A Methodology for the Quality Assessment of the Theatre 77
A METHODOLOGY FOR THE QUALITY ASSESSMENT OF THE THEATRE
RUBEN PAUL BORG University of Malta
Theatre as performance space has to satisfy important requirements to address the needs of users. It has a central role in society, linking different user groups in promoting culture as a popular experience. As a space, theatre presents significant challenges due to factors such as the variety in type and size, the ways the spaces are used, and the user groups. The assessment of cultural space is of major significance in the context of Valletta Capital of Culture, linking in to the key principle of a legacy in the longer term. The Capital of Culture presents an ideal opportunity to examine theatres across Malta and Gozo as focal cultural spaces. This research presents a first initiative in Malta toward a structured method for the assessment of theatre as a cultural space with a view to defining its needs and those of its users. The objective is to develop a new integrated quality assessment method, which addresses different attributes of the theatre as a space used for cultural activities, in a structured manner with the aim of recording a comprehensive profile of the space. The appraisal allows for the development of rehabilitation strategies, where the methodology serves as a useful tool for the prioritisation of interventions. The first assessment was conducted on eight theatres in Valletta and the Grand Harbour Region, and Victoria Gozo. It includes five public theatres, two community theatres and one which belongs to the University of Malta. This quality assessment addresses pressing technical issues, social and cultural aspects, management and financial constraints but also the wider needs of the space, all of which contribute to its quality. The methodology provides the framework for a tool which can evolve and adapt to the wider context of all theatres in the Maltese Islands, with the aim of establishing a framework for continued assessment to define priorities for refurbishment and upgrading of cultural spaces.
Keywords: Theatre, Cultural space, Quality Assessment, Building Performance, Property Appraisal, Refurbishment, Retrofit.
Introduction Theatre is a key cultural space with a central role in society, linking different user groups in promoting culture as a popular experience. Theatres are dynamic spaces which present significant challenges due to factors such as the variety in type and size, the ways the spaces are used, and the user groups. Theatre as a performance space has to satisfy important requirements to address the needs of users which include artists, technical experts, and audiences. The Cultural Participation Survey 2011 for Malta reports that the share of those not attending a dance performance in the 12 months preceding the survey was 87.3% (Baldacchino infra.), while those who did not attend theatre or live music performances accounted for lower fractions, at 69.5 and 68.7% respectively, but still significant (NSO 2012). One encounters significant challenges in the interpretation of public engagement with the performing arts in Malta. This is a result of various factors including the complexities and peculiarities of cultural space in the Maltese Islands and significant gaps in information on performance space and on building quality and performance. Valletta as European Capital of Culture presents an ideal opportunity to examine theatres across Malta and Gozo as focal cultural spaces. The aim of the 78 Ruben Paul Borg research is to investigate shortcomings and assets in theatre as a cultural space in Malta through the development of a comprehensive assessment methodology, intended for a detailed expert-appraisal of the quality of the spaces. The methodology aims at defining gaps and merits in the space and relates to the various user groups’ experiences. The assessment method draws on attributes which need to be identified and defined. The attributes act as indicators which individually and collectively define the theatre as a space with its unique and distinctive characteristics. Furthermore, the attributes support the framework for the analysis of the spaces in relation to scale, taking into account individual spaces and specific areas within the theatre; backstage, stage, house, front of house, external space; and the theatre as one whole. This assessment focuses primarily on a variety of theatres in Valletta, the Grand Harbour Region and Victoria in Gozo to test the applicability of a tool, intended to be refined to cover the wide variety of all theatres in the Maltese Islands at a second stage. The assessment of the spaces is based on pre-defined attributes allowing for a comparative assessment of the theatre and its spaces through an unbiased technique. The analysis shall lead to an assessment of the current state of theatres in order to identify key refurbishment requirements through a strategic approach. This shall allow for a multi-criteria assessment and for the evaluation of the relative significance of interventions. In this regard the research presents a quality assessment methodology for theatres taking into consideration the dynamic and varied nature of the spaces, whilst addressing refurbishment strategies within an intervention framework. This promotes a more accessible cultural space in the Maltese Islands.
Cultural Space and Valletta Capital of Culture The theatre as a space of, and for, culture constitutes a multifaceted system, hosted within a complex structure which has to cater for varying needs. Moreover, different theatre typologies present challenges in addressing the needs and possibilities for improvement. Various structures are considered as monuments of cultural importance and yet have to function and address the needs of contemporary performers and artists and meet the expectations of today’s audience. The assessment of cultural space is of major significance in the context of Valletta Capital of Culture, linking in to the key principle of legacy in the longer term. The assessment of the quality of the space provides for a longer-term strategy for improving the theatre building as a cultural space by addressing user needs and in establishing intervention and rehabilitation strategies. Cultural space needs to be effective for its users, while preserving cultural heritage through the building structure and fabric itself, particularly in the case of those buildings of cultural significance. Addressing and improving the quality of the space aspires also to strengthening culture in the community at large by providing adequate spaces which reflect expectations and needs of their users at different levels, ranging from safety to accessibility and comfort.
Quality Assessment of the Theatre Buildings for the performing arts present significant complexities in architectural design, even more than other spaces. The space, including the geometry of the auditorium and performance area, the extent of services and technical requirements and user and public expectations, result in complex building types (Appleton 2008). For every building type there are many variables including for example the limitations of the space, budget and client requirements, leading to A Methodology for the Quality Assessment of the Theatre 79 various building types. Buildings for the performing arts are designed and developed in particular periods within the context of evolving art forms and with respect to technological advancements (Appleton 2008). This, results in the large variety of building types we see today. At the same time many users (performers, technical experts, managers etc.) with different experiences are involved in the use of the space; satisfying the views and requirements of all is challenging. Various assessment methods exist for the assessment of buildings and spaces, depending on the scope and purpose of the assessment. These include building performance evaluation and user needs assessments, sustainability assessment tools, energy performance, vulnerability and resilience, appraisal tools to assess condition of building stock and quality of the space (Nevalainen & Borg 2010, 2012b; Di Giulio R. et al. 2010, 2012). Assessment tools need to respect the changing requirements in different climates and regions resulting in different attributes and their relative importance. Existing methods developed for other regions and contexts need to be assessed for relevance and suitability. Building regulations and recommended policy design guidelines with respect to different criteria vary for different countries and regions. Building performance evaluation and user needs assessments, including post-occupancy evaluation of buildings allows for an assessment of a wide variety of criteria relating to the use of the building. Post-occupancy evaluation refers to questionnaires and interviews with users of the building, quality assessments and building inspections. These instruments may comprise a variety of factors including technical, functional and environmental comfort with a focus on behavioural factors of users and the degree of user satisfaction. The building performance evaluation supports and promotes evidence-based design in architecture. The evaluation relates to the building design, construction and maintenance. This leads to recommendations regarding funding, maintenance and remedial works, resulting in improved safety, quality of the building, environmental comfort and technological innovations and improvements (BRE 2016). The objective of this research is to develop an integrated quality assessment method, which addresses different attributes of the theatre as a complex space used for cultural activities, in a structured manner with the aim of recording a comprehensive profile of the space. The outcome of the audit in this study is intended to help record the state of the asset and how this changes with time. Further the audit allows for the development of rehabilitation strategies for the cultural spaces, where the methodology serves as a useful tool for the prioritisation of interventions, by taking account of the needs of the space and the necessities of its users. This research presents a first initiative of its kind in Malta.
Research Methodology The characteristics of the space or building and its environment influence to different degrees, the activities taking place within and around it. The research assesses the relationship between the space characteristics and the cultural activities it provides, in order to determine to what extent the activities organised within are influenced by the space characteristics and the quality of the space. It also examines how the space evolves in time—its relationship to the changing needs and expectations of the different users of the space (management, artistic, technical, audience). It is to be noted that different user groups of the space reflect different needs. The research objective is to address quality with respect to cultural space and how this can be defined through an integrated assessment methodology on the basis of defined criteria and indicators. 80 Ruben Paul Borg
The proposed general framework of the Integrated Assessment Methodology for the Building Performance is based on various components including analysis of published statistics, questionnaires and interviews with different users, observation of the spaces during performances, assessment of documentation including drawings, and expert site audits and building appraisal.
The general framework is organised through the following: 1. Documentation analysis. 2. Technical Building Appraisal; building investigation referring to the different spaces in the theatre (backstage, stage, house, front of house, external space) 3. Questionnaires and interviews with different users of the theatre.
At the first stage, the research was conducted on the basis of documentation, technical building appraisals and interviews with the theatre management. Indicator or attribute groups with subgroups are defined for the assessment of the quality of the space. These attribute groups are presented in Table 1.
Table 1. Attributes for the Quality Assessment of the Theatre
A. Policy & Planning B. Theatre Technical Aspects C. Infrastructure D. Architecture & Space E. Accessibility F. Structure G. Services, Energy Efficiency, Building Physics H. Health & Safety I. Social and Cultural Aspects J. Management Aspects K. Financial Aspects
The theatre space includes a range of components, spaces within the theatre itself, the theatre as a whole, and as an entity relating to the surrounding spaces. The spatial context reflects the region / area covered and the building and spaces within. The spaces within the theatre are also well defined. (see Table 2).
Table 2. Classification of Theatre Spaces
Theatre Space 1 Backstage 2 Stage 3 House 4 Front of House 5 External Space
An important fundamental relationship emerges between the theatre typology and the event type, the theatre’s present state and its needs for improvement in relation to the expectations of its users. The possibilities and obstacles to improvement of the space are examined through the quality assessment. A Methodology for the Quality Assessment of the Theatre 81
The technical data defines the actual state of the space and property. The Quality Assessment Method for assessment of space and property is based on indicator groups. In this sense, the tool is considered as a space resilience tool to support a decision-making framework for potential options for future use and adaptation, flexibility in use, refurbishment, maintenance and rehabilitation strategies of spaces in the context of a comprehensive cultural network in Malta. Besides compiling comprehensive data on the spaces, a grading system was introduced to establish quality with respect to specific attributes as outlined in Table 3. The weighting system provides for ranking priorities for intervention in refurbishment and upgrading of the spaces and requires ongoing research and wide stakeholder consultation. Performance Spaces are characterised by changing requirements with time and different trends, attitudes and expectations.
Table 3. Grading criteria for attributes
Classification Grade New / Functional and Operational A Old / Functional but requires maintenance & repair B Present but not functional C Not present D Could not be verified E
In specific instances, features may be recently installed but inadequate and not fit for purpose or defective. These were classified as requiring maintenance and repair.
Theatre Assessment in Malta The first investigation on eight public theatres was carried out in 2014 with a geographical distribution covering Malta and Gozo. The theatres were located in Valletta and Floriana in Malta and Victoria in Gozo. Five theatres were state-owned (Public Theatre), two belonged to the Catholic Church (Community Theatre) and one to the University of Malta. The theatres have varying characteristics and are used for different types of performances.
Table 4. Theatres analysed during the first stage of investigation
Theatre Location Type 1 St James Cavalier Theatre Valletta Public Theatre 2 Manoel Theatre Valletta Public Theatre 3 Pjazza Teatru Rjal Valletta Public Theatre 4 MITP (Mediterranean Institute Theatre Programme) Valletta University of Malta 5 MCC (Mediterranean Conference Centre Theatre) Valletta Public Theatre 6 Robert Sammut Hall Floriana Public Theatre 7 Catholic Institute Theatre Floriana Community Theatre 8 Don Bosco Theatre (L-Oratorju) Victoria Community Theatre
The eight theatres identified for the first assessment were analysed with respect to the indicator groups set out in the methodology, applied separately to the different spaces for each theatre and with reference to the established grading criteria. The quantitative and qualitative data was organised in a data matrix to allow for detailed analysis.
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St James Cavalier, Valletta St James Cavalier Centre for Creativity which was constructed in the late 1990s, is accommodated within the historic cavalier fortification structures of Valletta. The Centre is located at the entrance of Valletta in a very central area and close to other theatre-related facilities, namely Pjazza Teatru Rjal. It has different entrances from different parts of the Cavalier and in general the space is accessible to all. The Centre started operations in 2000 and consists of various spaces used for exhibitions, musical and theatrical performances and the arts. The spaces were developed within the historic military structure which was adapted and modified to accommodate the new facilities. The Centre includes a bar and outdoor seating area. It is owned by Government and funded through Government financial support; it also generates its own funds. It is managed by a Foundation (Fondazzjoni Kreattiva). The Centre is home to a small theatre-in-the-round, an art-house cinema, a chamber music room and galleries. The theatre consists of an octagonal space with a seating capacity of 150. The theatre is on two levels; the upper level comprises an all-round balcony. The space can be adapted according to performance requirements. The theatre is accommodated within an old water reservoir and includes steel structures and timber finishes with fixed seating. It is equipped with a cooling system but lacks a heating system. A fire detection and protection system is also installed in the building. Backstage facilities are located close to the stage and are fully equipped. Acoustics are generally satisfactory. The theatre includes a lighting grid and lighting bars, a sound system and other performance-related technical support systems. The theatre is one of the performance spaces that are linked to the circulation spaces within the Centre for Creativity, as well as to the ticket office and the Centre’s administrative area. Regular maintenance of the spaces and additional investment for refurbishment are needed.
Fig. 1. St James Cavalier Theatre, Valletta Malta. A Methodology for the Quality Assessment of the Theatre 83
Manoel Theatre, Valletta The Manoel Theatre was commissioned by Grand Master Manoel de Vilhena in 1731. It was reputedly designed by Romano Carapecchia and built by master masons Francesco Zerafa and Antonio Azzopardi. The theatre is located in Old Theatre Street, Valletta and it is accessible at street level. It is a prestigious venue which has been restored and adapted with time. Sir John Whitmore transformed the boxes, giving them an arched shape in 1811. A proscenium arch was added in 1844. The Theatre was further restored in 1907 and again in the 1950s and in 2004. The theatre has a seating capacity of 623. It has backstage facilities immediately adjacent to the stage. In addition during the past decades, a new backstage six-level block was constructed behind the stage area which includes rehearsal spaces, a dance studio, dressing rooms and a studio theatre. This backstage area can also be accessed from a separate entrance. The studio theatre, with a seating capacity for 80 people is used for small performances. The new backstage facilities offer important opportunities for a better use of the theatre. The stage is relatively large and well equipped for a variety of performances and an orchestra pit is located in front of the stage. The theatre is oval-shaped with stalls all around. Those located closer to the stage have a reduced and limited visibility of the stage area. The ticket office, museum and shop have a separate entrance. The theatre includes masonry and various timber structures, including a timber roof truss supporting a decorated soffit ceiling. The theatre includes a fire system and a security system. The old parts of the theatre are not fully accessible but the new backstage area is accessible to all. It is also equipped with a lift access for props. The theatre is not equipped with air conditioning and heating systems but the roof truss includes openings for ventilation. The theatre lighting system is contracted to private companies. The theatre is the property of the Government of Malta and is managed by a governing board. Ongoing maintenance of the different facilities is required. Major renovations have included the new backstage area and restoration works in different parts of the theatre. Funding depends on government support and revenue from the box office.
Fig. 2. Manoel Theatre, Valletta, Malta. 84 Ruben Paul Borg
Pjazza Teatru Rjal, Valletta
The Pjazza Teatru Rjal is an open air theatre, occupying the space of the old Royal Opera House which was destroyed during bombardments in World War II. It forms part of the project for the entrance to Valletta which was designed by the renowned Italian architect Renzo Piano and completed in 2015. The theatre is a proscenium arch theatre with a seating capacity of 921. It is located in a central area at the entrance to Valletta and very close to the St James Cavalier Centre for Creativity. The theatre structure consists of a steel structure within the ruins of the old opera house. The theatre includes ergonomic weather-resistant seating. It is accessible from multiple entrances and is accessible to all. All material used, including the stage curtains, has a fire retardant. The theatre comprises backstage facilities which are located in adjacent buildings and underground structures in the adjacent square, purposely built to service its needs. The structure requires additional maintenance in the long term due to increased exposure to the elements. The technical systems include provisions for a lighting system, an audio system and a movable stage. The facility also includes heating and cooling systems in backstage areas. Being an open air theatre, Pjazza Teatru Rjal is exposed to the elements, limiting the use of the facility in adverse weather conditions and also limiting the use of the theatre to specific performances. The facility is managed through an investment company partly owned by Government.
Fig. 3. Pjazza Teatru Rjal, Valletta – Malta.
Mediterranean Conference Centre, Valletta The Mediterranean Conference Centre consists of various halls and spaces. It was formerly the Sacra Infermeria of the Knights of the Order of St John. The construction of the hospital began in 1574 under Grand Master Jean de la Cassiere and the building experienced various A Methodology for the Quality Assessment of the Theatre 85 extensions and changes though the years, making it one of the foremost hospitals in Europe at the time. It was eventually transformed into the Mediterranean Conference Centre which was inaugurated in 1979. As a historic building overlooking the Grand Harbour, it offers a prestigious venue in Malta for major international conferences and events. The building has experienced various restorations and refurbishments since the inauguration of the Conference Centre. The main theatre, consisting of a proscenium arch theatre, occupies the site of the former courtyard and is linked to various other adjacent spaces within the complex which may be used for performances and other related uses. It has a seating capacity of 1400. The theatre also includes a large balcony for the audience and stalls on one side. The theatre consists primarily of load-bearing stone masonry walls forming part of the historic building, with a steel roof structure. The main hall was refurbished following a major fire which destroyed the hall in March 1987. The stage area, orchestra pit and front part of the house allow for adaptations and even extensions to the stage for specific performance requirements. Storage space is also considered to be limited. The building is in general accessible to all, including the main theatre hall and the stage which is accessible to wheelchair users from the backstage area. The backstage area itself is directly and easily accessible from outside spaces. The Centre is equipped with a heating and cooling system and adequate environmental control measures. The historical architectural features of the building pose limitations to: the theatre’s acoustics; sound insulation between the main theatre and specific adjacent halls; the availability of backstage space; and accessibility to service areas. Energy efficient lighting systems are not installed in the whole building. Fire exits are located strategically and a manual fire system is installed in the Centre in view of fire hazard. The Centre belongs to the Government of Malta and ongoing maintenance is necessary.
Fig. 4. Mediterranean Conference Centre Theatre, Valletta Malta. 86 Ruben Paul Borg
MITP Valletta, Valletta The MITP Theatre (Mediterranean Institute Theatre Programme) is located within the historic Valletta Campus of the University of Malta (UoM). It is a black box theatre located at ground floor level. It is managed by the University and is used for teaching and performances. The structure consists of load-bearing masonry with reinforced concrete roofs. Though the old University building is a historic structure, parts of it had been reconstructed after World War II. The theatre can accommodate 220 people. It is equipped with a sprung timber floor and allows for full flexibility and adaptability in use. The seating setup can be adapted and modified depending on the type of performance. The theatre is equipped with a lighting system and with acoustic panels on walls. However, due to its proximity to the main surrounding roads, sound insulation presents significant problems. The theatre has a single entrance linking it to the other spaces within the University building and is accessible to all. No heating and cooling system was installed in the theatre at the time of writing. A fire system is installed with exits leading immediately to external spaces at ground floor level. It is equipped with new sanitary facilities. However various limitations exist related to the fact that the theatre and its ancillary spaces are located within the constraints of a historic structure. This includes backstage facilities, which are, located in adjacent rooms at ground and first floor levels. The building belongs to the University of Malta and is funded through the University. Following the audit conducted for the purpose of this research in 2014, it has undergone major refurbishment and restructuring during 2015–2016 including extensive backstage renovation, upgrading of the lighting and acoustic systems and the installation of a heating and cooling system.
Fig. 5. MITP, Valletta Malta.
A Methodology for the Quality Assessment of the Theatre 87
Fig. 6. MITP, after refurbishment.
Robert Sammut Hall, Floriana The Robert Samut Hall is located in Floriana, Malta. It was a Methodist Church, designed in Neo-Gothic style by Thomas Mullet Ellis and built in 1883. It was the first building in Malta with incandescent light bulbs. The building was passed on to the Maltese Government in 1975 and was transformed into a centre for cultural activities. The Hall was refurbished in the early 2000s and equipped with a new heating and cooling system, a fire system and an improved electrical installation system. The building today hosts the Malta Philharmonic Orchestra and it can accommodate an audience of circa 252 people. The main concert hall is used for the orchestra’s rehearsals and for concerts. Since the concert hall was originally a church, different spaces particularly behind the hall and in the basement under the main hall, had to be adapted to serve as the backstage area and for storage and ancillary purposes. The building consists of a stone masonry structure; its large stone arches supporting the roof are a noteworthy internal feature. The original hall included vents on the façade forming part of the architectural design. The stage consists of a basic platform but the performance space in the hall can be considered as multi-purpose. Acoustic panels and acoustic curtains are installed on the surrounding walls. No entrance foyer exists due the original intended use of the structure. The hall can be reached through an external flight of stairs but a lift was installed through a separate entrance for general accessibility. The hall includes a raised timber floor with services installed under the floor. The concert hall belongs to the Government of Malta and is supported financially through government funds and revenue generated through performances. 88 Ruben Paul Borg
Fig. 7. Robert Sammut Hall, Floriana Malta.
Catholic Institute, Floriana The Catholic Institute theatre in Floriana belongs to the Archdiocese of Malta of the Roman Catholic Church. It was built during the late 1950s and opened in the early 1960s. It was originally used as a both a cinema and a theatre. The building includes the theatre and its backstage as well as various spaces used by church and other organisations. It was constructed in a central location in Floriana for ease of access. The proscenium arch theatre can accommodate 853 people. The theatre includes the house and a balcony space. The space allows for a degree of flexibility and different types of performances are held. The structure consists of load-bearing masonry walls and reinforced concrete roofs. In general the theatre is functional but maintenance and refurbishment are required. The building is also accessible through platform lifts. A fire protection system is installed and fire exits are marked. The theatre is not equipped with a heating or cooling system but only with ventilators. It includes lighting equipment and acoustic panels. The theatre funds are generated through performances and the rental of the space. General refurbishment of the building is required but necessitates significant investment. A Methodology for the Quality Assessment of the Theatre 89
Fig. 8. Catholic Institute Theatre, Floriana Malta.
Don Bosco Theatre, Victoria Gozo
The Don Bosco Theatre is located in Victoria, Gozo, and forms part of a complex built in the 1950s consisting of a centre owned by the diocese of Gozo comprising a church, meeting rooms, multi-purpose spaces and sport facilities. The Centre, mainly intended for children and young adults, also serves as an important space for the Gozitan community at large. It is managed by a Director, who sets its strategy. The Centre functions with the support of volunteers. It is located in the town centre, outside the historic citadel, and has an adjacent public square and car park area, making it easily accessible. The proscenium arch theatre has a seating capacity of 500. The theatre is also used as a cinema and is presently one of the few theatre or cinema spaces in Gozo. The theatre is functional and is equipped for theatrical performances whilst being easily adaptable for use as a cinema. It includes a backstage area, with other ancillary rooms at the back of the building and in the upper floors. These are also adapted as backstage areas when necessary. The stage is raked, and the theatre, trapezoidal in shape, has a balcony space. The foyer includes a bar. A workshop is located on top of the main theatre space. The flexibility and adaptability of the space is considered necessary to cater for the needs of its users. The building was not originally fully accessible to all but most spaces have been adapted to allow for accessibility. The stage is also fully accessible from the backstage area. The building consists of load-bearing masonry walls and reinforced concrete roofs for the most part. The main roof of the theatre was largely replaced due to deterioration of the original reinforced concrete roof structure. Further problems in the structural systems arise from the building foundations which rest on blue clay geological formations. The foyer 90 Ruben Paul Borg and other ancillary spaces have new finishing, but the auditorium retains most of the original features and finishing. Most areas including the auditorium have adequate features related to fire performance including marked fire exits, fire doors and finishes with adequate fire retardant properties; however the curtains are not fireproof. The theatre is well serviced and has a photovoltaic renewable energy generation installation on the roof. The theatre does not include active systems for the control of internal environmental conditions, like air- conditioning. Acoustic performance is satisfactory for general theatre activities considering the level and age of the finishes within the theatre space. The ancillary spaces have adequate natural lighting and ventilation. The theatre’s lighting system was reported as requiring upgrading. Considering the age of the building and the phased maintenance of different spaces, finishes require upgrading in various areas. The complex generates its own funding. Due to budgetary limitations, maintenance and upgrading are challenging and normally reflect the most pressing issues and needs of the users. The present funding mechanism which is based on donations and fund-raising by the management, does not allow for a general refurbishment and upgrading of the theatre or for long-term planning for retrofit and rehabilitation interventions. The theatre is not to be seen as an isolated space since during specific activities and celebrations, it may be used, together with the other spaces both internal and external, including the public square outside.
Fig. 9. Don Bosco Theatre, Victoria Gozo.
A Methodology for the Quality Assessment of the Theatre 91
Discussion
Quality Assessment Tool The methodology developed in the study was applied to eight theatres located in Valletta, Floriana in Malta and Victoria in Gozo which are considered as prominent theatre spaces in the country. The theatres were inspected during expert site surveys, building appraisals addressed various aspects as defined by the indicator groups. The scope of the assessment exercise was to apply the methodology and develop it further in order to devise a comprehensive tool to be applied to all theatres over the entre Maltese territory at a second stage. Data was collected with respect to the indicators list, reflecting the different spaces of the theatre and presented in a data matrix for each theatre. Quantitative data was collected for various indicators. The quality assessment highlighted the wide-ranging needs of the spaces analysed. The methodology used in this assessment is intended as a tool to assist experts in their evaluation of the needs for intervention enabling them to address the pressing needs of the theatres’ different users. A multi-criteria assessment allows for a comprehensive evaluation of the data. The tool assists decision-makers in identifying the theatres which merit intervention for improvement; priority areas for intervention; and those criteria which need to be addressed through refurbishment. Given the wide variety of theatre spaces in Malta, the tool will be adapted further, following the outcome of the first assessment.
Building Appraisal Given the complexity of theatre spaces, the appraisal needs to cater for a large variety of attributes. This requires expertise in various disciplines including theatre-related technical aspects, the artistic component, the building structure and fabric, and services including light and sound. The attributes refer to indicator groups, some of which are based on quantitative criteria but others refer to qualitative aspects. The assessment of the data collected requires multi-criteria analysis for correct interpretation and eventual use in addressing intervention in improving the spaces
Expectations of Users The pressing needs for refurbishment may reflect society’s changing attitudes towards a proper appreciation of the theatre and the performing arts. The public perception of the needs of the theatre is based on people’s experiences of the space which can vary from a community theatre in a village to the Manoel Theatre in Valletta. Needs vary as a result of the user group considered, the different expectations of users (management, technical, artistic, audience) and different types of theatres and artistic performance. Particular spaces have been traditionally associated to specific types of performance as a result of a particular theatre structures including facilities and technical infrastructure available, as well as specific audience requirements. The study indicates that certain spaces could potentially be better exploited in the long term for various other performances and/or uses.
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Performing Arts Hub In some cases, theatres have the potential to be considered as a cluster or performing arts hub, rather than separate entities, particularly those spaces located in the same geographic region. Theatres may be linked to nearby spaces used for performances and also to other theatres. One example of this is St James Cavalier in relation to Pjazza Teatru Rjal in Valletta. The Mediterranean Conference Centre theatre could be more organically connected to the various halls within the same complex that are used for purposes other than theatre. Other theatres are considered as independent from other spaces in view of location and management.
Flexibility and Adaptability Flexibility and adaptability of the spaces has been considered as a determining factor in prioritizing needs. This possibly reflects the context of Malta as a small island state with limited resources and spaces, where available spaces need to be exploited in the best possible manner. This leads to the necessity for adaptability to cater for changing needs of different user groups in the community. This is particularly relevant in the case of community theatres. A dedicated theatre, equipped and intended solely for a specific performance type, presents various advantages for that particular use. Adaptable theatre spaces present challenges in adequately addressing the needs of specific performance types while maintaining high standards. Yet such adaptable spaces offer practical affordable solutions for a larger variety of performance types and user groups.
Management and Financial Aspects A comprehensive upgrading strategy for the theatres, associated with a long-term financial sustainability plan was noted to be missing in general. Upgrading interventions in theatres rely on reactive measures instead of preventive action due to financial constraints, which constitute a barrier to longer-term planning. Technical aspects, including structure and architecture- related features, accessibility and building physics, and theatre technical features and equipment were in general, noted to vary from one space to another with significant potential for improvement all round. However, upgrading is hindered by lack of available funds. The needs for refurbishment and upgrading listed in this study were prioritised in function of compliance to Building Regulations including for example fire performance, accessibility for all and health and safety regulations. It was noted that an effective management plan addressing the changing needs of the space is necessary. However in most cases, a holistic long-term management and development plan for the asset was missing. In view of financial constraints, the role of volunteers is essential as can be seen in the case of the Don Bosco theatre in Victoria. At times this may limit the extent of interventions to those basic requirements necessary for the space to function. This is especially the case in local community theatres servicing a particular community.
Refurbishment and Maintenance More recent constructions such as the St James Cavalier Centre for Creativity may require lower investment in general refurbishment but still have pressing needs for regular maintenance and servicing of equipment, as well as possible extraordinary maintenance in A Methodology for the Quality Assessment of the Theatre 93 view of the life-time of components and infrastructure within the theatre. Older structures such as the Catholic Institute theatre require major refurbishment, given the age of the structure and its finishes. Theatres within older historic structures require restoration of the structure and fabric besides regular maintenance of the space, as is the case of the Manoel Theatre.
Building Structure and Fabric The main issue regarding the structure and fabric of the theatres studied concerns the safety of their users, including the audience. This is considered particularly relevant in view of structural safety within the theatres, and the degradation of materials, the presence of hazardous materials and the risk of fire. The priorities in assessing performance of the space refer to the structures, in particular the larger span roof structures, not immediately visible in view of suspended soffit ceilings. Timber truss structures such as the Manoel Theatre roof require inspection and maintenance. Reinforced concrete roof structures constructed during the past years also require inspection and maintenance or repair. In particular the building envelope including roof water- proofing systems need repair and replacement at intervals and must feature in maintenance and repair strategies of the spaces to ensure adequate protection of the structure. Fire protection systems are present in general, but improved fire systems are necessary.
Sustainable Energy and Indoor Climate Energy efficiency measures were noted in various theatres particularly in relation to lighting systems. There is a general appreciation of the needs for energy conservation. A renewable energy photovoltaic system is installed on the roof of the Don Bosco Theatre. However this option presents limitation in urban conservation areas and in the case of historic buildings in view of their conservation status. No cooling or heating systems are installed in some theatres including the Manoel Theatre, and the community theatres namely the Catholic Institute Theatre and the Don Bosco Theatre. This presents significant constraints in the use of the space in particular during the hot season.
Cultural Heritage Cultural heritage issues appear as an important feature in the appraisal of various theatre spaces either consisting of historic buildings, or set in historic contexts. Limitations exist in the case of older structures which have been adapted to function as theatres. Old heritage buildings such as the Mediterranean Conference Centre Theatre, the Robert Samut Hall, or the St James Cavalier Theatre present particular challenges. These spaces have significant limitations since their structures were never intended as a theatre but have been adapted to this new use. Further challenges are presented in the case of theatres of historic value as is the case of the Manoel Theatre. In such cases, changes to the building structure and fabric that may cater for the needs of the theatre users are restricted or even not possible at all. Yet the historic setting or the cultural heritage structure itself adds prestige and value to the property as in the case of the Mediterranean Conference Centre in Valletta.
Ranking of Critical Issues The first assessment presented an opportunity for the ranking of the attributes with reference also to the grading applied to indicators, leading to the identification of priority areas for the 94 Ruben Paul Borg theatres analysed. Structural performance and safety of the structure appear as priority areas, followed by the materials performance including degradation of building materials. Fire safety is also presented as an important area. Theatre-related technical and servicing aspects present significant challenges including adequate light and sound systems and acoustics within the theatre. These relate to what the space can actually be used for and which performance can or cannot be organised within. Architecture and space criteria refer to flexibility and adaptability of the space for different performances. This is presented as an important aspect given the changing needs in the context of theatre in Malta and is particularly evident in community theatres. Where possible, accessible spaces for all was presented as an important consideration in view of refurbishment needs. Comfort of the spaces features as another priority area including seating requirements and the indoor climate managed through air-conditioning, heating and ventilation. Long-term planning for refurbishment and investment is an important consideration which relates to financial aspects and the need to adapt to low budgets. Social and cultural considerations present significant challenges and require detailed analyses of the needs and expectations of the audience with respect to different spaces.
Table 5. Summary of the main Attribute groups for the Quality Assessment of the theatres investigated
Centre
Oratorju)
-
Cavalier Theatre St James Manoel Theatre Teatru Rjal Pjazza Theatre MITP Institute (Mediterranean Programme) MCC(Mediterranean Conference Theatre) Robert Hall Sammut Theatre Catholic Institute Don (L Theatre Bosco 1 2 3 4 5 6 7 8 A. Policy & Planning ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ B. Theatre Technical Aspects ◦ ◦ ◦ • ◦ • • • C. Infrastructure ◦ ◦ ◦ • ◦ • • • D. Architecture & Space ◦ ◦ • ◦ ◦ • • • E. Accessibility ◦ • ◦ ◦ ◦ • • • F. Structure ◦ • ◦ ◦ ◦ ◦ ◦ ◦ G. Services, Energy Efficiency ◦ • ◦ • ◦ ◦ • • H. Health & Safety ◦ • ◦ ◦ ◦ ◦ ◦ ◦ I. Social & Cultural Aspects ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ J. Management Aspects ◦ ◦ ◦ ◦ ◦ ◦ ◦ ◦ K. Financial Aspects • • • • • • • • (Key: ◦ Relevant, • Critical)
A Methodology for the Quality Assessment of the Theatre 95
Conclusions The theatre presents a challenging and demanding dynamic space, constantly evolving in light of advances in technology and trends in the performing arts. It therefore needs to offer the necessary flexibility and adaptability which allow for the freedom which the artist aspires to. The quality assessment addresses pressing technical issues, managerial and financial constraints but also the wider needs of the space, all of which contribute to defining its quality. The methodology provides the framework for a tool which can evolve and adapt to the wider context of all theatres in the Maltese Islands, with the aim of establishing a framework for continued assessment to define priorities for refurbishment and upgrading of cultural spaces. A database of theatres in the Maltese Islands, which would include detailed technical information on the facilities available for specific performances, and the needs and potential for development, may be compiled though a detailed comprehensive appraisal of all the spaces. Such a database would require continuous updating for an up-to-date record of theatre spaces. The National Statistics Office presents a list of more than ninety theatres (NSO 2013). However it is important to assess to what extent these spaces can be classified as theatres as opposed to multi-purpose halls, by establishing the actual state of the facilities and the equipment available. The assessments of the eight theatres in the first phase led to the further development of the appraisal tool and the matrix. The study presents a first attempt in Malta to analyse the needs of theatre and performance spaces as cultural spaces through a structured and comprehensive quality assessment method. The theatre appraisal framework sets the scene for a larger country- wide study of all theatres in the Maltese Islands which is currently being proposed. Such an appraisal would create the first exhaustive catalogue of theatres and their characteristics. This database, if regularly updated, would provide a comprehensive list of available theatre spaces with their merits and limitations to different entities and artistic groups. The database and appraisal of all theatres would allow for a wide strategy for intervention to improve the theatre infrastructure in order to address the needs of different users. This should ultimately contribute towards the improvement of facilities in different regions in Malta, leading to an increased appreciation of the performing arts. Additional detailed questionnaires and interviews with different user groups of the space, including management, technicians, artists and the audience, would strengthen the evaluation method of the building performance in use. A multi-criteria assessment that supports an objective evaluation of the data collected in the data matrix, would lead to a proper definition of priorities and main objectives for a comprehensive refurbishment of theatre spaces.
Acknowledgements The author would like to acknowledge the support of the Valletta 2018 Foundation for supporting the study; the Management Boards of the theatres analysed; Prof. Vicki Ann Cremona, Chair of the School of Performing Arts, University of Malta and students at the Faculty for the Built Environment of the University of Malta. Theatre Photo Credits: Sean Mallia & Valletta 2018 (Figures 1, 2, 3, 4, 6, 7, 8, 9), Ruben Paul Borg (Figure 5). 96 Ruben Paul Borg
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