of heritage the reveal to opportunity improved forward. going operation theatre’s the to essential is and periods peak at congestion eased has levels all on House the of sides both on WCs additional and new of provision the with along auditorium the of sides both to access and circulation Improving afterwards. again back them receiving then and auditorium the within experience the for ready customers getting in is spaces foreground these of importance The Bar. Theatre and Restaurant Bistro dedicated a being on specifically more focus and intent design original its with reconnect to extension Gwynne the leaving space, Café previous of provision the doubles and welcome, and Office Box facing public more new, a for provides It time. first the for approaches south and north the both from entrances lobbied new two from accessed In collaboration with York Archaeological Archaeological York with collaboration In the improve to was project the of aim One the disrupt to want not did we Although much- a for provides also Foyer new The is space Foyer located centrally new This

budget effectively. budget modest the invest to how adjudicated that process consultation careful the to testament all are These day. to day theatre the for efficiencies operational improved radically has LX rigging for points anchor new or bar lighting mechanised a of installation The spaces. bar and Foyer the in outside as well as auditoria Studio and House Main the in performances simultaneous for allow now lobbies sound new Similarly, time. first the for Bar Theatre floor first the and Circle Dress the to access wheelchair provides that lift new a is changes profound most the of one instance, For overall. the within discernable easily often not but impact and relevance own its with each interventions, necessary but small-scale relatively of lots parts: the of stage. sloping previously the on in’ ‘get to sets their adapt to need longer no who parties, touring of and work movement and dance of true especially programme, artistic wider a and innovation increased for opportunity the offers now Stage lift-out modular flat A Pit. Orchestra adaptable and enlarged an as well as beneath over cross and sub-stage technical improved an both create to over £6million. £6million. over to cost overall the taken has which addition, in works re-roofing and external of series a out carried has Trust, Conservation York the landlord, theatre’s the However, £4.1million. cost 2016 with the world stage premiere of Evelyn Evelyn of premiere stage world the with 2016 history. local the in pieces missing important revealed has and York of City the for millisecond a just perhaps is it works, of schedule the to delay four-month a created finds these Although anticipated. been had than condition better far in was Stage and Stalls the The main capital redevelopment project project redevelopment capital main The sum the by defined perhaps is project The Much of the archaeology discovered below below discovered archaeology the of Much The theatre re-opened its doors in April April in doors its re-opened theatre The

© Hufton & Crow & Hufton © Image: Showcase 12 Theatres Waugh’s classic novel Brideshead Revisited. The Feedback since the venue reopened has Magazine Summer spring season introduces a new programme of been extremely positive. One returning theatre 2016 events and activities to bring the community and goer wrote: audiences even closer to the work of the theatre. The ‘270/360’ programme celebrates 270 years “Somewhere in my subconscious I had had of York Theatre Royal with a 360-degree view a fear that that the spectacular auditorium of activities including talks, discussions, open itself might have been sacrificed to rehearsals and meet-the-cast events. New “improvements”. I needn’t have worried. initiatives include ‘A View from Backstage’, which The incorporation of the colonnade has offers the opportunity to see productions from a worked really well and the venerable gents completely different angle with tickets available biting the dust is no loss. I liked the discreet to watch from either the wings or the fly floor. lift too, and I look forward to trying out a One of the things that the teams involved seat in the stalls, which offers the promise in the project are most proud of is the sense of of a decent view of the action rather than cohesion that the renovations have brought to of the hairstyle of the person in front.” the overall site. The works make good on the previous limitations imposed by its historic but Best wishes for the next 200 years or so. incremental development. We have been able to introduce a new contemporary language that binds all these periods together without stifling them. It is a fine balance of careful detailing and appropriate juxtaposition. We have been able Project Credits to clear out the clutter that had accumulated over the past decades, make new connections Design Team: and open up new spaces, which allow all of the De Matos Ryan periods to breathe more easily in their own right. Role: However, key to the success of the project Lead Consultant / Architect is the realisation that an arts organisation needs to be more than just a producer of high Director in Charge: quality entertainment and drama. York Theatre Angus Morrogh-Ryan Royal realises that they are at the heart of their Project Architect: community providing them with a sense of Raquel Borges belonging and a genuine shared civic space that is inclusive and engaging. This ethos pervades everything that they do from being open all day with an offer of high quality, affordable food and drink to being a basecamp for a day out in Theatre and Acoustic Consultant: the city or somewhere to spend time regardless. Image: Charcoalblue © Hufton & Crow Being porous to the city’s public and providing them with other reasons to visit sets up the Structural Engineer: economics required for a renewed sense of Price & Myers sustainability and financial resilience. Services Engineer: P3r

Cost Consultant: Aecom

Access Consultant: David Bonnett Associates

Heritage Consultant: James Edgar

Project Management: Bilfinger GVA

Building Contractor: William Birch & Sons 55 million people lit by GDS ArcSystem in 2015 55 million reasons to innovate and inspire ArcSystem v1.5 Sharpening the cutting edge

HOLD THE MIRROR UP TO NATURE CATCH A BIRD’S EYE VIEW WITH GIANTMIRROR BY SHOWTEX

Torben Betts gives ‘The Seagull’ a new lease of life at The Open Air Theatre, Regent’s Park © Johan Persson

AMAZING STAGE FABRICS IN MOTION ShowTex nv • [email protected] • www.showtex.com • www.showtexrental.com 14

Theatres Magazine Summer 2016 Theatres Trust: The first 40 years St James Theatre 1965 The Association of Municipal 1976 Corporations and Theatres’ Establishment of The Theatres Trust Advisory Council Conference • Bill drafted by Save London’s Theatres This recognised the Campaign & Theatres Advisory Council complexity and importance • With all party support, including the of civic theatres Minister for the Arts (Hugh Jenkins MP), the Theatres Trust Act 1976 receives Royal Assent on 22 July • Amendment of Town and Country Planning (General Development Procedure) (England & Wales) Order to make the Trust a Statutory 1971 Consultee on any planning application that affects a theatre Loss of the 1958 • Fundraising campaign spearheaded by Granville Theatre Council for Theatre Highlighted the need Save London’s Theatres Campaign produces Preservation formed for listing theatres £5,000 so that the Trust can start its work in reaction to • Lord Goodman and Hugh Jenkins appointed the loss of the St as first two trustees on 8 December (as James’s Theatre Chairman and Deputy Chairman respectively)

1972 Save London’s Theatres Campaign formed 1962 Campaigned against threats Theatres’ Advisory to many West End Theatres. Council set up Finally disbanded 2009

1978 The Theatres Trust (Scotland) Act becomes law on 30 June

Left Cartoon of Shaftesbury Theatre & wrecking ball Image: © Punch Limited 15

Theatres Fortune Theatre Magazine Image: © Ian Grundy Summer 1982 2016 The Fortune Theatre The Trust, together with local and theatre organisations, vigorously opposed a scheme to demolish the theatre and build an office block with a smaller theatre in the basement. The Greater 1989Freehold of the Lyceum transferred to the London Council accepted Trust by the London Residuary Body objections and refused Dominion Theatre, London the application The Trust’s successful canvasing of professional Curtains!!! associations and its own membership resulted in a Gazeteer of theatres very large number of detailed objections to proposals published to develop the site into a high class hotel and offices and Camden Council refused applications for planning and listed building consent 1985 Friends of The Theatres 1992 Trust established A vital network of First steps in developing a database observers and activists of theatres focussing attention Curtains Survey launched to update 1979 on at risk theatres 1982 publication and record descriptions Hugh Jenkins of theatres of consequence built before becomes first 1950, both selectively in book form and part-time Director comprehensively in a new database

1980 1993 Pilot Study of the Condition First small grant from of Theatres in England Government (£15,000) This report contained facts, analysis and detailed commentary, demonstrating that more than 40% of the sample of 96 publicly funded theatres were in fair to poor condition. The survey attracted widespread media coverage

1986 Above Theatre Freeholds Garrick Theatre Freeholds of Garrick and Lyric Image: © Ian Grundy theatres transferred to the Trust on abolition of the Greater London Council, providing the Trust with an income John Earl appointed as Director 16

Theatres Magazine Summer 2016 2000 Below Publication of The Theatres Lyceum Theatre Image: © Ian Grundy Trust Guide to British Theatres 1750-1950

Image: © Laura Braun 2005 Trust awarded £50,000 grant from Heritage Lottery Fund to launch the Information Access Project enabling its archives 1996 2001 to be made available online Post-War Theatres, Part II, 1965-75 Peter Longman A thematic study undertaken by English appointed as the Trust’s Heritage and The Theatres Trust resulted first full-time Director in five theatres being listed and 15 Lyceum Theatre recommended for listing or upgrading Reopened by Apollo Leisure after 57 years as a “sleeping beauty”

Kings Theatre, , Portsmouth The Trust worked closely with the 2006 Save the Kings Theatre Campaign, Mhora Samuel Portsmouth City Council and potential becomes Director managements to save the theatre. The campaign to re-open the theatre 1999 eventually achieved all-party support Publication of Encore: within the City Council. A Trust was set Strategies for Theatre up to take ownership, and the theatre Renewal was transferred for a nominal sum to Profiling 13 re-opened the City Council ‘Sleeping beauty’ theatres

Above Kings Southsea Image: Theatres Trust 17

Theatres Magazine Summer 2010 2016 Shanklin Theatre, Isle of Wight granted Grade II listed status With support of the Trust and English Heritage, this provided protection from demolition and supported the Friends of the Shanklin Theatre to take the venue over from Isle of Wight Council which was 2016 considering alternative uses for the site Enhanced planning role Resource Centre opened in Wales Providing a dedicated space to store The Town and Country 2009 and allow access to the newly catalogued Planning (Development Reference Library and the Trust’s archives Management Procedure) Launch of (Wales) (Amendment) Order Ecovenue project 2016 requires local authorities 48 small London to refer planning applications theatres supported to for new theatre buildings, and reduce their carbon 2011 applications for residential emissions and plan for Localism Act passed development next to theatre a more environmentally The Trust becomes a consultee buildings, to the Trust sustainable future on Neighbourhood Development Orders and Community Right to Build Orders where they apply to theatres 2014 Launch of the Building Better Theatres workshop programme

2012 Culture identified as a core planning principle Following suggestions from the Theatres Trust and other arts organisations, the National Planning Policy Framework recognises the contribution cultural facilities such as theatres can make in promoting well-being and states that Local Authorities should include strategic priorities in their local plans to develop and protect cultural facilities

Launch of the UK Theatres 2007 Small Grants Scheme Trust’s first annual conference on 12 June

2015Launch of the London Theatres Small Grants Scheme Image: © Dan Balilty Viability Study completed

Image: Theatres Trust Selecon PL4 210x297.indd 8 18/5/16 10:46:58 19

Managing

Kings Theatre, Matchams Portsmouth

One of the issues explored in Conference 16: Protecting Theatres is how to ensure that theatres can meet future audience and production requirements. This is something that causes operators of historic theatres particular challenges. We asked two operators of theatres designed by the most prolific theatre architect of all time, Frank Matcham, to write about some of the challenges they face and their ambitions for their theatres.

Frank Matcham (1854 – 1920) based on advice from Robinson, imaginative designs, new comforts were impacting on theatre buildings: to audiences and excellent sightlines Born in Newton Abbott, Frank was fire concerns were prompting greater and stage facilities for performers. the second child and first son of a attention to stage equipment as Such qualities became recognised local brewery manager who moved well as exits and staircases. in those buildings which survived to shortly after his son’s Matcham was initially active wartime bombing and in recent years birth – although known to posterity with commissions outside London, have formed the basis of highly as Frank, he was actually christened particularly in the North. In 1887 successful refurbishments such as Francis. After attending school in the fire at the newly built that of the or the Babbacombe, Frank was apprenticed Theatre Royal designed by the other . to local architect/surveyor George great Victorian theatre architect, An exhaustive list of Matcham’s Bridgeman. He spent a spell articled C.J. Phipps, gave Matcham, with work will probably never be fully to a surveyor in London but returned his attention to more numerous recorded as his involvement with to Bridgeman’s office as principal fire exits, push bar exit locks and existing buildings has often been assistant. steel supported balconies, an edge found to amount to a total rebuild. A turning point in Frank’s personal in the list for work. His output was The Frank Matcham Society (founded and professional life came in mid- phenomenal and his designs reached following the restoration of Matcham’s 1870s when he joined the practice of every corner of the UK. smallest surviving theatre) lists 27 J.T. Robinson, the consulting architect He has been described as still operational or ‘resting’ theatres. to the London County Council. In 1877 ‘the supreme example of the Frank married Robinson’s daughter unacademic architect who became Rupert Rhymes and a year later took over the practice a master of his craft’ and, whilst The Frank Matcham Society on the sudden death of his Father-in somewhat frowned upon by the Dedicated to the appreciation -law. contemporary architectural fraternity, and celebration of great theatres This was a significant time for to entrepreneurs he delivered great everywhere theatres as new regulations, many solutions for difficult sites often with www.frankmatchamsociety.org.uk

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Theatres Magazine Summer 2016

In 2011, after ten successful Community THE KINGS years re-establishing the theatre The Kings has the community and its THEATRE, as a vibrant venue and completing volunteers at its heart. We want to be many necessary improvements and able to engage even more, putting the PORTSMOUTH restoration, the Kings Theatres Trust Kings at the heart of the community, started to look to the longer term being open all day, providing a café, future. The Trust realised that to meeting spaces, rooms that can be keep the Kings as an active theatre used by all, additional rehearsal and The in a heritage building it would need performance spaces and liaison with to evolve so that it remained a other partner organisations to enable sustainable business – maintaining the “theatre” to engage with all age Big the heritage but enhancing the groups, within the theatre and in the audience experience. wider community. After a recruitment process, Tim Ronalds Architects were chosen Heritage Project to work with the Trust to develop a The Kings’ heritage is what we are sustainable, researched, outline costed about. The Trust, our audiences and History and budgeted vision of the future. local community are very passionate The Trust decided that its roadmap The Kings Theatre, Portsmouth was that the Kings Theatre continues to to deliver the recommendations of conceived by local theatre impresario operate as a vibrant theatre, long into the report would be called “The Big John W Boughton and designed by the future. It should not just be a living Project”. the notable theatre architect Frank museum, but operate to the highest Matcham. It is a traditional Grade theatrical standards, whilst maintaining II* listed proscenium arch theatre, The Big Project the heritage of the venue. We also designated by the Theatres Trust This report identified that modern want to open up and preserve the as a ‘theatre of national importance’. audiences are very demanding archives in a way that engages with all In 1907, The Kings Theatre opened and that the heritage experience age groups and continues to allow the its doors and has always been a alone is no longer guaranteed to heritage and history of the Kings to magnet for theatregoers from in satisfy. Instead, patrons want a be fully experienced and understood, and around Southsea, Portsmouth fabulous evening of high quality through a wide range of activities. and the wider counties of theatrical entertainment with and Sussex. For nearly 110 years convenient parking, comfortable Sustainable Income audiences have enjoyed musicals, seats, good views of the stage, a A better experience and a varied plays, comedy, opera, dance, café and spacious bar, not forgetting high quality programme suited to the talks and film in the sumptuous congestion-free toilets. They also regional population will encourage surroundings of a beautiful, expect better and more technically more people to visit our theatre, virtually original Matcham theatre. challenging shows. Whilst the Kings which in turn encourages a wide At the beginning of the millennium, is technically capable of staging range of visiting companies to come the Kings was in a state of serious such productions, these shows and perform in our heritage theatre. disrepair and could have become require a higher ticket price and This on its own will not deliver a a Weatherspoon’s pub. The Kings typically return less through the box sustainable income. Theatres rely Theatre Trust was formed and since office to the theatre. Naturally, a more and more on the “popcorn” 2001, the Kings has been operated higher seat price generates greater income generated during shows and by the Kings Theatre Trust Ltd as a audience expectations and today’s the ability to serve and take payments voluntary charitable Trust with key discerning theatre-goers don’t take quickly. Improving the points of sale full time professional staff. The Trust disappointment lightly! and creating bigger bars, keeping the has invested over £2.25m in an building open during the day, offering extensive restoration programme of Programme a range of options to engage with our this beautiful Edwardian playhouse, Continuing with our present venue audience (theatre tours, exhibitions a large portion of costs being met programme is not enough for the for example) and being able to hire through the theatre’s own Box Office future. The Kings needs to be able to out spaces also provide useful extra revenue and fundraising activities. put on a greater range of challenging income. The Kings is at the heart of the high quality productions, suitable community in Southsea. For 15 years, for our audience catchment and be Value for Money it has developed a vibrant community able to add “live screenings” to our The Trust stipulated that the theatre engagement programme, to make the performance options. We also need had to stay open for the majority arts (particularly visual and performing to support and enable our community of any building works as we felt the arts) accessible to all. The Kings has performers to deliver higher quality Kings could not afford to lose our developed award winning work- productions now being demanded audience, during a prolonged theatre based learning and apprenticeship by them and their audiences. All closure. Key works integrating the schemes, along with international of this, whilst delivering a building improvements into the theatre would and national partner projects; it also accessible to all and providing better be made during slightly extended holds exhibitions, workshops, theatre ticket income returns to our visiting “dark” summer periods. tours and summer schools with a very companies and the theatre. active and creative Youth Theatre. 21

Kings Theatre, Theatres Portsmouth Magazine Summer 2016

• Removable seats in the auditorium to create a “mosh” pit for music events

• Ability to “Live screen”

• Additional bar space, which should generate additional show ancillary income

• Insulation of the roof, this should significantly reduce the number of days of overheating when the weather is warm (as it often is on the south coast) along with enhancement of the natural ventilation systems and air ducts to improve air flow to give a more comfortable environment

• Upgraded technical facilities for lighting and sound, including much improved technical infrastructure, for example LED dimmable house lights and additional powered flying to enhance what we already have

• Better access for all backstage areas and conversion of dressing rooms to allow wheelchair access

• A lift giving access to the three main levels front of house allowing better access for all users

• Hydraulic orchestra pit split into three to offer a wide range of auditorium extension or orchestra The budgeted total cost for “The Development projects identified options Big Project” came to £13 million along within “The Big Project” include: with a 3 year build timeline. After • Preserving and making accessible the extensive archive much deliberation, the Trust took • Additional toilets on all levels the view that the current funding • Repair of the Portico at the main environment meant that large capital • Seating of the gallery with proper entrance, suffering as a result projects of this nature would be seats, not bench seating as it is of being close to the sea challenging to fund in one “hit”. The now (intention is to retain a few bench seats for heritage) Trust also looked very carefully at These are very exciting times for the value for money that each part the Kings Theatre as we start down of the development would return. It •Reseating of the upper circle, these lovely looking seats are the road of delivering the aspirations decided that “The Big Project” would of “The Big Project”, creating a be most fundable and offer the best very uncomfortable as they were designed for Edwardians. Since sustainable future for the Kings return on investment if the project Theatre Portsmouth. was delivered in development stages then better health and nutrition has led to an extension of the The Big Project was launched over a longer time frame. A number in March 2016. of smaller self-contained projects that thigh bone, meaning that the joined together would deliver the upper circle seats are difficult to sit in and even more difficult to sell Andrew Henry aspirations of “The Big Project” over Kings Theatre Trust Ltd a longer time frame. This is something • Reseating of the stalls – present Portsmouth the Trust already has much experience seats are uncomfortable and give of, having delivered the initial 10 years reduced vision especially for the of the Kings regeneration in exactly smaller members of our audience. this way. The stalls seats appear to be cinema seats from the 1950’s. New seats, slightly wider, with more legroom and some offset would give better sightlines and more comfort 22

Theatres Magazine Summer 2016 23

Theatres Magazine Summer 2016

BLACKPOOL GRAND THEATRE Keeping up with the Matchams

All images: © Sean Conboy

My Fitbit buzzes as I climb the 96 It’s hard to believe now but in Limited (the charity that still owns it steps from Stage Door to my office 1972 the then owners, EMI, applied today) and, after extensive fundraising in the Grand Theatre, Blackpool. to demolish the Grand to make way efforts and tip top negotiations with I must increase my daily target – for a new Littlewood’s store. As all Lord Delfont, they purchased the 10,000 steps is the norm for a day Theatres Trust supporters will know, theatre in 1980 for £250,000 and in our beautiful Matcham gem. Until the sixties and seventies were a time re-opened it on 23 March 1981. recently, when we were able to when a lot of theatres were in peril. But, of course, that was just improve our facilities with the help But the good folks of Blackpool the end of the beginning. Years of an Arts Council Grant and support were having none of it. A group (The of fundraising, volunteering and from the Theatres Trust, Friends of the Friends of the Grand) was formed advocacy have followed to refurbish Grand, Blackpool Council and others, and bid successfully to have the this Matcham survivor to its original it used to be even more: because to building listed. Then, a 10,000-strong glory, incorporating its decorative get from one side of the venue to the protest petition was delivered to the glass features, door furniture, other you had to descend four stair powers that were. This helped prompt ironmongery, light fittings, etc. into cases, cross the auditorium and climb the Government announcement of a fully functioning theatre that meets another three! a Public Inquiry at which former modern standards of safety and But crossing through the Blackpool man, Peter Boydell QC, comfort. auditorium is always a pleasure agreed to represent the Friends. Well now, ‘comfort’, that’s a at the Grand. It has a very special In August 1973 the Inquiry challenge. 750 of our 1,053 seats are atmosphere, with 122 years worth of dismissed the demolition bid. But ‘proper’. The remaining 300 (up in the laughter, gasps, tears, whoops and the fight wasn’t over. Four years of Gallery) are cushioned benches. Oh, cheers embedded in the fabric of this argument followed, during which and there’s no air con. But hey, this beautiful building. You can almost time the theatre was falling into more is Blackpool, and our famous micro- smell the history! It’s one of those and more dereliction. It rose from climate ensures the theatre is naturally wonderful theatres where it’s as lovely the ashes, briefly, as a bingo hall. But cool for around 360 days a year! to sit in it when it’s empty as it is the Friends weren’t backing down; Of course, operating in a Grade II* when it’s full. they formed the Grand Theatre Trust Listed Victorian theatre brings 24

Theatres Magazine Summer 2016 other challenges too. As with all Matcham theatres, the original design deliberately separated social classes and the public circulation areas reflect this intention: to get up to the Gallery customers have to enter off the street at the rear of the building, whilst those sitting in the Stalls and Circle can enjoy the spacious (not) foyer and bars on the way to their seats. Recently, thanks in part to a special grant from SITA Trust, we have been able to install both a platform lift down into the Stalls and have refurbished the existing lift at the rear of the building (with access to improved dressing rooms and our Studio theatre) to DDA standards. We’ve also managed to squeeze a few more loos into the building – including more that are disabled accessible in the back stage areas. But it’s slowly, slowly and very carefully, carefully with our precious asset. We are in constant dialogue with our local Heritage Officers and some of the challenges we set for ourselves (like hosting Breakin’ Convention and – many of whom were founder- having 70+ break dancers perform on members of the original Friends) our 1:24 raked stage, or shoe-horning bend over backwards to help make the RSC’s A Midsummer Night’s everyone’s experience an excellent Dream with its four pantechnicons one. And this year we’ve sold 172,000 of set and gazillion cast and crew tickets (that’s 50,000 more than last into our 10m2 playing area) are – year) – so we must be doing some depending on your point of view things right! – a sheer inspiration or an utter folly. Moving forward, our Quinquennial But if we are going to remain a Review (which takes a detailed look vibrant and relevant resource for the at the condition of the building) people of Blackpool, Fylde and Wyre, will be carried out by Ivan Ward then we’re going to have to push Associates over the next couple of our boundaries – not just artistic, months. The resulting report will form but physical too. the basis for our on-going repairs, I know my Technical Manager renewals and refurbishment plans, dreams of being able to ‘dig out’ helping us preserve and improve this the stage and get rid of the rake. important theatrical asset – not just He’d like to re-arrange the under- for Blackpool but for the nation as a stage areas too. My Front of House whole – for years to come. Manager would love to give customers So, it’s onwards and upwards for better foyers and opportunities to the Grand Theatre… or should I say up, relax (and spend money) in better across and then up again to keep my bar and café areas. And the Friends Fitbit happy? of the Grand retain their long-held ambition to own all of the original Ruth Eastwood Matcham footprint (which includes Chief Executive, Blackpool Grand some small shop units built into the Theatre, with thanks to Grand Theatre north side of the building, the rents Archivists, Geoff and Linda Tolson. from which were part of the original owner, Thomas Sergenson’s, vision for financial stability for his entertainment enterprise). And, who knows, maybe, one day, we will? But a night out at the Grand is always special. The glorious interior still elicits gasps of wonder from wide- eyed ticket-holders. Our wonderful staff and volunteers (we have 66 of them who work Front of House “We aim to provide something that is world class in every aspect, front of house and on stage.”

Stuart Gri ths Birmingham Hippodrome Chief Executive

After 30 years and over 1000 performances, the main stage at Birmingham Hippodrome needed to be repaired. Harlequin removed the existing plywood stage and refurbished the under structure, tting new dip traps and two layers of 25mm ply with Harlequin StandfastTM vinyl to nish.

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Theatres Magazine Summer “I refuse to become a In the news 2016 victim of bad LED lighting”

Sadiq Khan’s arts policies of a disused lido in Morecambe to its conversion to an art gallery by In May Labour’s Sadiq Khan was create a venue for festival, arts and Caruso St John Architects. In March, elected as the new Mayor of London. leisure; and reviving Herne Bay Pier NT Future, by Haworth Tompkins, was His election manifesto contained through the construction of a stage awarded a Civic Trust Award, for the a number of policies relating to and dressing room. Through the major regeneration of the National the arts and culture, including Coastal Communities Fund, £120 Theatre’s entrance and foyer spaces, protection for suburban arts venues, million has been invested across the Dorfman theatre and new Max Rayne supporting venues threatened by UK in the last 3 years. Centre. encroaching development, and Chester Storyhouse strengthening planning protections Darlington Civic receives lottery funds © Bennetts Associates for small creative workspaces. He has Darlington Civic Theatre is to receive also pledged to support London’s a £4.5m grant from the Heritage theatres to open up access for all Lottery Fund, as part of an £11.7m Londoners, and to spread their project to restore and improve the activity and presence across the Grade II listed Edwardian theatre. city. In an interview with The Stage The theatre will close at the end of newspaper in April, Mr Khan said he May, and plans to reopen in Autumn would “protect smaller theatres from 2017. Darlington based children’s being closed down because of noise theatre, Theatre Hullabaloo, has also complaints when new residential been awarded £1.5m in funding from units are built near them”. We look the Arts Council to construct its new forward to working with the new building – The Hullaballoon – within Mayor of London to help small the former Edwardian Fire Station theatres adversely affected by noise adjacent to Darlington Civic Theatre. complaints and other developments, Proceeds from the Borough Council’s and also supporting their capital sale of former Theatre Building at Risk project needs via our London Darlington Arts Centre will go towards Theatres Small Grants Scheme. funding the construction of the new children’s theatre. Felixstowe Spa Pavillion © Ian Grundy St Lukes ETC ColorSource Family © Philip Vile ETC ColorSource Family Chester Renew to be called Storyhouse Chester’s new £37m cultural centre is to be named Storyhouse. This follows a period of public consultation, ^ through which over 200 names were ^ suggested. The venue, which is being + constructed in the former Odeon building, will contain a theatre, studio ^ theatre, cinema and Chester Library. The theatre will switch twice a year Coastal Communities Funding Theatre architects win at between an 800-seat proscenium On 9 May 2016 the Department for architectural awards space and 500-seat thrust ‘festival’ Communities and Local Government Several theatres have been awarded stage. It will stage home produced announced that 15 projects were RIBA Regional Awards. The awards productions for 50% of the year, ETC’s ColorSource® family of products fights the epidemic of bad LED lighting – awarded a share of £700,000 to celebrate the best architecture in with the theatre presenting touring one small venue at a time. restore coastal landmarks to their the UK, regardless of form, size or productions during the principal former glory. One recipient of the budget. Winners include Bedford touring season. Chester Performs, With a range of affordable RGB-L luminaires that provide high-quality light and colour, fund is former Theatre Building at Risk School’s Quarry Theatre at St Luke’s, the centre’s operator, has changed a wireless relay system that makes distribution easy, and control consoles that mix Felixstowe Spa Pavilion, which will be a 286-seat theatre and studio theatre its name to Storyhouse to reflect that able to carry out a range of building constructed within a former church, of the venue. CEO, Andrew Bentley, colours and run multimedia effects with the flick of a fader, a ColorSource system gives works to the art deco Spa Pavilion by Foster Wilson Architects; the said “we’re over the moon at our you everything you need to light your venue – with style. Theatre, including improving access restoration of Wilton’s in new identity. It’s a straightforward for disabled staff, performers and London, by Tim Ronalds Architects; expression of the journey we have Join the fight today at www.etcconnect.com/ColorSource theatregoers. Other projects to receive and HOME in Manchester, by been on as a company and where, funding include the creation of an arts Mecanoo. The former theatre scenery together, we are going in this and performance area around Ryde painting workshop in Newport Street, amazing new building.” Americas n Europe n Asia Pier, Isle of Wight; the redevelopment London, also received an award for www.etcconnect.com SET AND LIGHTING DESIGN: MIKKI KUNTTU | PHOTO CREDIT: MIKKI KUNTTU

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29 THEATRE: KULLERVO | 1x HIPPOTIZER BOREAL Theatres Magazine Do you want more news? Summer If you are a Friend or Corporate Supporter and wish to receive 2016 our NewsDigest, email [email protected] with your Membership Number to be added to the e-circulation list. For regularly updated information on theatres visit the news section of our website, theatrestrust.org.uk/news MULTI AWARD WINNING MEDIA SERVER PRODUCTS

Conwy Civic Hall campaign mounting restored. Walls, plasterwork, seating, date, and were recently pledged £1m Over 500 people have signed an flooring and lighting will be repaired by County Council in recognition online petition to save Conwy and replaced and the original of the quality, scope and potential Civic Hall as a venue for the local decorative theatre interior will be impact of the theatre’s proposals, that community, whilst Conwy County replicated, and the upper circle Gods have already received funding pledges Borough Council, the current owner, is section and a new orchestra will from Colchester Council, of £1m, and looking for a developer to regenerate be created. Horsecross Arts, which Arts Council England, of up to £4m. the Civic Hall and Waterfront area. is behind the redevelopment, has The redevelopment will include a The 240 seat studio theatre was already been pledged £15.1m from complete re-build of the building to closed in 2014. Tony Franks, who various sources including Perth and the back of the theatre, while a roof launched the petition, said he would Kinross Council. The theatre is due terrace would also be added. The like to see a community group running to re-open in late 2017. theatre will have to raise a further the building, who would be able to £2.8m from charitable organisations, apply for grant funding to improve Shakespeare North given thumbs up foundations and corporate donors. and reopen it for local groups. Pub Plans to construct a Jacobean style A public fundraising campaign is set chain JD Wetherspoon has reportedly theatre in Prescot have been granted to be launched in early Autumn 2016. shown an interest in the site. Conwy planning permission by Knowsley Civic Hall has been on the Theatres Council. The 350-seat theatre, to be Trust’s Theatre Buildings at Risk known as Shakespeare North, will be register since 2013. built to designs of Inigo Jones from 1629. The project has received £6m Conwy Civic Hall in funding from Knowsley Council and the government agreed to contribute a further £5m in March’s budget. Prescot is thought to be the only English town outside of London to have had a purpose-built indoor playhouse in the Elizabethan and Jacobean eras, and it is believed Shakespeare Censorship book wins STR belonged to a company of Theatre Book Prize actors that performed in On Friday 22 April, in the historic the area. The news comes rooms of the Theatre Royal Drury as the 400th anniversary Lane, actress Dame Siân Phillips of Shakespeare’s death is presented the annual Society for commemorated. Theatre Research Theatre Book Prize to Steve Nicholson for The Censorship of British Drama 1900- 1968: Volume 4 –The Sixties (University Perth Theatre of Exeter Press), a fascinating study redevelopment begins based on the files from the Lord In March 2016 bulldozers demolished Chamberlain’s Office now held in THEATRE: KULLERVO, SWEDEN | 1x HIPPOTIZER BOREAL old workshops and rehearsal rooms the British Library. In remarks by the at the rear of the Perth Theatre, Book Prize judges leading up to the exposing the original B-listed presentation they called it, ‘The final Edwardian auditorium wall which will volume of a terrific and important be a feature of the new-look theatre. series in which Nicholson delivers his Works to restore Perth Theatre original research into the practice of Colchester have revealed forgotten areas of Mercury Theatre theatre with characteristic enthusiasm. AWARD WINNING HIPPOTIZER V4 SOFTWARE FOR MACBOOK PRO the building which were walled over His detailed account of how theatre and the society it reflects interact is MacBook Pro during the 1920s, including the upper £1m for ambitious Colchester ORDER YOURS TODAY circle which hasn’t been used in 50 Mercury Theatre expansion seen through the prism of censorship. years. The demolition paves the way Colchester’s Mercury Theatre has I hope the whole series will at some WWW.HIPPOTIZER.COM/PORTAMUS for a new foyer, restaurant and bar, announced ambitious £8.8m plans point be made available to a wider as well as a 200-seat studio theatre, which will see a sizeable expansion of audience in paperback.’ Author community room and lift to all floors. the Balkerne Gate venue as well as a Nicholson is Professor in Twentieth The historic auditorium, built in the learning and participation centre being Century and Contemporary Theatre GREEN HIPPO LTD | UNIT 307 PARMA HOUSE, CLARENDON ROAD, LONDON, N22 6UL late 19th century, will be meticulously built by 2020. They have raised £6m to at the University of Sheffield. UK OFFICE

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Theatres Magazine Summer 2016 Our work

Planning Cases London’s Finborough Theatre is once again at risk. The Trust supported a proposal to reconstruct, repair The building’s owner lodged an appeal with the Planning and refurbish Battersea Arts Centre (LB of Wandsworth, Inspectorate against a recent refusal of their proposal 2016/1359, 2016/1350, 2016/1349 & 2016/1360, permitted) to extend the building to create additional residential after it was severely damaged by a fire in March 2015. The units above the theatre (LB of Kensington and Chelsea/ building envelope will be reconstructed with the same PINS, PP/15/04451, pending). Previous applications and volume and external appearance, reusing original bricks and an appeal were refused on the grounds that the proposal materials where possible, and rebuilding the turret, dormers did not safeguard the theatre and would not create and window frames to match the original design, but with adequate living conditions for the new residents. The additional thermal and acoustic installation in the roof appeal documentation proposes additional noise mitigation cavity. Internally, the reconstructed Grand Hall will reflect measures in an attempt to address these issues. the original decoration with installation of an interpretive barrel vaulted ceiling that will allow for improved acoustics, Croydon Council submitted plans for refurbishment, increased range of rigging points, and improved staff safety extensions, and alterations to Fairfield Halls as part of when accessing and using the technical gallery. Alterations a wider redevelopment of the adjacent Croydon College to the balcony include the addition of demountable side (LB of Croydon, 16/00944/P, pending). The scheme galleries to enable a direct internal connecting from the proposes the reinstatement of many original features, Hall floor to the balcony. The restored organ will also be fittings, and materials; the reorganisation of the forecourt, rebuilt at the rear of the balcony, which is otherwise unused box office, lobby and mezzanine balconies, the installation due to its poor sightlines, and means the organ will remain of new lifts, an extension to provide more wing and flying accessible and visible, yet freeing up the main floor for space in the Ashcroft Theatre, and creation of an active performance use. The smoke and water damaged support frontage to College Green. However, the Trust raised spaces will be repaired, and will include the removal of later concerns the scheme was being advanced, and significant fixtures in the Octagonal Hall, and installation of larger bar capital committed, without the involvement of a new facilities in the Grand Hall Bar. theatre/venue operator. We also highlighted concerns with proposed changes to the service yard and the Darlington’s 1907 Grade II Civic Theatre (Darlington BC, construction of a new college building attached to the 16/00068/DC & 16/00065/LBC) recently gained permission rear of the Halls and could affect the way the venue for an extensive scheme to modernise the theatre and and the service yard operate. The Trust has since been provide essential new and upgraded front and back of engaged by Croydon Council to coordinate an advisory house facilities. One of the main elements of the proposal is review of the proposal. the demolition of the existing box office, back stage areas, and two adjacent shops (behind a retained façade), and There are plans for a major upgrade of Truro’s Hall for construction of a new building which will contain the new Cornwall (Cornwall C, PA16/03133/LBC & PA16/03134/ main entrance and new and improved dressing rooms. This FUL, permitted) to improve its capacity and technical allows the main entrance to return to Parkgate and will be capabilities to enable it to better attract touring shows. contained in a new distinct glass structure to enliven the The Grade II* listed venue includes two significant Victorian frontage of the theatre. The new entrance provides an open buildings, including the City Hall, and the auditorium and and active foyer area that will provide a clear circulation stage house that were built in the late 1990s. The proposal route around the venue, addressing the different changes is to remove and rebuild the central core of the theatre, in levels and link all the public spaces with the auditorium. including the auditorium, bar, toilets and technical spaces. Restoration and refurbishment of the auditorium and stage The existing primary steel structure, roof and the stage house is another key element of the scheme to improve house will be retained and the new auditorium will be accessibility, audience comfort, and restore features of its constructed to largely fit within the same volume. The original Edwardian layout. ‘Blinker walls’ under the boxes new arrangement will deliver a better layout in terms will be removed and the stalls will be re-seated, including of accessibility, sightlines, and the relationship between the removal of the rear tech box and booths, to improve the audience and the stage. The narrower, more focused sightlines and increase the capacity of the auditorium. auditorium will have seating distributed across three tiers, The balconies will be returned to their original rake. Original and the capacity will increase from 950 to 1,200 seats. The ceiling fixtures and light fittings will also be reinstated and scheme also repurposes the ground level arcaded space a new counterweight fly system will be installed. When beneath City Hall, currently used as a flea market, as a the theatre reopens, it will also revert to its original name new entrance, foyer, café and bar. The existing bar space – Darlington Hippodrome. The wider scheme also includes is inadequate for the theatre’s current audience capacity the redevelopment of the adjacent former fire station into and this will provide the theatre with a new and distinct a new children’s studio theatre to be called The entry from Boscawen Street, and an appropriately sized bar Hullaballoon, and together will provide a key cultural and café for its increased capacity, as well as introducing destination in the region. an active daytime use to this part of the building. Most importantly, it will enable the theatre to be more financially and environmentally sustainable. 31

Theatres Magazine Summer 2016

Advice The Trust supported an application to create a new 140- Peer based Advisory Review for theatres seat community theatre in a former chapel on Emma Place, As a part of our advice service the Theatres Trust offers Plymouth (Plymouth CC, 16/00206/FUL, permitted). The an Advisory Review, a peer based review process targeted proposed Underground Theatre has two levels, and the at theatres developing capital projects. The review aims ground floor will contain the WCs, storage and dressing to advise and empower clients on how to improve the rooms, while the first floor hall will contain the theatre’s viability and quality of their theatre buildings to meet the performance space, which will feature moveable staging needs of their users and customers, and we convene a and seating to maximise its flexibility and use. The proposal panel of independent experts to address issues that you includes a bar and a new lift to make the venue fully might encounter as you develop your project. An Advisory accessible. The theatre will repair and restore the exterior Review can take place at any time in the lifecycle of a of the building to improve the building’s appearance theatre building. within the conservation area. We currently have two advisory reviews booked for the summer period; the first for the London Borough of National Policy Croydon – an operator led review for the Fairfield Halls redevelopment works; and the second for the phase 3 The Historic Environment (Wales) Act 2016 came into force on 21 May 2016 and introduced two new powers to building works at the Royal Court in Liverpool. help protect listed theatre buildings, particularly theatre buildings at risk. Firstly, it has given local authorities the If you are interested in organising an Advisory Review power to issue stop work notices to anyone carrying out for your project, please do get in touch, contact unauthorised works. Secondly, it has broadened the scope Claire Appleby, Architecture Adviser, Theatres Trust of urgent works a local authority can undertake to preserve on [email protected]. a listed building, and introduces a land change (subject to further consultation) to assist with the recovery of costs Further research into fibrous plaster ceilings for doing so. The maintenance and inspection of fibrous plaster ceilings has been a hot topic since the collapse of the Apollo Theatre ceiling in 2013. The Trust was involved in The Queen’s Speech indicated a new Neighbourhood drawing up new guidelines for ceiling inspections – ABTT Planning and Infrastructure Bill will be introduced later in 2016 with the aim to strengthen the neighbourhood guidance note 20 issued May 2015 - and has subsequently planning process in England and encourage the been working with the FIS and ABTT in putting together involvement of more people in neighbourhood planning. standardised forms for ceiling inspection works. We are This appears to require local authorities to give greater now working with Historic England on a major programme support to community groups wanting to prepare plans, of research on suspended fibrous plaster ceilings in and to improve the process for reviewing and updating historic buildings throughout the country. The work will plans. Unfortunately a significant proportion of local result in a publication with comprehensive advice on the authorities are yet to adopt an up-to-date local plan, which survey, care and repair (including protection during major makes neighbourhood planning difficult in these areas. The infrastructure works) for these ceilings, and will serve Bill will also seek to limit the use of pre-commencement as a complementary publication to Historic England’s planning conditions and ensure they are only imposed Mortars, Plasters & Renders (2012) in the Practical Building by local planning authorities where they are absolutely Conservation series. The work is programmed to take place necessary. It will also seek to make the compulsory over the next 2 years and will include historic analysis, purchase order process clearer, fairer and faster, including site survey, and materials testing. reform of the way which compensation is negotiated. A reminder for all theatre owners, the date set by the The Department of Communities and Local Government HSE for completing fibrous plaster ceiling inspections have launched a programme to raise awareness of is 1 September 2016. neighbourhood planning and further information can be found at www.neighbourhoodplanning.org. STREATHAM HILL

SW2

STREATHAM HILL THEATRE & ARTS VENUE VENUE OPERATOR REQUIRED Award-winning developer London Square is looking for an organisation to operate the new Streatham Hill Theatre and Arts venue, due to open in December 2017. We are running a tendering process to find the right partner. If you are interested in this fantastic opportunity, please go to www.londonsquarestreatham.co.uk and download the tender document.

We look forward to hearing from you.

www.londonsquarestreatham.co.uk

Illustration depicts London Square Streatham Hill and is indicative only. Details are correct at time of going to press - May 2016 33

Theatres Magazine Summer 2016 STREATHAM Grants HILL SW2 Theatres Protection Fund UK Small Grants Scheme

Kate Carmichael, Resources Adviser, Round 8 awards provides updates on UK Small Grants On 12 May, hot on the heels of our first ever Scheme Projects and announces the London Theatres Small Grants Scheme round of next round of awards from the UK awards, we were delighted to announce the next Small Grants Scheme. 5 theatres to benefit from our UK Small Grants Scheme, bringing the total number of theatres Through our Theatres Protection Fund we are we have helped with a UK small grant to 37. able to financially support vital projects that Our eighth round has been awarded to address urgent building repairs, improve their small theatres that have been seriously affected operational viability, introduce environmental by poor weather conditions. improvements, and enhance physical accessibility. Thanks to the Andrew Lloyd Theatre Royal Winchester receives £5,000 Webber Foundation and Judy Craymer MBE towards its ‘Tower Street elevation – urgent we have been able to award two Rounds of fabric and structural repairs’ project, to restore UK Small Grants a year since 2012, and have the weather-damaged Tower Street façade of received over 200 applications from a variety the theatre. www.theatreroyalwinchester.co.uk of theatres across the country, from amateur, volunteer run lean-to’s to industry leading Friargate Theatre York receives £5,000 towards heavyweights. What they all have in common its ‘flood damage – urgent repair and protection’ is their passion for their craft, and a desire project, to undertake immediate remedial work, to improve their buildings for the whole user and install flood prevention measures at the experience. When we come to assess the theatre. www.ridinglights.org applications each round it’s evident from the number of applications we receive that our Tron Theatre Glasgow receives £5,000 towards small grants can make a real difference to its ‘water damage repair’ project, to address a theatre’s operation. water ingress affecting the backstage corridor Often it is one way that we hear about and the office block.www.tron.co.uk the plight, but also good work, of theatres who might never have been in contact before, Bridgwater Arts Centre receives £2,980 and it provides us with an insight into the issues towards its ‘urgent backstage leak repair’ affecting theatres across the country. This project, to carry out urgent repair work to the was certainly the case for the following two backstage toilet and corridor, and prevent grant recipients. further damage to internal structural beams. Pendle Hippodrome Theatre, in Colne, built www.bridgwaterartscentre.co.uk in 1914 and now run by the Pendle Hippodrome STREATHAM HILL Theatre Company, received a grant at the Marine Theatre Lyme Regis receives £5,000 beginning of this year towards securing the towards its ‘makeover’ project to repair and roof of their newly acquired theatre extension restore the weather damaged front and side THEATRE & ARTS VENUE with the intention of expanding its facilities in façades of the Marine Theatre to its original the near future. With our small grant the team art deco glory. www.marinetheatre.com will be able to undertake roof repairs to their new building, the first step in realising their plans “I’m proud our Theatres Protection Fund is to extend their front and back of house facilities. helping ensure these theatres can continue to VENUE OPERATOR REQUIRED As the building is in a conservation area they operate safely and serve their communities.” are currently going through an application for Tim Eyles, Theatres Trust Chair Award-winning developer London Square is looking for an organisation to operate planning permission. And I’m pleased to report the People’s the new Streatham Hill Theatre and Arts venue, due to open in December 2017. Theatre in Newcastle, who received funds at the end of last year, put their grant to immediate use The UK Small Grants Scheme is We are running a tendering process to find the right partner. removing asbestos from their ducting, allowing generously supported by the Andrew them to improve their infrastructure – they now Lloyd Webber Foundation and Judy If you are interested in this fantastic opportunity, have zoned heating, sound and draught proofed Craymer MBE. please go to www.londonsquarestreatham.co.uk windows in their rehearsal spaces and automatic lighting. Fundraising and project works are Deadline for Round 9 applications is and download the tender document. ongoing for their Studio Theatre, which is midday on Wednesday 26 October 2016. being made accessible from ground level. Trustees of Theatres Trust will meet in December 2016 to consider further UK We look forward to hearing from you. Small Grants Scheme awards. www.londonsquarestreatham.co.uk

Illustration depicts London Square Streatham Hill and is indicative only. Details are correct at time of going to press - May 2016 Good LED lighting doesn’t have to be a struggle.

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