ISSUES and OPTIONS PAPER for Performing Arts Spaces (Indoor and Outdoor)
Interim report for Discussion and Comment Coffs Harbour City Council
Coffs Harbour City Council
Discussion Paper for the Performing Arts
DRAFT Friday, November 29, 2019
Hawkridge Entertainment Services Tim Long Managing Director
Nick Tobin Associate Consultant
Disclaimer
This report (Paper) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Coffs Harbour City Council. The information, statements, statistics and commentary (together the ‘Information’) contained in this Report have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit.
DISCUSSION PAPER FOR THE PERFORMING ARTS PREPARED FOR COFFS HARBOUR CITY COUNCIL PREPARED: 29 NOVEMBER 2019
Table of Contents Table of Contents ...... 3 List of Images ...... 4 List of Figures ...... 4 List of Tables ...... 4 Executive Summary ...... 5 Key Interim Findings ...... 7 Current Project Status...... 12 Setting the Context ...... 14 Why invest in a Performing Arts Centre ...... 14 What is a Performing Arts Centre? ...... 14 Further definition of Theatre types...... 17 Cultural Infrastructure Benefits ...... 21 Key benefits from engaging with the performing arts ...... 21 Historical Summary - Coffs Harbour Performing Arts Spaces ...... 22 Methodology ...... 23 Purpose of this Discussion Paper ...... 23 Limitations ...... 23 Background ...... 24 Council decisions since 2010 initiating this research ...... 24 Documentation Reviewed ...... 26 Council Documentation ...... 26 Community and Stakeholder surveys and reports ...... 26 Previous consideration of location ...... 27 Other plans that this study works in conjunction with ...... 27 Broader Policy context ...... 27 Regional Plans ...... 27 Federal ...... 27 Other...... 28 Design and infrastructure trends - Performing Arts facilities ...... 29 Indoor Venues ...... 29 Outdoor Venues ...... 30 Demand - Drivers for usage ...... 31 Demographics ...... 31 Benchmarking regional venue data and information ...... 35 Venue reviews ...... 36 Indoor Venues Analysis ...... 38 Current Venue Stock ...... 38 Venue Needs Analysis ...... 39 Contemporary Theatre Requirements ...... 47 Outdoor Venues ...... 49 Stakeholder Feedback ...... 50
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Next Steps for a Performing Arts Centre ...... 53 Consideration of Location ...... 53 Costing ranges ...... 58 Next steps ...... 60 Appendices ...... 62 Appendix 1 – Historical Timeline ...... 62 Appendix 2 – Venue Hire Charges ...... 68 Appendix 3 – Common Performing Arts Terminology ...... 70 Appendix 4 – Areas of a Theatre ...... 75
List of Images Image 1. Spiegeltent ...... 11 Image 2. Performing Arts Centre ...... 17 Image 3. The Concourse, Chatswood - Concert Hall ...... 17 Image 4. Capitol Theatre, Sydney ...... 18 Image 5. Theatre sectional ...... 19 Image 6. Small (Black Box) Theatre ...... 19 Image 7. The Horden Pavilion in Concert mode and Banquet mode ...... 20 Image 8. Enmore Theatre ...... 20 Image 9. Jetty Memorial Theatre ...... 28 Image 10. Park Beach Night Markets ...... 37 Image 11. Theatre stage with performer ...... 52 Image 12. Albury Entertainment Centre ...... 55 Image 13. Civic Theatre Newcastle ...... 57
List of Figures Figure 1. Coffs Harbour ancestry ...... 31 Figure 2. Coffs Harbour Change in ancestry 2011 to 2016 ...... 31 Figure 3. Coffs Harbour Rate of Unemployment ...... 32 Figure 4. Coffs Harbour Employment by Industry 2018 ...... 32 Figure 5. Coffs Harbour Business registrations ...... 33 Figure 6. Regional Theatres - Comparison of distance from CBD ...... 57
List of Tables Table 1. Performing Arts venues in regional NSW ...... 15 Table 2. Regional Performing Arts Venues - LGA population and seating capacity ...... 35 Table 3. Regional Performing Arts Venues - Number of performance spaces and yearly operational cost ...... 36 Table 4. Regional theatres in NSW - Distance from CBD ...... 56 Table 5. Significant cultural infrastructure construction in the past 10 years ...... 58
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Executive Summary
Hawkridge Entertainment Services were engaged by Coffs Harbour City Council to undertake an Issues and Options Analysis for Performing Arts Spaces for the Coffs Harbour Local Government Area (LGA). This document is a Discussion Paper which outlines the interim findings of the research for stakeholder and community comment and input.
Initial research and stakeholder discussions have indicated that there is an immediate need for approximately 15% to 20% of hirers for a venue with a larger stage to cater for Dance and Eisteddfod performances, an unquantified need for a venue suitable for touring producers and promoters (small to medium scale) and a need to plan for a Performing Arts Centre in Coffs Harbour. As a growing Regional City, the needs identified are for a theatre of approximately 600 to 1,000 seat capacity and at the same time to retain the Jetty Memorial Theatre as a secondary theatre providing for the ability to scale depending on the artist and performance.
Construction of a new, fit for purpose centre would take approximately six years and cost between $50m to $60m in 2019 figures. The centre would cost between $850,000 and $2,000,000 to operate per year but would provide significant economic benefits to the region through the activity that occurs in the centre as well as the wider economic impact that can occur from the activity within and around the centre. In addition to the considerable economic benefits, a performing arts centre would: • enhance the quality of life for the residents of Coffs Harbour and help to make it a great place to live, • provide exceptional experiences for children; • enhance economic development and provide new opportunities for local businesses while attracting employees to the area; • attract more visitors by providing more entertainment opportunities; • ensure that performing arts companies, as well as children and youth, across the region have a place to perform that is of excellent quality; • increase the community of performing artists by providing learning experiences in an outstanding venue; and • connect people of all ages and cultures through the experience of live performances.
It is unlikely that any proponent other than Council is able to fund a significant amount of any new construction. Council needs to make the decision whether to commit to the construction of a new performing arts centre or not and, if proceeding, to include the cost of the project in all future Council budgeting as well as financial, strategic and asset planning.
The location of a new indoor Performing Arts Centre should be in the Coffs Harbour CBD. Council’s documentation clearly outlines the provision of major cultural infrastructure in the CBD and most recently through the City Centre Masterplan adopted in 2013. This decision is based on sound fundamental planning principles. Industry best practice also recommends the location of any new major performing arts space to be in CBD locations with easy access to complementary facilities including restaurants, café, retail outlets and other entertainment activity. Further, both government and architectural planning documentation advocates for cultural infrastructure to be located in active, central locations. Benchmarking against other regional theatres confirms the most usual location for a Performing Arts Centre is in the central business district or within walking distance of the central area.
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There are a number of short-term actions and options that are recommended for consideration to increase the performing arts activity in Coffs Harbour LGA that include: · Undertake a feasibility for the performing arts centre that will include a review of the most suitable location in Coffs Harbour CBD, the subsequent cost planning of the chosen site and development of the operating model including financial operating costs. · Undertaking a business/strategic plan update of the Jetty Memorial Theatre, review the proposed rehearsal space extension plans and consider funding construction or matched funding allocation for grant opportunities. · The development of a Coffs Harbour Venues Guide to assist potential hirers. · Improve infrastructure, in particular stage size and storage where feasible on existing or new Council multipurpose facilities or venues such as the proposed Woolgoolga Indoor Sports Facility or Sportz Central. · Where possible and feasible Council should use its available mechanisms to assist land owners or building proponents who have performing arts facility development plans in order to increase the number of performance and rehearsal spaces in the region. · Council to take a more active role in the attraction of major Arts events particularly in the performing arts to further develop the cultural profile of the region. · Review the opportunities for Coffs Harbour City Council to facilitate pop up venues in order to assess the demand for future facilities and develop the cultural profile for the city.
The provision of outdoor performing arts spaces in the Coffs Harbour area is good and limited changes to infrastructure are required. Individual promoters of major events and performances have different requirements and therefore choose the location depending on the particular needs in that circumstance. Sometimes the requirements change depending on the artists performing. In addition, major music festival promoters generally travel with their own sound, lighting, staging and audio-visual equipment and can consequently set up their equipment in a range of locations. However small improvements including easy access to services (power, water, sewerage etc.) will assist to ensure that large performing arts events continue to be attracted to the city.
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Key Interim Findings
There have been multiple explorations into the performing arts infrastructure in the Coffs Harbour Local Government Area (LGA) over a number of years. Several locations and types of venue have been explored to increase the performing arts infrastructure. Feedback obtained through the Creative Coffs - Cultural Strategic Plan 2017-2022 consultations and other community engagement has highlighted a wide range of needs and ideals in relation to performing arts spaces. There is very strong demand for additional performing arts spaces but there is not a widely agreed set of characteristics in relation to the purpose, type and facility location, along with technical components and the level of specification required for both indoor and outdoor performing arts infrastructure.
The consultant team are aware that there is negative community sentiment around the perception that Council has not acted on building a Performing Arts Centre for a significant period of time. This feedback has been expressed for various reasons including the perceived outcomes associated with the demolition of the former Civic Centre. Additionally, there is considerable stakeholder fatigue from the numerous times the direct stakeholders have been consulted and whilst many are hopeful that “maybe it (building a venue) will happen this time” there is still a strong sense of disbelief that Council will act. For these reasons, there is a need for Council to either move forward with the project in a clear and ordered way linked to long-term financial planning or to make the decision not to proceed with the project.
This report will address current concerns in relation to the lack of adequate performance spaces in the LGA and the options and requirements Council would need to consider in any future infrastructure provision. It will also outline a number of economic considerations for planning and operating performing arts facilities. A number of clear themes have developed from the interim analysis in exploring issues and options for performing arts in the Coffs Harbour region. These preliminary findings have been summarised below:
Issues - indoor performance spaces Research for this paper and discussions with stakeholders have identified that there is a lack of a facility that has the technical capacity to cater for larger groups of performers who require a greater stage size than is currently available. However, the immediate urgency to construct a new Performing Arts Centre of above 600 seats requires further analysis including a greater understanding of the operational costs to Council. Any decision made should anticipate a timeline of at least six years from initial planning to opening.
The inability for dance schools, the Coffs Harbour Eisteddfod and commercial promoters and producers to find suitable venues on a regular basis indicates this demand which is confirmed by the venue analysis. There is also a gap in the delivery of cultural product due to the inability of some producers to find a suitable venue in the Coffs Harbour region.
The results of sector engagement coupled with sector analysis and industry feedback also found that Coffs Harbour would not be able to attract enough product (shows/artists/bands/performances) to make a venue over 1,000-seats economically sustainable. It would also not be suitable for a significant amount of the likely hirers due to its size. In addition, current population analysis and demographics indicate that a larger venue over 1,000 seats may not be fully utilised due to factors such as the low socio-economic demographics of the area and the rate of unemployment (particularly youth unemployment).
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Long term options for indoor performance spaces
A performing arts centre with a theatre with seating for approximately 600 to 1,000 with appropriate rehearsal and back of house facilities would be the suggested model for Coffs Harbour City Council to undertake a feasibility on. The feasibility study would include analysis on areas such as: o Seating capacity; o Flat floor (retractable seating) or fixed seating; o Tiering (One or two levels); o Operational expenses; o Definition of the performance space and associated spaces; o Complementary commercial activities; o Ongoing operational costs; o Potential funding models; o Location within the City Centre Masterplan area.
The design and construction timeframe for a venue of this size and capacity would be approximately 6 years based on the following activities: • Feasibility Study/Business Case Development (6 months); • Functional Brief Development (3 months); • Expression of Interest process (6 months); • Design (9 months); • Development Application submission (12 months); • Detailed Design (6 months); • Procurement of builder – Design & Construct Contract or full documentation (6 – 9 months); • Construction (24 months).
These timeframes are approximate and may vary on the community consultation required and the level of design required for each stage. Community consultation will be a critical component that would occur at all stages of the project. The time required to establish funding approvals may also be in addition to this timeline.
It is expected that the cost of a performing arts centre would be between $50m – $60m (2019), with escalation costs and contingency, depending on the final scope. The location of parking within the theatre complex (underground) would be approximately another $5-10 million plus escalation allowance. Operational costs for performing arts centre in a regional location are estimated at between $850,000 to $2,000,000 per year based on analysis of existing venues.
The capital cost of building a performing arts centre is unlikely to be funded by anyone else other than Coffs Harbour City Council. It is very unlikely that any private equity would be injected into the project as indications from other regional theatres shows that returns are not achievable. There may be opportunities to receive Federal or State grant monies however these are only received through a competitive funding process. In the past couple of years, there has been increased NSW State Government investment in cultural infrastructure funding however it has been significantly over-subscribed due to high demand and a significant backlog of needs outstanding over many years of limited funding. Comparatively, funding programs available for sporting infrastructure has remained constant over this time.
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There are very few if any relevant examples of public private partnerships that have built cultural or performing arts infrastructure. This option is not likely to be a viable pathway, particularly when commercial organisations are seeking a return on their investment and performing arts centres operate at a cost. There may be the opportunity for other organisations to manage the facility once constructed however they would require an annual subsidy.
Any new theatre space is unlikely to be detrimental to the Jetty Memorial Theatre (JMT) as the majority of users (excluding dance schools) have indicated that they would remain in some form at the JMT given their audience size and production methodology. The intrinsic differences in the current JMT and any likely proposed venue such as stage size, seating capacity, technical/production capacity would indicate that it would be advisable to maintain both venues as public cultural infrastructure assets and provide scalable options for potential hirers. This would mean that an operational subsidy is required for both venues; however, a shared management model may be considered to enable efficient operations. For this reason, a detailed business plan for both venues would need to be developed.
Location of indoor performing arts space Council’s planning and policy decisions in particular the Local Growth Management Strategy Coffs Harbour to 2040 and beyond and Coffs Harbour City Centre Masterplan 2031 clearly indicate that a long-term new facility should be located in Coffs Harbour City Centre. Both documents articulate the benefits of this action and this study has confirmed that this course of action is entirely appropriate. This also aligns with current performing arts infrastructure design best practise frameworks which outline the importance of: 1. Pursuing the development of community precincts/hubs and co-located services; 2. Planning and developing facilities that address current community needs as well as future aspirations; 3. Implementing best practice in urban and environmental design; 4. Ensuring equity and access for the community; 5. Effective and efficient facility management; and 6. Maintaining financial sustainability for Council.
Recommended actions include: • Undertake a feasibility study for an indoor performing arts centre as previously stated; • Ensure the project is part of all forward planning including financial, strategic and asset management plans; and • Secure an appropriate site within the city CBD masterplan area after completion of the feasibility study.
Short to medium term actions for indoor performance spaces There are a number of short- and medium-term actions that can be taken to increase the viability of a new performing arts centre as well as to increase the potential audience to Arts activity in the region. The provision of performing arts activity by Council other than the activities at the Jetty Memorial Theatre is minimal based on the activities outlined in the Coffs Harbour Event Strategy 2020. However, in the last 3 years an outreach program has commenced in line with Creative Coffs – Cultural Strategic Plan 2017-2022 to extend the JMT program. Performances have taken place in outlying community halls including opera at D- Block Theatre at the Coffs Harbour Education Campus and events at Sportz Central.
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In order to improve the development and therefore supply of Performing Arts activity in Coffs Harbour, Council should investigate and resource temporary or pop up arts and cultural events that they can coordinate or support such as: • Spiegeltent activities; • Globe Theatre/ Shakespearian performances; • Fringe Festival; • Music Festivals - Blues/Country/Classical/Jazz/Classic Rock.
Whilst the Coffs Harbour CBD is the preferred location of these temporary events and activities, the temporary location is not as important as the frequency in order to build the Coffs Harbour area’s cultural profile.
Recommended actions include: • Undertake a feasibility for the performing arts centre that will include a review of the most suitable location in Coffs Harbour CBD, the subsequent cost planning of the chosen site and development of the operating model including financial operating costs. • Undertaking a business/strategic plan update of the Jetty Memorial Theatre, review the proposed rehearsal space extension plans and consider funding construction or matched funding allocation for grant opportunities. • The development of a Coffs Harbour Venues Guide to assist potential hirers that includes contacts, functionality, pricing, capacity, technical capacity, equipment available etc. • Improve infrastructure, in particular stage size and storage where feasible on existing or new Council multipurpose facilities or venues such as the proposed Woolgoolga Indoor Sports Facility or Sportz Central. • Where possible and feasible Council should use its available mechanisms to assist land owners or building proponents who have performing arts facility development plans in order to increase the number of performance and rehearsal spaces in the region. • Council to take a more active role in the attraction of major Arts events particularly in the performing arts to further develop the cultural profile of the region. • Review the opportunities for Coffs Harbour City Council to facilitate pop up venues in order to assess the demand for future facilities and develop the cultural profile for the city.
Issues - Outdoor Performing Arts Spaces There are a number of diverse and significant spaces that can be effectively utilised for outdoor performances across the Coffs Harbour region. No single site is recommended as each site has its own uniqueness and set of offerings. This is particularly important for commercial festivals and events as every promoter has a different set of requirements and brings a different amount of technical infrastructure. For larger promoters that travel over multiple locations throughout NSW and Australia they will travel with a significant amount of their own technical infrastructure including stages, lighting, sound and audio-visual equipment. Generally, they look for sites that do not have this infrastructure.
The preferred locations for promoters for the delivery of outdoor events are: • Park Beach Reserve; • Jetty Foreshore; and • Botanic Gardens.
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Options The three preferred sites could benefit from improvements; however, this may not need to be in the form of permanent infrastructure. Promoters in particular are not in favour of large permanent structures such as amphitheatres. Proposed improvements would be based around the provision of services such as direct sewer outlets and energy including providing three phase power at suitable locations across the site.
Other potential improvements include Council adding to fixed infrastructure to make it easier for events to occur including fencing, connectivity (bridges, transport) and temporary facilities. Ancillary amenities such as a reception room, including food and beverage upgrades or Café at the Botanic Gardens may increase the variety and type of large events that may utilise the space, for example, weddings or conferences.
It is also proposed that further analysis of the financial and social/cultural impact of major entertainment and music events be undertaken to understand the full impact on the region. It is recommended that Council: • Undertake an evaluation process to gauge the impact of cultural events on Coffs Harbour and the broader region. This may take the form of data collection via a survey method, either during or post events. Events targeted may include commercial and community events and the information gathered aims to gain a clearer understanding of the economic and social impact of cultural events. An opportunity may present at the February 15 2020 Castaway Beach.
In a similar way, community-based events and activities are able to utilise a range of existing sites depending on their requirements. There may be some small infrastructure improvements that assist the efficiency of the delivery of events. Further analysis of the potential for an amphitheatre space will be undertaken prior to the completion of the final report.
Image 1. Spiegeltent
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Current Project Status Hawkridge Entertainment Services has undertaken a range of activities in relation to the delivery of the Issues and Options Paper for Performing Art Spaces (Indoor and Outdoor). A brief outline of activities undertaken including the current status is outlined below:
Review of documentation The review of relevant documentation has occurred and is completed.
Venue analysis and benchmarking Hawkridge Entertainment Services have reviewed a number of venues across Coffs Harbour Local Government Area and spoken to the Managers/Coordinators of those spaces. Indoor venues reviewed include: • Coffs Harbour Regional Conservatorium; • Jetty Memorial Theatre; • Cavanbah Centre; • Life House Church; • Sawtell RSL – Princess Room; • Showgrounds Exhibition Hall; • Showgrounds Norm Jordan Pavilion; • Sportz Central; • Coffs Harbour Education Campus (Lecture Theatre D); • C.ex; and • Branson Centre (Bishop Druitt College).
Indoor venues still to be reviewed are as follows: • Aanuka Beach Resort; • Opal Cove Resort; • Pacific Bay Resort; • Coffs Harbour Racing Club.
Outdoor venues that have been reviewed are as follows: • Botanic Gardens; • Jetty Foreshores; • Park Beach Reserve; • City Hill; • Brelsford Park; • Coffs Harbour Education Campus (CHEC); • South Coffs Island (Quarry); • C.ex International Stadium; • Showgrounds.
Outdoor venues still to be reviewed are as follows: • Coffs Harbour Racing Club; • Yarrawarra Aboriginal Cultural Centre.
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Additional review of amphitheatres and the use of outdoor spaces for community events will occur. Discussions have also occurred with a number of other regional performing arts venues however further information is still required and more analysis of the information collected needs to be undertaken including: • Ascertaining the components of the operational costs to ensure comparison is fair; • Completing outstanding discussions with regional performing arts venues.
Demand – Drivers for usage Interim analysis of demographic, sociographic and economic trends has occurred however further analysis particularly of economic drivers is required prior to the delivery of the final draft report.
Stakeholder and Community Engagement The first round of engagement which commenced in September 2019, has targeted a range of sector stakeholders, with discussions occurring with approximately 30 organisations and individuals who hire venues across the Coffs Harbour region for performing arts activities.
These include representatives from: • Schools and education institutions; • Community theatre groups; • Community music performance groups; • Eisteddfod groups; • Dance schools; • Local and national Promoters; • National Producers.
There will be opportunities between December 2019 and March 2020 for community members to provide feedback on community and cultural facilities, including their views on performing arts spaces in an online survey available via the Have Your Say platform.
Further consultation and information sessions are planned for February and will be an opportunity to test the preliminary findings and receive feedback on the recommendations.
Performing Arts Centre next steps The Issues and Options Paper for Performing Arts Spaces (Indoor and Outdoor) is a discussion paper providing a status update to this project. This report forms part of the information gathering process to provide a clear analysis for comment and discussion. It serves an important purpose understanding that within the community there are many views, ideals and detailed history in relation to performing arts infrastructure. These preliminary findings will be considered through a community engagement process in February and March 2020. Following this testing of the findings, final recommendations will be established and presented in a final report to Council.
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Setting the Context Why invest in a Performing Arts Centre A performance arts space can be the anchor facility for expanding the educational, cultural and economic growth of Coffs Harbour as a Regional City and become a destination that will draw a range of visitors to the region. The performance space in the Coffs Harbour region can enhance residents ‘quality of life by providing new entertainment options as well as fostering new and existing community arts groups.
A performance space in the Coffs Harbour region has the potential to: • Enhance the quality of life for the residents and help to make it a great place to live; • Provide exceptional experiences for children; • Enhance economic development and provide new opportunities for local businesses while attracting employees to the area; • Attract more visitors by providing more entertainment opportunities; • Ensure that performing arts companies across the region have a place to perform; • Build a community of performing artists by providing learning experiences in an outstanding venue; • Connect people of all ages and cultures through the experience of live performances.
What is a Performing Arts Centre? A performing arts centre can be defined as a centre with multiple types of performance spaces engaged in the presentation and rehearsal of performing arts activity including but not limited to theatre, drama, music, opera, musical theatre, physical theatre and circus. The best-known example is the Sydney Opera House which contains a Concert Hall, Drama Theatre, Playhouse Theatre, Studio Theatre, Small Recital Space and rehearsal and recording studios and has a number of resident companies including the Sydney Symphony and Australian Opera.
A performing arts centre can also have supporting facilities (Rehearsal, Production, Retail, etc.); and complementary facilities (Gallery, Studios, Cafe, etc.).
A performing arts centre is comprised of one or more performance venues with supporting facilities such as rehearsal spaces that reflect: 1. A vision for a city; 2. The needs of local user groups; and/or 3. The needs of the local audience; and 4. An appreciation for the role of the arts in society.
Performing arts centres create a "critical mass" of performance venues with the combination of two or more venues plus supporting facilities under one roof. While the capital cost is higher than it is when building one venue, the benefits are numerous: 1. Allows for a broad range of programming; 2. Provides user groups (clients) and audiences (customers) with choice; 3. Satisfies community and audience demands; 4. Allows a combination of incubator and presenting venues; 5. Creates synergy between local and visiting artists; 6. Improves revenue generating capacity; 7. Provides economy of scale (multiple venues, one set of resources); 8. Mitigates operating risks; and 9. Offers exponential increases in economic impact.
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Examples: Sydney Opera House, The Concourse, Joan Sutherland Performing Arts Centre, Riverside Theatres Parramatta.
It should be noted however that there are no definitive prerequisites or conditions required to take on the name “Performing Arts Centre”. It is common for terms such as performing arts centre, theatre, entertainment centre or even a completely individualised name such as The Glasshouse in Port Macquarie to be used in the same context. The most relevant feature of all of these venues is that they all have a performance space and in the case of regional NSW venues, it is usually a theatre with a seating capacity of between 400 and 1,000.
The following table outlines the main performing arts venues in regional NSW with their seating capacity and management type.
Table 1. Performing Arts venues in regional NSW Venue Seating Capacity Management Orange Civic Theatre 502 Internal Council Bathurst Memorial 642 Council owned company Entertainment Centre Dubbo Regional Theatre and 500 Internal Council Convention Centre Albury Entertainment Centre 818 Internal Council Cessnock Performing Arts Centre 466 Internal Council Capitol Theatre 402 Internal Council Wagga Wagga Civic Theatre 491 Internal Council Jetty Memorial Theatre 252 Internal Council Blue Mountains Theatre and 418 Internal Council Community Hub The Glasshouse 590 Internal Council Manning Entertainment Centre 495 Internal Council Shoalhaven Entertainment 902 Internal Council Centre Civic Theatre Newcastle 1,450 Internal Council The Crossing Theatre Narrabri 1,000 Internal Council Griffith Regional Theatre 528 Internal Council Illawarra Performing Arts Centre 515 External Management Lismore City Hall 507 External Management Tweed Heads Civic and Cultural 500 Internal Council Centre Byron Theatre 246 Community Saraton Theatre and Cinema 950 Privately Owned Grafton
Performing Arts Venues Performing arts venues are distinguished and defined by their vision, mission, management, programming, type, stage and seating capacity.
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Vision Generally, refers to the purpose within which an organization is entrusted to perform a service.
Mission Mission usually describes the purpose in more specific terms, for example presenting the arts to an audience; hiring facilities to user groups; producing performing arts; or some combination of these three in an order of priority. While the primary purpose of the not-for-profit performing arts is public and community service, these activities may also be described in business terms.
Depending upon the size of the facility and the market which it serves, three programming arrangements are listed in order of their possible risks and potential returns: • Hiring or Renting - the management licenses or "rents" the use of its facility to individual users for a fixed fee or guaranteed minimum plus a percentage of box office receipts. Management assumes no responsibility for the choice of the event or its promotion. • Presenting - the management buys a show for a fixed fee or cost-profit sharing agreement and promotes it to its audience with the aim of recovering costs and/or achieving a net surplus in ticket sales. • Producing - the management creates and finances a show and promotes it with the aim of recovering costs through box office, sponsorships, subsidy and/or future licensing agreements.
Management Venues are usually owned by governments or government agencies. They are managed internally by Council, as not-for-profit corporations, managed by external venue management companies or by resident theatre companies. In general, venues owned by Council are managed by Council and there are only a few examples where this does not occur.
Programming Music, dance, theatre and opera have subsets such as: popular versus classical music (or amplified music versus unamplified music); modern dance versus ballet; straight plays versus musical theatre; and operetta versus grand opera. Each programming subset has different physical, acoustical, visual and technical requirements of a performing arts venue.
Theatre Types Concert hall, recital hall, dance theatre, drama theatre, playhouse, black box, studio, lyric theatre and opera house are all terms that imply a set of facility characteristics suited to a particular performing art. Cinemas have a different set of characteristics from performing arts theatres.
Stage Types Proscenium, thrust and arena stages (definitions) refer to types of stages and seating arrangements applicable to venues primarily designed for dance, theatre and opera. The most common form of theatre is a proscenium arch theatre. A true concert hall has an end stage configuration with no division between the house and the audience.
Seating Capacity In a theatre development process, the choice of seating capacity and type of facility should be made on the basis of user group demand, potential audience size (or market share), the types of performances contemplated and a cost/benefit analysis.
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Image 2. Performing Arts Centre
Studio
Concert Hall
Theatre
Further definition of Theatre types Concert Hall A Concert Hall is generally designed for classical orchestral, small ensembles and choral music, as well as jazz, pop and rock music on occasions. It is used in an acoustic setting on most instances without the use of amplification.
Examples: Sydney Opera House Concert Hall, The Concourse Concert Hall (Chatswood) and the Richard Bonynge Concert Hall (Penrith).
Image 3. The Concourse, Chatswood - Concert Hall
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Recital Hall/room A Recital Hall is similar to the Concert Hall above but smaller in scale. Medium and small-scale classical orchestral and choral music, jazz and pop/rock music also with readings such as poetry. Generally, performances are a single night or day.
Example: City Recital Hall – Angel Place (Sydney)
Commercial Lyric theatre A commercial lyric theatre presents large scale drama and musical theatre productions usually initiated by the management or a promoting organisation (producer) with long runs (performances) over several months. Such theatres usually present new plays and musicals and originate the new productions. They generally have seating capacities above 1,200 to provide enough seats to generate revenues to pay for the productions which are expensive to mount (create) and deliver often to the large numbers in the cast (performers).
Examples: The State Theatre (Sydney), The Capitol Theatre (Sydney) and the Lyric Theatre (Sydney).
Image 4. Capitol Theatre, Sydney
Medium scale Theatre Most medium scale theatres are proscenium theatres, where the stage is located at one end of the auditorium and is physically separated from the audience space by a proscenium wall. This is sometimes called a “two-box” arrangement—the auditorium and stage occupy two separate “boxes” or rooms. The stage box provides fly space and wings and permits a wide variety of scenic and lighting effects. The auditorium box is the audience chamber, which can take many forms.
These theatres are generally built on either one or two levels with the second level being a balcony space which overhangs the lower level. The design and configuration mean that the theatre can easily and effectively present a range of performances including dance, music, theatre and musical theatre. Most regional venues have this type of theatre.
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Example: Most regional theatres, The Concourse Theatre - Chatswood, Riverside Theatre - Parramatta
Image 5. Theatre sectional
Small-scale theatre Small theatres often feature a unique or especially intimate actor/audience relationship. This may be defined by a fixed seating arrangement, or the relationship may be created by temporary seating set up in a found space or in a flexible, purpose-built space. Sometimes small theatres are also called black box theatres, studio or courtyard theatres to indicate the style of the room. This effectively means a simple space with four black walls and minimal technical infrastructure.
Examples: The Space at NIDA, The Studio at The Glasshouse
Image 6. Small (Black Box) Theatre
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Arena/Entertainment Centre Facilities for the presentation of very large-scale contemporary music concerts and other spectacles covering sport, music, events and conferences, hired by commercial organizations who initiate and promote groups and companies as one-off events or part of a tour. Generally, these venues have a seating capacity/capacity above 4,000. Examples: Qudos Bank Arena (Sydney) and the Horden Pavilion (Sydney).
Image 7. The Horden Pavilion in Concert mode and Banquet mode
Contemporary Music Venues Contemporary music venues are generally large rooms that have often previously served a function as a tiered auditorium theatre or a cinema. Most have been converted in some way to allow for standing room or a dancing area/mosh pit as this is the preferred way for some patrons to experience the performance. Generally, they have a combination of both seating and standing areas.
Examples: The Enmore Theatre (Sydney), the Metro Theatre (Sydney) and Max Watts (Sydney). Image 8. Enmore Theatre
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Cultural Infrastructure Benefits There are a range of benefits that the development of cultural infrastructure delivers and the core reasons for the development of cultural infrastructure are listed below.
· Cultural: to safeguard an aspect of cultural heritage; continuity of art forms, display of performing skills and sustaining national, local or ethnic traditions; to retain and improve an existing stock of facilities and established companies for the performing arts, or to provide new facilities to ensure cultural opportunities. · Economic: direct employment of staff and performers; benefits to secondary businesses such as poster and programme printing and material supply; a widening of the tourist and conference market which, in turn, brings money into the town or city; an attraction to encourage relocation, and location of organisations, institutions, industry and commerce in an area with subsequent employment benefits. · Educational: to cultivate an appreciation of the art forms through the exposure of audiences to examples; to form part of an educational programme for schoolchildren, students and those in adult education. · Prestige: re-enforcement of regional identity and providing facilities equal to or better than those of comparable communities. · Quality of life: performing arts as acceptable complementary activities to work and domestic obligations as a positive use of leisure time which enriches life culturally and also socially. · Cultural Democracy: to stimulate and foster participation in the performing arts by all sections of a community, defined locally, as a creative activity.
Key benefits from engaging with the performing arts Some of the key benefits from engaging with the performing arts are outlined below: 1. Critical Reflection - Participants gain valuable life skills by learning the importance of feedback, both positive and constructive. The arts also provide a place of solitude, where participants can immerse themselves without interference from their environment. This also provides a space for participants to engage in self-reflection – a vital skill for life. 2. Collaboration - Performing arts is a discipline that encourages teamwork, whether that is in writing, creating or during the act of performing. Participants have the opportunity to engage in creative collaboration, a skill they have limited chance to develop outside of a rehearsal space. 3. Creativity - Through creative expression participants learn to understand the world in a unique way, preparing them to navigate the challenges of life. There is also great cross-over between performing arts and other disciplines – the creative thinking and study techniques learned during rehearsal can be transferred to other areas. 4. Communication - Communication skills can be accelerated through performing arts, as participants learn to use verbal and non-verbal techniques in new ways to deliver their message. Some participants also find new levels of confidence through performing arts. 5. Health, ageing and well-being - The contribution of arts and culture to improving health and wellbeing has been extensively studied, with activities that include dedicated arts therapies, the use of art and design to produce better healthcare environments, community arts interventions to improve social inclusion and mental health, and the benefits of engagement for older people. Studies of health in the Nordic countries show an association between long-term arts engagement and positive health outcomes.
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6. The engaged citizen: civic agency & civic engagement - Participation in arts and culture may produce engaged citizens, promoting not only civic behaviours such as voting and volunteering, but also helping articulate alternatives to current assumptions and fuel a broader political imagination. All are fundamental to the effectiveness of democratic political and social systems. Arts and cultural engagement help minority groups to find a voice and express their identity. They can engage people in thinking about an issue in the context of reflection and debate.
Historical Summary - Coffs Harbour Performing Arts Spaces
There is an extensive history in relation to the history of the development of cultural facilities including performing arts spaces, outlined in Appendix 1. A summary of the timeline below outlines the history of Coffs Harbour City Council related and supported cultural facility development:
•Council purchases City Hill land. A convenant details intended uses of the land. •Concept design developed for Henry Kendall Arts Centre on City Hill including a library, gallery, museum, theatre/ auditorium, music centre and community arts centre as well as 1980's future options for civic administration, a hotel and a convention centre.
•Property swap between C.ex and Council enables Coffs Harbour Education Campus (CHEC) to be built. •Former Civic Centre is demolished. •Development Application (DA) approved for City Hill Arts Centre. Plans include galleries and artists 1990's studios. Bunker Gallery and Bridge Club developed however full plan did not progress.
•Strategic Plan adopted for the City Centre to become the commercial, cultural and civic heart of the Coffs Harbour LGA. •Concept plans incl. performing arts venue developed for Fitzroy Oval and Showground - unsuccessful. Early 2000's Grants obtained however facility unable to be commenced. •Major renovations of Jetty Memorial Theatre completed.
• Cultural Precinct Concept Plan for Brelsford Park (inc. performing arts venue ) released. • City Hill lower land gazetted as zoned for medium density residential development. Mid 2000's • Studies and reports continue for a performing arts space at Brelsford Park.
•Performance Space removed from Brelsford Park Masterplan. •Coffs Harbour City Centre Masterplan 2031 adopted including an Entertainment Centre within the City Centre. • CHEC Lecture Theatre D upgraded for enhanced performance uses. • Rehearsal space at the jetty Memorial Theatre progresses to DA stage. 2010's • Council resolves to progress a report for Stage 2A - Issues and Options for Performing Arts Spaces (Indoor and Outdoor).
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Methodology Purpose of this Discussion Paper Hawkridge Entertainment Services have been engaged by Coffs Harbour City Council to deliver an Issues and Options Paper for Performing Arts Spaces (Indoor and Outdoor). The brief includes reviewing and analysing outdoor and indoor performing arts, event and conference facilities, spaces and locations across the Coffs Harbour Local Government Area (LGA). It also includes identifying organisations or individuals who may be planning investment in performing arts infrastructure.
The Issues and Options Paper will provide information and recommendations for both outdoor and indoor performing arts spaces that will assist Council to: 1) Confirm community and stakeholder needs analysis data and research; 2) Benchmark examples of the size, purpose and costs of comparable indoor facilities; 3) Identify a range of options for potential sites that could be expanded or redeveloped, including high level construction and operational costs; 4) Identification of options for public/ private partnerships and other models of infrastructure delivery; 5) Benchmark examples of outdoor performing arts venues and options for infrastructure provision; 6) Recommendations of local sites in priority order of suitability for outdoor performing arts spaces and scoping of high-level infrastructure and operational costs.
This Issues and Options Paper is an interim report on the following: • The current progress of discussions with stakeholders; • An initial review of key documentation; • The results of the review of cultural spaces in the Coffs Harbour region; including options for discussion/consultation; • Preliminary benchmarking against other LGA’s performing arts infrastructure in regional NSW; • An introductory review of trends in the design of performing arts infrastructure; • Outline of the next steps in the project.
Services were delivered by: Tim Long, Managing Director and Nick Tobin, Associate Consultant Limitations At this stage of the project the paper is only outlining what has been learnt to this point and therefore still requires further research. This includes: • Not all stakeholders have been contacted and there has been no discussion with the broader community regarding their views. It is expected that this will occur upon the completion of the Discussion Paper. • Further engagement with venues in other Local Government Authorities will need to be completed. • Additional development of short and long-term options for existing and future facilities. • Further detailed analysis to the financial aspects of building and operating a performing arts space.
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Background Council decisions since 2010 initiating this research
10 June 2010 CS10/16 COFFS COAST CULTURE - COMMUNITY CONSULTATION REPORT RESOLVED: To adopt the Coffs Coast Culture Community Consultation Report and to pursue funding towards an Entertainment/ Performing Arts Centre for Coffs Harbour. For Council to prepare a report on possible sites and indicative construction costs for facilities seating 850 people.
14 Oct 2010 CS10/35 PERFORMING ARTS CENTRE Recommendation to remove Performing Arts Centre from Brelsford Park Master Plan following significant community representation. RESOLVED: Regarding sites and potential costs - to quarantine City Hill as a future site for a performance space and to include the art gallery in all future performance space plans.
10 Mar 2011 CB11/5 BCU INTERNATIONAL STADIUM AND COFFS COAST SPORT AND LEISURE PARK FUTURE UPGRADES RESOLVED: To immediately formulate concept plans for a Performing Arts Centre including a gallery.
14 April 2011 CS11/15 BRELSFORD PARK – REGIONAL SKATE PLAZA AND PERFORMING ARTS CENTRE RESOLVED: That Council passionately consider including $20,000,000 in the Long Term Financial Plan for a Performing Arts Centre, including developing a business plan. Following determination of location, Council review Brelsford Park Master Plan. The report also contains the statement: “Council has previously resolved to quarantine the City Hill as the future location of the performance space including a gallery. Feedback from the community, industry, Councillors and staff suggest this now may not be the most favourable location.”
27 Oct 2011 NOM11/20 LOAN FOR PROPOSED ENTERTAINMENT / PERFORMANCE CENTRE RESOLVED: that a detailed report be brought back to Council outlining pathways to obtaining a loan/grant fund for performing arts centre at an estimated cost of between $20 and $25 million, including operational costs to be outlined.
9 Feb 2012 CB12/3 ENTERTAINMENT / PERFORMANCE CENTRE PROPOSAL RESOLVED: The report on the costs of financing the construction and operation of an Entertainment / Performance Centre be noted and the information be used to inform future strategic planning and possible funding of an Entertainment / Performance Centre.
9 Aug 2012 CB12/69 REVIEW OF FUTURE MAJOR CIVIC INFRASTRUCTURE REQUIREMENTS AND COUNCIL’S COMMERCIAL PROPERTY HOLDINGS. RESOLVED: That Brelsford Park Precinct be retained as a significant social family, cultural and community recreation space, that council resolve not to quarantine the City Hill site for an Entertainment Centre and Art Gallery, that 23-31 Gordon Street be disposed of. The report also recommended disposing of the lower section of the City Hill site, although this was not adopted by Council.
22 Nov 2012 CS12/49 DRAFT COFFS HARBOUR CULTURAL POLICY & CULTURAL PLAN 2013-2016 RESOLVED: That Council accept the Draft Cultural Policy and Draft Cultural Plan for public display and public comment for a period of 28 days, with community feedback to inform Council’s consideration of the final document in early 2013. (Note: Adopted on 28 Feb 2013)
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28 Feb 2013 CB13/15 COFFS HARBOUR CITY CENTRE MASTER PLAN 2031 RESOLVED: To adopt the Coffs Harbour City Centre Master Plan including the following clarifications: that both the Lower City Hill site and the Gordon Street site remain as options for a future Entertainment Centre.
7 Mar 2013 RM13/1 COFFS HARBOUR CITY CENTRE MASTER PLAN 2031 – RESCISSION MOTION RESOLVED: A rescission motion for the Coffs Harbour City Centre Masterplan 2031 resolution was carried. The amended resolution that was carried removed reference to Lower City Hill and Gordon Street.
10 April 2014 CD14/6 ENTERTAINMENT/PERFORMING ARTS FACILITY – COMMUNITY ENGAGEMENT PLAN Report on engagement plan along with costs relating to the CB12/3 resolution on grant/loan funds and operational costs. RESOLVED: That Council undertakes a clear comprehensive community engagement process regarding the provision of an Entertainment Centre, Central Library and Regional Art Gallery, along with a draft engagement strategy be developed and reported to Council for adoption.
22 May 2014 CD14/10 DRAFT COMMUNITY ENGAGEMENT STRATEGY - CULTURAL FACILITIES RESOLVED: That Council endorses the Community Engagement Strategy for the Provision of Cultural Facilities being an Entertainment Centre, Central Library and Regional Art Gallery.
18 Dec 2014 CD14/21 RESULTS OF ENGAGEMENT REGARDING CULTURAL FACILITIES RESOLVED: That Council note the results of the survey regarding the support for the provision of cultural facilities at this time. Further action in relation to the provision of a new central library, a new regional gallery and a performance space be undertaken once Council’s financial sustainability strategy for the ongoing renewal and maintenance of infrastructure assets is finalised.
26 Nov 2015 SC15/49 CULTURAL STRATEGIC PLAN 2017-2022 AND PERFORMING ARTS CENTRE FEASIBILITY AND COST BENEFIT ASSESSMENT RESOLVED: That Council develop a Cultural Strategic Plan 2017-2022 along with a Feasibility and Cost Benefit Assessment of a Performing Arts Centre for Coffs Harbour which will include exploring options for public/private partnerships and assess existing venues for expansion or redevelopment opportunities. NOTE: A separate report was put to this meeting resolving to commence facility research and concept planning for an expanded Library and Regional Gallery.
8 Dec 2016 SC16/70 DRAFT CREATIVE COFFS - CULTURAL STRATEGIC PLAN 2017-2022 RESOLVED: Endorse the public exhibition of the Draft Cultural Policy and the Draft Creative Coffs – Cultural Strategic Plan 2017-2022 and subject to the final adoption of the Cultural Policy and Creative Coffs - Cultural Strategic Plan 2017-2022, considers a report on the Performance Arts Centre (performance and conference events) Feasibility and Cost Benefit Assessment (Stage 2).
23 Feb 2017 SC17/06 CREATIVE COFFS – CULTURAL STRATEGIC PLAN 2017-2022 AND CULTURAL POLICY – FINAL RESOLVED: Adopts the Cultural Policy and Creative Coffs - Cultural Strategic Plan 2017-2022 and notes Strategy 2.5 of the Creative Coffs for the commencement of the next stage of the cultural strategic planning process, being Stage 2a) Finalise issues and options analysis for future performance and/or conference venue(s) in Coffs Harbour that include a Performing Arts Space.
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11 May 2017 SC17/21 CULTURAL FACILITY DEVELOPMENT - LIBRARY AND GALLERY SCOPE AND PRECINCT ANALYSIS That Council: 1. Endorses the project to be named Cultural and Civic Space – For the Heart of the City. 2. Adopts the scope of the Cultural and Civic Space project to include a new central library, regional gallery, customer service area, Council Chambers and Council staff office accommodation. 3. Notes that the Regional Museum asset, and other Council assets, will be considered within the asset consolidation and business case planning exercise. 4. Adopts the Library/Gallery Precinct Analysis (Attachment 2) and updates the City Centre Masterplan accordingly. 5. Notes that $160,000 for project management and updates to both the Regional Gallery and Library Service Strategic Plans will be considered by Council for the final 2017-2021 Delivery Program and final 2017/18 Operational Plan. 6. That Council commit to allocate $75,000 in next year’s budget to undertake studies, concept designs, and preliminary budgets associated with the cultural development at City Hill.
Documentation Reviewed The following documentation has been reviewed by the consultancy team. Further analysis will occur in the final report.
Council Documentation • Community Engagement Survey 2014, Coffs Harbour City Council • Coffs Harbour Event Strategy 2020, Coffs Harbour City Council, June 2016 • Cultural Policy, Coffs Harbour City Council, February 2017 • Creative Coffs - Cultural Strategic Plan 2017-2022, Coffs Harbour City Council • MyCoffs Community Strategic Plan, Coffs Harbour City Council • Coffs Coast Tourism Strategic Plan 2020, Coffs Harbour City Council • Local Growth Management Strategy Coffs Harbour to 2040 and beyond, Coffs Harbour City Council • Brelsford Park Precinct Analysis and Master Plan (NB: internal document), Coffs Harbour City Council, July 2018 • Precinct Analysis - Gordon Street Library and Gallery, Coffs Harbour City Council, April 2018 • Jetty 4shores Concept Plan, Coffs Harbour City Council, October 2013 • Coffs Harbour Economic Strategy 2017-2022, Coffs Harbour City Council • Coffs Harbour Property Strategy 2018-2021, Coffs Harbour City Council • City Centre Masterplan 2031, Coffs Harbour City Council
Plans of Management • Botanic Gardens; • Jetty Foreshores Plan of Management 2008; • Park Beach Reserve Plan of Management 2009.
Community and Stakeholder surveys and reports • Neighbourhood Community Insights Report (PlaceScore), Coffs Harbour City Council, 2019 • Coffs Harbour City Council 2018 Community Wellbeing Survey, Jetty Research, August 2018 • Coffs Harbour City Council 2018 Customer Satisfaction Survey, Jetty Research August 2018 • A survey of Coffs Harbour LGA residents to measure support for new cultural facilities, Jetty Research, December 2014
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Previous consideration of location • Assessment of Current Venues and Proposed Venues – Prepared for Coffs Harbour City Council – Pegasus Venue Management, 1998 • Feasibility Study and Market Assessment – Prepared for Coffs Harbour City Council, Pegasus Venue Management, 1998 • E84 Final Report From Dr Lunn On Coffs Harbour City Hill – Concept And Research (1115), Coffs Harbour City Council Ordinary Meeting (Economic And Community Enterprises Committee), 24 June 1999. • Community and Stakeholder Consultation Outcomes Report – Coffs Harbour Jetty Foreshore Precinct, GHD, October 2018.
Other plans that this study works in conjunction with • City Hill Scoping Report, 2019 (in development) • Community & Cultural Facilities Plan, 2020 (in development) • Open Space Strategy (2010) • Coffs Harbour Sports Facility Plan, Coffs Harbour City Council, 2016 • Jetty Memorial Theatre 0506-19DA Additional Information – Amended Plans, March 2019 • Jetty Memorial Theatre Strategic and Business Plan 2013-2018
Broader Policy context • Cultural Infrastructure Strategy 2016, Infrastructure NSW, October 2016 • Cultural Infrastructure Plan 2025+, Create NSW (CIPMO), 2018 • Cultural Infrastructure in NSW, NSW Government Cultural Infrastructure Action Plan, 2018 • Guide for establishing and managing Night Time Economy uses, NSW Government, 2014 • Report on the Development of Arts and Cultural Infrastructure Outside the Sydney CBD, New South Wales. Legislative Assembly Standing Committee on Public Works, June 2010.
Regional Plans • Draft Urban Design Guide for Regional NSW: A guide for creating healthy built environments in regional NSW, Government Architect NSW, September 2018. • North Coast Regional Plan 2036, NSW Government, March 2017 • Culture, Value and Place 2018: A report for NSW Department of Planning and Environment, The Business of Cities, 2018 • Regional Economic Development Strategy (REDS), State of New South Wales (Department of Premier and Cabinet), 2018
Federal • Australian Infrastructure Audit 2019: The Australian Infrastructure Audit 2019, Infrastructure Australia, June 2019 • Australia Council for the Arts Electorate Profiles – Cowper, accessed from https://www.australiacouncil.gov.au/research/electorate-profiles/cowper/#!Cowper, September 2019. • Australia Council for the Arts Electorate Profiles – Cowper, accessed from https://www.australiacouncil.gov.au/research/electorate-profiles/page/#!Page, September 2019.
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Other • The case for a Local Government Community Infrastructure Program: Boosting productivity and creating jobs in every Australian community, Australian Local Government Association, 2015 • The Big Picture: public expenditure on artistic, cultural and creative activity in Australia Produced by A New Approach (ANA) think tank with lead delivery partner the Australian Academy of the Humanities. • The Show Must Go On – Supporting the growth of live performance infrastructure in NSW, prepared by Sean Maken for the Sydney Business Chamber Western Sydney • Preliminary Feasibility Study for a Convention Centre in Coffs Harbour, AEC Group, January 2006 • Final Report: Literature Review into the Benefits of Investment in Human and Cultural Infrastructure and Services, Local Government NSW - Epic Dot Gov Pty Ltd, January 2016 • Report on The Development of Arts and Cultural Infrastructure Outside the Sydney CBD, NSW Parliament Standing Committee on Public Works, June 2010 • Regional Development Stats and Stories: The Impact of The Arts in Regional Australia, Ruth Rentschler, Kerrie Bridson and Jody Evans for Regional Arts Australia, February 2015. • NSW Creative Industry: Economic Fundamentals, Department of State and Regional Development, June 2008. • The economic value of Arts, Screen and Culture to NSW: A report for Create NSW, KPMG, July 2018. • 2017 Economic Activity Report, Performing Arts Connections Australia, Culture Counts and pracsys., June 2018 • 2017 Venue Charges and Salaries Report, Performing Arts Connections Australia, Culture Counts and pracsys., June 2018 • All Culture is local: Good practice in Regional cultural Mapping and Planning from Local Government CAMRA, 2013 • Communities and Culture report, LGNSW Research into Arts, Culture and Heritage, July 2017 • Preliminary Study of a Convention Centre in Coffs Harbour, AEC group, January 2006 • Oh You Beautiful Stage, Victorian Association of Performing Arts Centres (VAPAC), 2012
Image 9. Jetty Memorial Theatre
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Design and infrastructure trends - Performing Arts facilities In the past 15 years there has been significant development by Councils on their cultural infrastructure plans, policies and frameworks. This has partly been driven by the abundance of aging infrastructure, the desire for upgrades and new facilities as well as the underlying perception that within Councils, funding for sporting infrastructure is more readily available than cultural infrastructure.
Australian design and infrastructure trends have taken their lead from international trends which have shifted from a monument approach where the stature and grandiose nature of the building was at the forefront to buildings that bring the inside to the outside and endeavour to engage with the community. This replicates the transference of management practices from closed, inaccessible venues to open, interactive community buildings.
Further, the competitive landscape for performing arts centres has increased substantially with greater entertainment options available to consumers direct from their living rooms. In addition, the “eventisation” of entertainment has meant that simple performances are relatively rare, and consumers now expect a special performance each time including the lighting, sound and audio-visual aspects to be of high quality. This has also put pressure on traditional performing arts centre revenues and required venues to offer a broader range of performances as well as increase the potential revenue sources. Indoor Venues Performing Arts Centres in Australia and particularly in regional centres perform a number of key roles in the delivery of venue-based services including: • Civic responsibility – as a central location for the large community gatherings a place for community celebrations and civic events of scale – the traditional town hall. • Cultural delivery – the presentation of local, national and international artistic expression that provides an opportunity for a diverse range of activities that reflect and challenge the community. • Community performance role – the performance space for large community groups when appropriate. • Economic – building the skills and opportunities for local artists, creating opportunities to develop cultural tourism and driving revenue to offset costs.
These roles are often successfully delivered by one facility though traditionally it has been common practice to divide the visual and performing arts into distinct venues and only sometimes in the same complex. In the past 15 to 20 years however, cultural infrastructure development has seen a worldwide transformation towards cultural “precincts”, “districts” and/or “clustering”. The terms are relatively interchangeable and are defined by Stern and Seifort1 as geographic concentrations of creative sector producers and consumers.
A range of international research has shown that precincts can provide a positive effect on cultural production and artists through the greater ability to interact, learn, compete, and discuss their ideas with other likeminded organisations and individuals. In addition, there is also evidence that links concentrations of cultural activities and participants with positive overflow effects on the immediate community. Further there are also immediate and long-term economic advantages if the precincts are
1 Cultural Clusters: The Implications of Cultural Assets Agglomeration for Neighborhood Revitalization, Journal of Planning Education and Research 2010 29: 262, Mark J. Stern and Susan C. Seifert.
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located in active and vibrant areas where there is a constant stream of passing foot traffic and complementary activity such as retail and commercial businesses.
Precincts can cultivate activities on multiple levels: • primary cultural facilities and producers (e.g., museums, theatres, studios); • secondary producers (e.g., arts and crafts workshops, music and movie studios); and • complementary producers (e.g., gift shops, restaurants, hotels).
Specifically, research by Jane Chu2 outlines that performing arts centres play a role in revitalizing central business districts. They are positively related to the median household income level. The research also showed that a single characteristic is not solely responsible for the revitalization; rather, the increased energy results from a confluence of the characteristics. The entrance of a PAC confirms the presence of vitality, before it proceeds to activate vitality further.
There is also a clear distinction between cultural facilities that service their local communities and the facilities that specifically target tourism as a priority strategy. Significant current trends for cultural infrastructure include: • The development of ‘city precincts’ as distinct areas that incorporate a collection of cultural, civic, lifestyle and recreational activities, creating a distinct identity or brand – Civic Cultural Precinct, Newcastle. • The establishment of large cultural facilities by entrepreneurs and philanthropists – MONA and Tarrawarra Museum of Art. • The development of cultural precincts which combine public and commercial activity with the latter providing commercial lease income with retail and F&B supporting the cultural activities. This can include multiple owners and operators within one precinct – The Concourse Chatswood, Collingwood Arts Precinct and Gold Coast Cultural Precinct. • The use of government owned redundant spaces for community and cultural uses to create more liveable cities and regions such as the Powerhouse in Brisbane & Carriageworks in Sydney.
In a perfect situation, where capital funding is not a consideration the choice would be made to develop individual venues that are designed specifically for a singular purpose. Examples include a fixed seat theatre and a flat floor convention/conference facility. The key challenge for performing arts centres in regional areas is the fact that a fixed seating theatre may not provide enough utilisation of the venue to be financially sustainable. Outdoor Venues Music festivals and outdoor performances in Australia are an intrinsic component of the overall industry and are popular with audiences across a range of demographics. These festivals and performances occur in parklands, gardens and wineries across Australia with a wide range of infrastructure elements being either provided by the venue or completely supplied by the presenter/promoter.
Large outdoor events and festivals increase the complexity of event delivery as well as the infrastructure footprint that is required. It is critical to understand the infrastructure requirements and provide the most cost-effective balance between providing a blank canvas and supplying a fully functioning event space with the subsequent benefits and risks.
In the past 15 years there has been significant development of festivals and performances at wineries throughout Australia including the Hunter Valley. This use is commercial.
2 Performing Arts Centres: Does Uptown culture stimulate Downtown vitality, Jane Chu, December 2012
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Demand - Drivers for usage Demographics The Coffs Harbour City Council Estimated Resident Population in 2018 was 76,551.
Coffs Harbour has a relatively low level of cultural diversity in comparison to broader NSW with a significant level of the population being from an Anglo-Saxon background notwithstanding the area: • Has a significant population with Indian subcontinent ancestry in Woolgoolga. • Is a humanitarian resettlement zone. • Has a higher than state average Aboriginal population.
Figure 1. Coffs Harbour ancestry
Additionally, the following chart shows the highest increase in residents in the period from 2011 to 2016 was from Anglo-Saxon backgrounds. Figure 2. Coffs Harbour Change in ancestry 2011 to 2016
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The size of Coffs Harbour City's labour force in 2016 was 31,962, of which 12,776 were employed part- time and 16,312 were full time workers. The figures generally showed a similar percentage when compared to other LGA’s in Regional NSW however there was a higher proportion unemployed. Overall, 92.7% of the labour force was employed, and 7.3% unemployed, compared with 93.4% and 6.6% respectively for Regional NSW. Since 2016 however, the unemployment rate has risen significantly to where it was sitting in March of this year just below 8% as can be shown in the following chart.
Figure 3. Coffs Harbour Rate of Unemployment
In 2018, of the total 95,430 employed people on the Mid North Coast there were 30,645 employed persons in Coffs Harbour (32.11 %) which were scattered across a range of industries. The highest being Health Care and Social Assistance, Retail Trade and Accommodation & Food Services.
Figure 4. Coffs Harbour Employment by Industry 2018
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Of the total $7.247 billion paid in wages & salaries in Mid North Coast: • $268.115 million wages & salaries is paid in Bellingen (3.70 %) • $2.313 billion wages & salaries is paid in Coffs Harbour (31.92 %) • $733.051 million wages & salaries is paid in Kempsey (10.12 %) • $2.055 billion wages & salaries is paid in Mid-Coast (28.36 %) • $454.006 million wages & salaries is paid in Nambucca (6.27 %) • $2.290 billion wages & salaries is paid in Port Macquarie - Hastings (31.60 %)
The graph below outlines the rate of business registrations in Coffs Harbour for the five-year period between Q1 2014 and Q1 2019. There is a general upwards trend however Q1 2019 saw a sharp fall in new registrations.
Figure 5. Coffs Harbour Business registrations
Economics of Performing Arts Management Building any type of infrastructure where the utilisation of that infrastructure is not clearly established carries great risk. This means that there should be a strong and proven catalyst for the requirement to build a venue such as no existing venues or the unsuitability of existing infrastructure. In a performing arts context, the drivers are usually existing groups unable to perform or severely restricted in their performance activity. Issues to consider include: • Performing Arts Centres are examples of social infrastructure and therefore cost significant amounts to operate every year. • There is a cost to hire venues and some community groups are unable to meet that cost. • One venue cannot be and will not be suitable for all types of hirers however there are options that are more flexible than others. • On average it takes between 3 to 7 years for a Performing Arts Centre to become an intrinsic part of the community and it only occurs if it operates successfully. • Some people will never attend the venue.
There are a number of key demographics that indicate there is not a clear local market for audience take up of any new larger venue – with low disposable incomes and high unemployment in the area. The tourism area is unlikely to fill the gap – conferences could be an alternative though the design and operations of such a venue requires additional features and there would also need to be an improvement in the accommodation offering for larger events.
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There are a limited number of commercial hirers and producers that would utilise the venue without Coffs Harbour City Council taking some element of the risk in delivering the performance. This means that a high degree of financial risk will need to be undertaken by Council.
It is worth noting that the Elton John performance occurring in Coffs Harbour in 2020 is somewhat of an anomaly and should not be viewed as a regular occurrence. The Farewell Yellow Brick Road tour is visiting the major indoor venues in metropolitan centres as well as performing in multiple outdoor venues in regional centres including wineries in the Hunter Valley, parks in Bathurst, Stadiums in Townsville, Sunshine Coast, Auckland and Coffs Harbour.
This means that the promoter has the touring infrastructure (staging, lighting, sound & audio-visual) that can be used at one location and then taken to the next location. This infrastructure is designed to be utilised in Stadiums and large areas of land such as Botanic Gardens and wineries. Coffs Harbour Stadium is the only location that would be considered for this performance as it has the required space and access points.
The Farewell Yellow Brick Road tour is Elton John’s final tour and it is unlikely that a tour of this nature will occur again for long time. This is because of the nature of the artist and his longevity in the industry as well as his ability to attract interest from across generations. Whilst the Coffs Harbour region may receive artists in the future that will do similar performances at the Coffs Harbour Stadium it is unlikely that these will occur on a regular basis.
The ability for community hirers to pay hiring rates is low. A performing arts venue will not necessarily be the catalyst to drive economic development in the city. A suite of actions is required including the creation of additional jobs, increased residential and commercial density in the city centre and continual improvement to the streetscape.
On average, a theatre in a regional area of NSW costs Council anywhere between $850,000 and $2,000,000 in operational costs every year. This figure includes all costs associated with staffing and managing the activities of the theatre. The primary sources of revenue for a theatre are: • Hiring fees charged to the hirer; • Any specific technical requirements additional to what is provided in the hire fee; • Ticket sales – a fee charged for the cost of selling a ticket that is retained by the venue; and • Bar and Kiosk sales.
It is impossible to predict exactly what the subsidy for a new performing arts centre will be each year; there are a vast number of assumptions, internal factors, external factors and unknown variables that will impact on the level of subsidy required each year. Further analysis would be required in a feasibility study and business case. Key issues to consider are the nature of the income and costs, whether they are fixed or variable. This is due to the specific nature of these factors in a performing arts setting where the following may occur: • The vast majority of the income is variable i.e. there is no guarantee that just by opening the facility that people will buy tickets, people will hire the spaces, eat there or park there. • The majority of the Expenses are fixed (e.g. staffing), in that the expense will occur whether or not there are hires or ticketed events.
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Benchmarking regional venue data and information
Research, review of existing industry documentation as well as discussions with venue managers from existing performing arts centres throughout NSW has been ongoing and the table below outlines the major regional venues in NSW, their LGA, their population and venue seating capacity. The JMT is included in this table for comparative reasons.
Table 2. Regional Performing Arts Venues - LGA population and seating capacity Local Government LGA Location Venue Seating Area (LGA) Population Capacity (profile id - 2018) Orange City 37,000 Orange Orange Civic Theatre 502 Council Bathurst 43,206 Bathurst Bathurst Memorial 642 Regional Council Entertainment Centre Dubbo Regional 53,240 Dubbo Dubbo Regional Theatre and 500 Council Convention Centre Albury City 53,767 Albury Albury Entertainment Centre 818 Council City of Cessnock 59,101 Cessnock Cessnock Performing Arts 466 Council Centre Tamworth City 62,156 Tamworth Capitol Theatre* 402 Council Wagga Wagga 64,820 Wagga Wagga Wagga Civic Theatre 491 City Council Wagga Coffs Harbour 76,551 Coffs Jetty Memorial Theatre 248 City Council Harbour Blue Mountains 79,260 Springwood Blue Mountains Theatre and 418 City Community Hub Port Macquarie – 83,131 Port The Glasshouse 590 Hastings Council Macquarie Mid Coast 93,288 Taree Manning Entertainment Centre 495 Council Shoalhaven City 104,371 Nowra Shoalhaven Entertainment 902 Council Centre * Current business case proposal with Council for a 700-seat theatre
As can be seen by the table Jetty Memorial Theatre in Coffs Harbour has a significantly lower seating capacity than all of the other venues listed.
The venues are also often the focal point for the community for all of the civic and community events, performances and activity that takes place. They offer the opportunity for performers of all ages to access a professional standard of venue whilst at the same time give residents the ability to see professional touring productions. Theatres throughout NSW are often required to pay to bring artists /shows/performances (product) to their venues. This results in all of the venues operating a loss or a cost to Council every year. Most Councils however see this as an intrinsic social offering to their community.
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The following table outlines the nature of the loss for each venue as when as well as the number of performance spaces in each venue:
Table 3. Regional Performing Arts Venues - Number of performance spaces and yearly operational cost Venue Size Number of Operating loss performance (Yearly) spaces 2017/18 Orange Civic Theatre 502 1 $1,300,000 Bathurst Memorial Entertainment Centre 642 1 $850,000 Dubbo Regional Theatre and Convention 500 2 $1,700,000 Centre Albury Entertainment Centre 818 2 $1,200,000 Cessnock Performing Arts Centre 466 1 $568,000 Capitol Theatre, Tamworth 402 1 $1,300,000 Wagga Wagga Civic Theatre 491 1 $772,235 Jetty Memorial Theatre 248 1 $332,558 Blue Mountains Theatre & Community 418 1 $750,000 Hub The Glasshouse 590 2 $2,100,000 Manning Entertainment Centre 495 1 Shoalhaven Entertainment Centre 902 2 $2,100,000
Venue reviews The following categorisation model of performance spaces has been adapted from the City of Sydney and has been utilised to describe each type of space that is used for cultural purposes in Coffs Harbour.
Community & Participation Space
Practise, Performance Education and and Exhibition Development Space Digital Space Space
Festival, Commercial & Event & Enterprise Public Space Space
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Some spaces are utilised for multiple purposes, however for this analysis each space has been allocated into its primary use. At this stage, the analysis has only taken into consideration the venues listed below which have been highlighted as the main performance venues in Coffs Harbour.
Further analysis of all community and cultural facilities will occur in conjunction with the Community and Cultural Facilities Plan to be completed in 2020.
Performance and Exhibition Space • Coffs Harbour Regional Conservatorium; • Jetty Memorial Theatre
Commercial & Enterprise Space • Aanuka Beach Resort; • Pacific Bay Resort; • Sawtell RSL – Princess Room; • Showgrounds Exhibition Hall; • Showgrounds Norm Jordan Pavilion; • Opal Cove Resort; • C.ex Coffs.
Community & Participation Space • Cavanbah Centre
Practise, Education and Development Space • Southern Cross University – Coffs Harbour Campus (Lecture Theatre D); • Branson Centre (Bishop Druitt College)
Festival, Event & Public Space • Coffs Harbour Racing Club.
Image 10. Park Beach Night Markets
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Indoor Venues Analysis Current Venue Stock Whilst there are numerous venues across Coffs Harbour that house performances of various types, there are only a limited number of purpose-built venues. The consequence of this is that many organisations have to alter their activities and compromise certain aspects of the delivery of the performance to suit the location.
VENUE (ABOVE 150 CAPACITY) SEATING STYLE (THEATRE LAYOUT) CAPACITY Coffs Harbour Regional Conservatorium 193 Partly raked Jetty Memorial Theatre 249 Raked Aanuka Beach Resort 240 Flat Floor Cavanbah Centre 200 Flat Floor Pacific Bay Resort 800 Flat Floor Sawtell RSL – Princess Room 650 Flat Floor Showgrounds Exhibition Hall 580 Flat Floor Showgrounds Norm Jordan Pavilion 420 Flat Floor Southern Cross University – Coffs Harbour 500 Raked and tiered Campus (Lecture Theatre D) Opal Cove Resort 550 Flat Floor Coffs Harbour Racing Club 750 Flat Floor C.ex 1000 Flat Floor Branson Centre (Bishop Druitt College) 1200 Flat Floor Sportz Central 386 Flat Floor
The main tiered seating venue that is suitable is the Jetty Memorial Theatre. However, due to its size and the type of activities that occur in the theatre means that it is often unsuitable for the hirers needs. In particular larger dance schools are unable to perform on the stage or again have to change their presentation to suit the size of the stage. In addition, it does not have the ability to fly sets and scenery elements which can be restrictive for some productions.
Coffs Harbour has a number of flat floor venues including a number that operate as commercial conference spaces or sports halls. These large halls are utilised for performances because of their size however as they are not designed for this purpose, all of the technical infrastructure required for performances needs to be brought in potentially at significant cost to the hirer. In addition, this generally means that the hirer is required to hire the venue for longer to have enough time to be able to bump in and out of the venue.
Coffs Harbour has a clear lack of a venue with a large stage and appropriate technical infrastructure (such as a fly tower, multiple lighting rigs and appropriate sound system) particularly for groups such as private dance schools, public and private primary and high schools, touring theatrical productions and the occasional commercial music performance. Most existing users of the Jetty Memorial Theatre have developed ways to operate within the environment that they have at the JMT and are comfortable doing so into the future.
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Venue Location Venues are located throughout the Local Government Area with only one performance venue located in the Coffs Harbour CBD, the C.ex Club. The Cavanbah Centre and to a lesser extent the CWA rooms provide places for rehearsal purposes but are not suitable for performances. The C.ex club is generally seen by hirers as the highest priced venue and is one of the venues that can facilitate larger audience numbers (up to 1,000). The venue does have some restrictions in that it has a small stage, has a relatively thin footprint and is a flat floor venue. Other venues are located outside of the Coffs Harbour CBD.
Storage Venues have limited on site storage for hirers which can cause issues for community groups that have equipment.
Cost to Hire The cost for hire of venues whether for performance or rehearsal was raised as an issue for all stakeholders interviewed. Further investigation is required to ascertain whether the Coffs Harbour area’s venue charges are low when compared to facilities in other local government areas. A summary of hire costs is outlined in Appendix 2.
Venue Needs Analysis Venues within the entertainment industry have a range of configurations and capacities that are generally built for specific usage requirements. The venue types have been broken into five major groups: • Concert Halls/Recital Halls; • Contemporary Music Venues; • Major Lyric Theatres; • Theatres; and • Arenas/Major Entertainment Centres.
Venues have then been analysed and scored against the following significant criteria which has been developed from the previously established reports and subsequently scored out five against the criteria based on the following:
Criteria Score Matrix
Low (1) High (5) Community Usage Minimal community Broad community usage usage Audience Development Low likelihood of High likelihood of generating a regular generating a regular audience audience Commercial hirers High resources required Low resources required to to attract commercial attract commercial hiring hiring Comparative Capital Cost Higher capital cost Lower capital cost
Flexibility of Space Able to be utilised by Able to be used by restricted hiring types multiple hiring types
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Community Usage relates to the likely usage by the current users in the Coffs Harbour Local Government Area, the major community groups in the area and any potential community hirers. Audience Development is the probability that the venue will be able to attract a regular audience to a venue of the size and type that is being described. Commercial Hirers is the ability and capacity of the venue to attract commercial promoters and producers to the venue. Comparative Capital Cost is a comparison of the relative cost to deliver the infrastructure described. Flexibility of Space is the ability of the venue type to offer a performance solution for a range of hirers and requirements.
Concert Halls Concert Halls are generally large venues that have as their main purpose the performance of classical music. Their stage is generally built relatively low (in contrast to a Theatre or Arena) to the ground – 1m – with auditorium seating built in a tiered form to the start of the stage. As the larger percentage of performances is acoustic or without any assistance from sound amplification such as microphones and speakers, the space is treated and designed to ensure that the natural sound is clear. This is achieved through creating a voluminous cavity, appropriate panelling and sometimes with the addition of physical structures or baffles.
Traditionally, Concert Halls are built with only a small provision for technical infrastructure given the low requirement in the performance of classical music. More recently, construction of Concert Halls has also included some provision for technical production requirements given that venues offer a varied program that may include amplified music; however, the primary function is acoustic performances. The table below outlines the main Concert Hall venues in Sydney, their principle use(s) and capacity: Venue Type Venue Name Principal Use Capacity
CONCERT HALL City Recital Hall Classical Music 1,238 Sydney Opera House Classical Music 2,679 The Joan – Concert Hall Various 578 The Concourse Community/Classical 886
Suitability for Coffs Harbour Region Whilst there are some community groups that would utilise a Concert Hall – the Coffs Harbour Symphony Orchestra and the Coffs Harbour Eisteddfod – other users such as Dance Schools, theatre, contemporary music and commercial theatre producers would not be able to use the venue.
This type of space is relatively inflexible as the design necessitates specific acoustic requirements which create natural volume and reverberation. There is often a conflict between the acoustic nature of the Hall which requires hard surfaces (wood) and the potential to deliver amplified performances which prefer soft finishes (curtaining).
Measurement Score
Community Usage 2 Audience Development 2 Commercial hirers 1 Comparative Capital Cost 2 Flexibility of Space 2 TOTAL (OUT OF 25) 9
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Contemporary Music Venues For the purpose of this report only the major contemporary music venues with significant capacity have been included. There are minimal examples of this type of venue in regional areas other than in licensed clubs and pubs. Contemporary music venues are generally large rooms that have often previously served as a tiered auditorium theatre or a cinema. Most have been converted to allow for standing room or a dancing area/mosh pit as this is the preferred way for some patrons to experience the performance. They may have a combination of both seating and standing areas.
Most contemporary music venues are booked for one or two nights at a time and therefore require consistent activity in the venue at all times. The hirers are generally promoters and there are a range of ways which the product or performance can be acquired. The table below outlines the main Contemporary Music venues, their principle use(s) and capacity.
Venue type Venue Name Principal Use Capacity CONTEMPORARY Metro TTheatre Contemporary Music 1,200 MUSIC Enmore Theatre Contemporary Music 2,450 State Theatre Various 2,100 Max Watts Sydney Contemporary Music 1,150
Suitability for Coffs Harbour Region Contemporary Music Venues are traditionally located in the inner-city suburbs or the CBD. They generally attract a younger age demographic (18 to 35). Community hiring of these venues is traditionally low as their primary focus is to generate commercial returns. In regional areas, this role is sometimes taken by the local licensed club however the number of performances is not usually high.
There are a number of examples in throughout NSW of smaller restaurants and clubs who also offer contemporary music as part of their offer however they are all commercial entities that have minimal community involvement. Additionally, the highly competitive commercial environment means that the restaurant and bar is the critical component to success rather than the performance.
Contemporary music venues rely on offering a diverse roster of artists and performances to a highly diverse patron base. A number of the main contemporary music venues in Sydney, eg The Metro, the Enmore Theatre and The Factory, are old theatres that have been converted into performance spaces. They have used existing structures and refitted them for the purpose of performance.
Important considerations are also the noise generated by the venue and its occupants, the requirement for consistent activity to be successful means that patrons will be regularly coming and going from the venue in the evening, that daytime use is minimal and that access to the venue for technical load in and out is critical and occurs consistently. The venue is generally only used for the single purpose.
Measurement Score Community Usage 1 Audience Development 1 Commercial Hirers 3 Comparative Capital Cost 3 Flexibility of Space 2 TOTAL (OUT OF 25) 10
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Major Lyric Theatres
Major Lyric Theatres are large theatres with full proscenium arch capability. In a proscenium theatre, the stage is located at one end of the auditorium and is physically separated from the audience space by a proscenium wall. This is sometimes called a “two-box” arrangement—the auditorium and stage occupy two separate “boxes” or rooms. The stage box (stage house) provides fly space and wings and permits a wide variety of scenic and lighting effects. The auditorium box is the audience chamber, which may take many forms—fan-shaped, courtyard, lyric, etc.
The opening between the auditorium and stage is called the proscenium frame, proscenium opening, proscenium arch, or simply the proscenium. Contemporary proscenium theatres try to provide a flexible transition zone between stage and audience, adaptable to suit the needs of each performance including the provision of an Orchestra pit.
They are generally utilised for major musical productions, Ballet or Opera. These theatres have longer run production timeframes due to the amount of time it takes to mount or establish the production. They can be in the venue for between 3 to 12 months depending on the success of the production.
Most venues are based in the CBD to provide the most central location to be able to fill the 2,000-seat capacity every night.
Venue Type Venue Name Principal Use Capacity LYRIC THEATRE Opera Theatre (SOH) Opera / Ballet 1,507 Lyric Theatre – The Star Musicals 2,100 Capitol Theatre Musicals 2,300 Sydney Coliseum Theatre Various 2,000
Suitability for Coffs Harbour Region A lyric theatre is not suitable for Coffs Harbour as there is neither the audience capacity to regularly attend nor the likelihood that any promoter or producer would utilise the venue. Due to the long run nature of many of the shows that are in these venues, the access for the community would be minimal.
The costs associated with the delivery of a venue of this size are substantial. As an example, the RHR Group have recently completed the construction of a 2,000-seat theatre at Rooty Hill with a cost of $100m. Other cost estimates have put construction of a Lyric theatre at $150m.
Measurement Score Community Usage 1 Audience Development 1 Commercial Hirers 2 Comparative Capital Cost 1 Flexibility of Space 1 TOTAL (OUT OF 25) 6
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Theatres Theatre buildings evolved from the open-air amphitheatres of the Greeks and Romans to the incredible array of forms we see today. Theatres are generally venues that have a stage and a defined area for seating. The complexity then begins in terms of the many different shapes and types of theatre that exist. Though some forms work better for particular types of performance, there is no ideal shape of a theatre.
In this instance the smaller theatres have been defined as venues below 400-seat capacity and the medium theatre between 400 and 1,200 seat capacities. The main types of theatre are: • Thrust - theatre in which the stage is extended so that the audience surrounds it on 3 sides; • Black Box - A flexible theatre usually without character or embellishment—a “void” space that may indeed be black; and • Proscenium - the stage is located at one end of the auditorium and is physically separated from the audience space by a proscenium wall.
Theatres can accommodate a large cross section of performances including Dance, Drama, Musical Theatre and Opera, Circus and Physical theatre, Comedy, Some classical music performances as well as amplified music performances.
In addition, the tiered seating which is usually inherent in the theatre design is useful for conferences and meetings.
Theatres with a capacity under 400 have difficulty in presenting commercial performances unless they are operated by a professional theatre company such as the Ensemble Theatre or Belvoir Street Theatre. Most of the theatres in the list below under 400 predominantly have community-based hirers or in the case of the Zenith Theatre a mixture of community-based hirers and corporate conferencing clients. This profile is dictated by Council policy and the location of the theatre at the base of the Zenith Towers commercial buildings in the commercial hub at Chatswood. In this analysis, theatres have been broken into three sections: • Medium Theatre; • Small Theatres; and • Regional theatres.
Venue type Venue Name Principal Use Capacity MEDIUM THEATRE Parade Theatre - NIDA, Kensington Theatre 709 Seymour Centre, Sydney Theatre 788 & 605 Carriageworks, Redfern Various 800 Roslyn Packer Theatre - Sydney Theatre Theatre 896 Riverside Theatre, Parramatta Various 746 Drama Theatre (SOH) Theatre 544 The Concourse Theatre, Chatswood Various 500
Venue type Venue Name Principal Use Capacity SMALL THEATRE Zenith Theatre, Chatswood Conferencing 250 Independent Theatre, North Sydney Concerts 300 Marian Street Theatre, Lindfield Theatre 300 Pioneer Theatre, Castle Hill Community Theatre 300 The Joan – Theatre, Penrith Community Theatre 378 Lennox Theatre, Parramatta Community Theatre 234
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Regional Theatres have been grouped together. The analysis shows that whilst all of the venues listed in the tables are theatres, they may have different names. For example, the Albury Entertainment Centre is a performing arts centre with seven different venues however the main performance venue is an 818-seat (fixed) theatre. Similarly, the Bathurst Memorial Entertainment Centre is a 642-seat (fixed) theatre. The following table shows the capacity of regional theatres for comparative purposes.
Venue type Venue Name Principal Use Capacity REGIONAL Orange Civic Theatre Various 502 THEATRES Bathurst Memorial Entertainment Centre Various 642 Dubbo Regional Theatre and Convention Various 500 Centre Albury Entertainment Centre Various 818 Cessnock Performing Arts Centre Various 466 Capitol Theatre, Tamworth Various 402 Wagga Wagga Civic Theatre Various 491 Jetty Memorial Theatre Various 248 Blue Mountains Theatre & Community Hub Various 418 The Glasshouse, Port Macquarie Various 590 Manning Entertainment Centre Various 495 Shoalhaven Entertainment Centre Various 902
Suitability for Coffs Harbour Region The flexibility of a theatre space to be able to offer a solution for multiple hiring types is an immediate positive. Community hirers such as dance schools and ballet schools as well as drama productions and potentially small musicals can easily be catered for in a theatre. A theatre space can accommodate both community hirers as well as commercial hirers if the size is suitable. Specifically, the technical infrastructure such as the size of the stage and ability to “fly” sets, props and equipment needs to be suitable for touring productions.
The development of an audience to a theatre is assisted by a having a broad range of hirers access the venue. Whilst this is an ongoing and consistent challenge for theatre management the more flexible the venue in terms of opportunities the more likely the venue will be successful. If the key driver is conferencing, then the design would need to be different from a performance space.
Analysis of a small theatre has not been included as the Jetty Memorial Theatre already exists and is suitable for these purposes. Providing another similar theatre to the Jetty Memorial Theatre would not solve any of the current issues outlined in this report.
Medium Theatre Measurement Score Community Usage 4 Audience Development 3 Commercial hirers 3 Comparative Capital Cost 3 Flexibility of Space 4 TOTAL (OUT OF 25) 17
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Large Events Centres/Arenas Arenas are large venues providing the opportunity for large international and national artists to perform for large amounts of patrons. These venues are generally large open warehouse type venues with infrastructure that is utilised depending on whether it is a performance, exhibition or major event.
The varied nature of the product that goes into the building means that flexibility and access are key elements of their design and operations.
Venue type Venue Name Principal Use Capacity ARENA / LARGE Qudos Bank Arena Contemporary Music 12,500 MULTIPURPOSE Luna Park – Big Top Events 2,000 The Horden Pavilion Contemporary Music 4,200 ICC Various 5,000 Royal Hall of Industries Events 4,000 Tamworth Regional Entertainment and Various 4,800 Conference Centre
Suitability for Coffs Harbour Region
The footprint required for this type of venue is very large. Additionally, there would be a considerable amount of traffic generated by the participants as well as the patrons. There is only a limited number of acts/artists that would utilise a venue of this size and these may not tour to Coffs Harbour. This would mean that the venue would sit idle for many periods in the year and would not be cost effective to operate.
All of the venues listed above except for TRECC are purely commercial and have very few, if any, community events. The TRECC venue is utilised highly during the Tamworth Country Music Festival however usage outside of this time is significantly less.
One of the main issues with a venue of this size is the ability to regularly fill the venue with both hirers and audience. Whilst this may be achievable for certain individual events or activities it cannot be sustained over a long period of time.
Measurement Score Community Usage 1 Audience Development 1
Commercial Hirers 2
Comparative Capital Cost 1
Flexibility of Space 3
TOTAL (OUT OF 25) 8
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Comparison table of scores The following table outlines the comparative scores achieved by each venue type across the criteria delineated. As can be seen, most venues did not score well against the criteria. The one venue type that did was the Medium Theatre – a performance space between 400 seats and 1,000 seats. This also replicates the feedback received from existing performance groups in Coffs Harbour.
Venue Type Score Concert Hall 9 Contemporary Music Venues 10 Lyric Theatre 6 Medium Theatre 17 Large Event Centre/ Arenas 8
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Contemporary Theatre Requirements Technical Infrastructure The technical elements of a performing arts centre generally can be itemised into four distinct areas: • Audio; • Lighting; • Audio-Visual; and • Staging.
Staging Like all other art forms, theatre has developed its own specific terminology to de-scribe its elements of stage craft and equipment. The area of the stage where the actor is visible to the audience is known as the playing area. Space outside the playing area where the audience’s view is blocked by scenery, curtains, or the proscenium arch is referred to as wing space and can be found both off-stage-left and off-stage-right of the playing area. In a proscenium theatre the area in front of the proscenium arch is referred to as the apron.
In some spaces, all or part of this apron may be converted into an orchestra pit to house musicians for productions. Some theatres have a crossover—a hallway up-stage of the playing area or in a basement below the stage that allows for passage from one side of the stage to the other unseen by the audience. A stage is occasionally equipped with removable panels to create an opening in the floor with access to a basement area. Handy for quick (dis)appearances, these are known as traps.
Above the stage, you commonly find a fly system or theatrical rigging. In a proscenium theatre the space above the stage is blocked from the audience’s view by the top of the proscenium arch. Depending on how high the ceiling is over the stage, you may be able to fly in rigged scenery to transform the stage setting. The area above the stage is referred to as the fly loft. At the top of the fly loft is a series of support structures known as the grid. From this grid structure a series of cables, pulleys, and ropes supports and moves the hanging elements.
Theatre draperies create a void that surrounds the performance area. These drapes help designers to mask what they don’t want seen. There are specific names for each piece of theatrical drape. The main drape or curtain is often richly coloured and sits just behind the proscenium arch. This drape traditionally opened to reveal the set at the start of a show. Other drapes include: • Legs; • Borders; • Tormentors; • Teasers; and • Blackout drapes.
Audio Sound systems are composed of the same basic equipment. The sound is routed through this system and processed so it can be delivered to the ears of the audience. The path which the sound follows is called the signal path or signal chain. This chain can be thought of as a series of links that must be connected properly for the chain to be functional. The basic components of a sound system are inputs, the pre-amp, the mixer, signal processor(s), amplifiers, and speakers.
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The three main categories of sound in a performance are music, sound reinforcement and effects. Music may include live musicians as well as recorded music. Music may be a primary element to a scene or may provide an underscore to enhance emotional content. Sound reinforcement assists by amplifying speech and other sounds. Effects are used to add to a theatre production. Input or source devices are playback devices such as a computers, cell phones, CD players, tape deck, or microphones.
Microphones come in a variety of styles, and each has its own specialized use. • Dynamic microphone: Durable and inexpensive microphone for voice and instruments. • Omni directional microphone: Usually used in recording studios, these microphones pick up sounds from all directions. • Condenser microphone: A battery powered microphone usually used in recording studios, that is quite delicate and sensitive. • Shotgun microphone: A microphone capable of picking up sounds from some distance. • Wireless hand-held microphone: A hand-held microphone that sends its signal wirelessly to a remote receiver. • Wireless lavaliere/body microphone: A small, pin-on microphone that sends its signal wirelessly to a remote receiver, sometimes taped onto the skin or woven into the hair of a performer. • PZM/PCC microphone: Boundary microphones often placed at the edge of a stage deck to pick up reflected sounds.
Audio-Visual The use of AV systems in theatres and performing arts centres is increasingly common. These include conventional high luminance, long throw projection systems for stage presentations, or short throw systems used for projecting onto cycloramas for set design purposes. Examples include: • Screens; • Projectors; • Input systems including lecterns, stage boxes and other sources located in the control box or other relevant locations; • live camera video distribution systems.
Lighting Lighting design not only provides illumination so that a performance can be seen, but also utilises the remaining functions of light to create mood, modelling of the playing area and to provide a selective focus so audiences know where to look in order to follow the story. Lighting designers manipulate the controllable qualities of light at their disposal—direction (distribution), intensity, colour, and movement—to create their design.
Lighting is hung on pipe battens that have electrical circuits attached to them or onto pipe battens that are rigged to carry heavy weight loads. There are a range of standard lights including: • Spotlights; • Fresnels; • Ellipsoidal reflector spotlights (ERS or Leko); • Cyclorama lights; • Led lights; • Moving lights; • Striplights.
Lighting is generally controlled at a lighting control board which uses control channels to interface with the operator. These channels can be arbitrarily connected to the dimmer addresses (soft-patching), so the interface at the board remains flexible.
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Outdoor Venues Initial review of the outdoor venues has been undertaken throughout September and October 2019 to identify what works in the venues and what doesn’t work. Venues have then been analysed and scored against the following significant criteria and subsequently scored out five against the criteria based on the following:
Criteria Score Matrix
Low (1) High (5) Pedestrian access Hard to access Easy to access Parking Low level of parking High level of parking
Public Transport Hard to access/not Easy to access/available available Accessibility Hard to access Easy to access Ability to contain the area Hard to contain Easy to contain Impact on local residents High Impact Low Impact Impact on natural surrounds High Impact Low Impact Suitability of location for activities Hard to use Easy to use Infrastructure requirements All site requirements No site requirements Topography Changeable Flat Pedestrian access Hard to access Easy to access
Analysis of the venues in Coffs Harbour is outlined in the following table. Showgrounds Brelsford Park Brelsford CHEC CHEC The Park Beach Beach Park Foreshores Gardens Reserve Hill City Botanic Botanic Jetty Jetty
Quarry Campus
Pedestrian access 3 3 3 0 5 0 2 2 Parking 3 4 3 2 3 4 3 4 Public Transport 3 4 3 1 3 2 3 3 Accessibility 4 4 3 1 3 4 3 2 Ability to contain the area 4 3 5 2 3 2 3 4 Impact on local residents 4 4 3 4 3 4 5 5 Impact on natural surrounds 3 4 4 2 4 4 1 4 Suitability of location for activities 4 3 4 2 4 2 2 2 Infrastructure requirements 3 3 4 3 3 3 2 3 Topography 4 4 3 3 3 3 2 4 TOTAL SCORE (OUT OF 50) 35 36 35 20 33 28 26 33
Scoring is based on current uses and information on how each site operates.
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Stakeholder Feedback
Interim Hirer Feedback – Performing Arts Stakeholders
Hawkridge Entertainment Services have spoken to a broad cross section of approximately 30 stakeholders including hirers, promoters, producers, venue and facility managers to gain a better understanding of the current issues facing this group and what elements are successful. It is the intention that more community engagement will occur with this group to ensure all representatives have been given the opportunity to put forward their views and perspectives. In addition, the broader community will be given the opportunity to give their feedback on the content of this discussion paper as the project develops.
The main themes that have been represented in the discussions with stakeholders at this stage are as follows: Users/Hirers/Venues • Many of users from the Jetty Memorial Theatre are satisfied with the venue – they would like some improvements (including rehearsal space and storage) • There is a lack of suitable rehearsal venues; • Storage is an issue for most hirers as their preference is for it to be available where they rehearse, and this is not always possible; • Stage size – there is a lack of a stage big enough to do the one-off/end of year/large event performances; • Coffs Harbour Eisteddfod does not have a suitable venue for its event in 2020 due to the unavailability of some venues; • Ticket prices for locally produced community activities (CHMCC/CHATS) have remained fairly stagnant over the years and currently sit in the region of $28/$30 per show; • There is concern with current hirers as to whether they would be able to afford the hiring costs of a new venue if it was ever built; • There is a general feeling of fatigue with the process – happy to be involved but unconvinced that anything will happen; • Stakeholders are not willing to come out publicly in support of any proposal due to the fear of reprisal/attack from groups with a different opinion; • Public transport poor or non-existent in Coffs Harbour LGA which is an issue for performers and attendees and influences the venues utilised.
Producers Most producers of theatre product that tour into regional areas do not tour to Coffs Harbour as the JMT is too small for their technical requirements. In addition, the limited number of seats can also impact on the potential viability of the performance. In general, regional venues have a yearly product budget that they utilise to purchase productions either through industry-based mechanisms such as Long Paddock or though their own set of contacts.
Purchases in this regard mean that all of the financial risk is with the venue. If the show costs $8,000 to purchase, staff costs are $800 and marketing costs are $500 then the then the venue needs to recoup $9,300 before it breaks even. If only 100 patrons purchase tickets at $40 each, generate a ticketing fee of $3 per ticket and spend $5 per head at the bar/kiosk the venue still loses approximately $4,500. As a one off this may be acceptable however in a yearly program of 15 to 20 events the cost can escalate. It is also worth noting however that this cost is often accepted by venues in regional areas as it is the only way that product (performances) come to the venue.
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The provision of new theatre infrastructure in recent years in NSW (Port Macquarie, Dubbo, Shoalhaven, Wyong) has added to the existing provision (Tamworth, Albury, Bathurst, Griffith, Illawarra, Orange, Wagga Wagga). Producers not currently coming to Coffs Harbour advise that as the network grows there is greater opportunity to present tours in multiple locations which increases the likelihood of viability. The other effect however is that the new venues have been built with appropriate technical infrastructure which means they are able to present shows with relative ease and do not have to make concessions in regard to the production because the venue is not appropriate. As Coffs Harbour does not have an appropriately sized venue it does not get productions that require flying elements or sophisticated technical requirements.
Producers in general would be willing to add Coffs Harbour to their list of locations as they currently regularly visit centres such as Port Macquarie, Taree, Tamworth and Lismore.
Promoters In general, promoters are more likely to require large venues for productions as they are looking to bring international and national artists to Coffs Harbour which require significant ticket sales to be viable. As there is no indoor venue able to hold a minimum of 5,000 patrons most promoters wanting to present in Coffs Harbour seek outdoor venues.
The choice of location for promoters is varied and depends on both the act and the demographic of the patrons attending. Some outlined that they preferred having different locations to other promoters so that they could differentiate their brand.
Festival and contemporary music promoters generally bring artists to Coffs Harbour as part of a State based or National tour. This means that they have a significant amount of technical infrastructure such as lighting, sound, audio visual and staging that they utilise at each location to ensure they can deliver a standardised experience across multiple locations.
Outdoor performances have diverse requirements depending on the type of artist(s) performing and festival. Fixed infrastructure is generally seen as positive however due to the diverse requirements it is difficult to deliver infrastructure that is suitable for all purposes. There are a number of amphitheatres that exist throughout the country that are not utilised by promoters because the stage is not big enough or the technical components have not been designed to accommodate large scale sound, audio and AV equipment. In contrast, the example of HOTA was mentioned as an excellent location from a technical aspect but it only has provision for 3,500 patrons which means it is difficult to make viable.
Promoters usually utilise a range of local based services when they present in Coffs Harbour including the following: • A range of staff – security, bar staff, Front-of-house (FOH) services staff; • Fencing hire; • Marquee/site sheds hire; • Facilities (toilet) hire; and • Medical staff.
Promoters state the main reasons for coming to Coffs Harbour as follows: • Central location on the North Coast – 100 km radius for ticket sales; • Relative ease of dealing with Council; • Weather.
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Patrons attending the performances generally purchase their tickets prior to the day of the performance/festival.
When questioned on what could be improved the following items were outlined: • Additional marketing support; • Greater services to site – particularly 3 phase power; • Additional support for services such as traffic management.
Alternative infrastructure developments Discussions with stakeholders in Coffs Harbour have outlined a number of possible sites that may be subject to the development of performance spaces. Whilst there is a range of proponents, most would still require a significant level of investment from Council for construction to occur. Council investing in infrastructure that it does not have significant operational control over in a regional setting may not be appropriate due to the number of community organisations accessing the venue and the subsequent ability of those organisations to pay hire fees.
In addition, as has been outlined previously in this report, sites that are located outside of the Coffs Harbour CBD will diminish the value of the cultural infrastructure and will limit its ongoing viability and economic benefit to the community.
Council should monitor progress of these projects and assist land owners who have performing arts facility development plans in order to increase the quantum of performance spaces in the region. This may include assisting with DA requirements and timeframes and working with proponents on appropriate design.
Image 11. Theatre stage with performer
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Next Steps for a Performing Arts Centre Consideration of Location
The optimal location for a new performing arts centre in a Local Government Area has been the subject of much discussion over a long period of time and is reflected both nationally and internationally. Some of the research and experience in Australia is captured in ‘Oh You Beautiful Stage!’- Australian Design and Technical Benchmarks for Performing Arts Centres by the Victorian Association of Performing Arts Centres:
•Excellent nearby public transport, day and night
•Excellent access with suitable loading •High passing foot- movements for trucks traffic to attract ease up to semi-trailers in of bookings and positions they can familiarity stand for several hours Factors in the
•Very high visibility successful and marketing presence, with an •An area considered appearance of activity safe day and night location of a and ambience expressing fun and PAC entertainment
•Generous nearby car •Nearby or immersed parking (but in both day and night- preferably, not life activities such as dominated or restaurants, surrounded by car bookshops, music parking) shops & cinema etc.
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The document also outlines what are NOT good reasons to locate a performing arts centre in a particular location: • A derelict or historic building no other use can be found for; • A spare site next to the Council offices, or any other general community facility; • The opportunity to make a ‘civic monument’ (civic pride syndrome); • Cheap land (it’s cheap for a reason); • The area is so run down that the theatre will ‘regenerate’ it (more likely, the theatre will die with it); • A developer’s package or land-swap (they seldom have much incentive to make sure the centre built is functionally appropriate); • A contaminated or otherwise difficult site that no one else will touch (there will be substantial costs that will probably reduce functional scope); • A site so isolated no one will object to the development.
The Local Growth Management Strategy adopted by Coffs Harbour City Council in August 2019 clearly articulates population outcomes, desired urban growth including the community’s preference for a Compact City approach. Some of the key Objectives and Principles of the Compact City growth Model are: • Focus population growth within existing developed footprint and identified growth areas. • Provide safe and inclusive community spaces and activities that bring people together. • Promote less use of private cars. • Urban business centres are activated, vibrant, connected. • Develop employment precincts which will drive opportunities for new investment
The Strategy also identifies Coffs Harbour CBD as the City Centre under its place hierarchy and clearly states that Council should reinforce the CBD as one united retail, business, cultural and entertainment precinct.
This Strategy is further strengthened by the Coffs Harbour City Centre Masterplan 2031 which states “Several strategic sites will be targeted to deliver a new cultural, entertainment and civic building which may be located separately or multi-functionally according to funding and commercial opportunities. Preference will be given to locating these community assets as close to the City Square as possible subject to delivering the highest level of community benefit.”
The population within the Coffs Harbour LGA is projected to grow by an additional 19,208 to 96,087 in 2036. If achieved the demand for community facilities including performance venues will increase enabling a long-term approach to provide such facilities to be produced and adopted by Council.
The draft Urban Design Guide for Regional NSW produced by the NSW Government Architect outlines seven specific areas that that enhance the built environment: • Better fit - contextual, local and of its place; • Better performance - sustainable, adaptable and durable; • Better for community - inclusive, connected and diverse; • Better for people - safe, comfortable and liveable; • Better working - functional, efficient and fit for purpose; • Better value - creating and adding value; • Better look and feel - engaging, inviting and attractive.
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It specifically outlines how cultural infrastructure has a role in ensuring good urban design in regional areas and how this can be achieved by leveraging the historic and cultural assets of places through effective urban design and brings a range of benefits: • enhances the sense of place, identity, unique characteristics and defining qualities of towns and urban areas • encourages increased economic activity by creating distinct and attractive places for businesses to trade and invest • encourages increased tourism activity by creating distinct and attractive places for people to visit • reinforces local identity and belonging by preserving assets of shared meaning and value - this in turn provides people and communities with sources of civic pride that inspire the continued care and protection of these assets • improves the value of the building or space and the overall place • allows future generations to be able to learn and benefit from significant buildings or spaces, their history and importance • strengthens connections to place, which supports a sense of community.
In addition, revitalising main streets and regional town centres through effective urban design brings a range of benefits: • makes towns more inviting, vibrant and interesting, which attracts people to visit and live in the area; • creates new or improved places for people and communities to gather, meet and interact that are safe, enjoyable and equitable; • encourages walking to get to, and around, the town centre, which reduces car dependence; • creates a more diverse mix of uses and activities meeting the needs of locals and visitors; • attracts businesses and visitation through improved building and shopfront presentation which boosts economic activity; • leverages natural, historic and cultural assets, to reinforce the character of town centres; • supports new development, employment, business opportunities and prosperity by concentrating density and commercial activity.
Image 12. Albury Entertainment Centre
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The tradition of cultural infrastructure renewal in NSW has often been based on the redevelopment or conversion of Civic Centres and/or Town Halls into cultural infrastructure, mainly performing arts centres and theatres. This has meant that on most occasions the infrastructure is located in central positions.
The following table outlines the distance from the CBD for the main regional theatres in NSW.
Table 4. Regional theatres in NSW - Distance from CBD Venue Distance from CBD 0km to 1km to 2km to 3km to 4km to 1km 2km 3km 4km 5km Orange Civic Theatre X Bathurst Memorial Entertainment Centre X Dubbo Regional Theatre and Convention X Centre Albury Entertainment Centre X Cessnock Performing Arts Centre X Capitol Theatre X Wagga Wagga Civic Theatre X Jetty Memorial Theatre X Blue Mountains Theatre and Community X Hub The Glasshouse X Manning Entertainment Centre X Shoalhaven Entertainment Centre X Civic Theatre Newcastle X The Crossing Theatre Narrabri X Griffith Regional Theatre X Illawarra Performing Arts Centre X Lismore City Hall X Tweed Heads Civic and Cultural Centre X Byron Theatre X Saraton Theatre and Cinema Grafton X
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The chart below summarises the location of the 18 venues analysed in relation to the distance the venue is from the Central Business District. As can be seen by the chart, 14 of the 18 venues analysed are located within 1km of the CBD and only two venues are located outside of a 2km radius with one of those venues being the Jetty Memorial Theatre.
Figure 6. Regional Theatres - Comparison of distance from CBD Theatres in NSW - Distance from the CBD 16
14
12
10
8
6
Number of of Number Venues 4
2
0 Within 1km of CBD 1km to 2km of CBD 2km to 3km of CBD 3km to 4km of CBD 4km to 5km of CBD Distance from the CBD
Number of Venues
Feedback from the majority of stakeholders consulted to date indicated a preference for the location of a performing arts centre to be in the Coffs Harbour City Centre.
Image 13. Civic Theatre Newcastle
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Costing ranges The cost of developing a performing arts centre varies significantly depending on a number of factors including Size, Location, Design, Number of venues within the centre – theatre, recital hall, black box theatre, studio etc., whether the facilities are co-located and the range of complementary and supporting commercial activity included.
Table 5. Significant cultural infrastructure construction in the past 10 years DATE CENTRE NAME VENUE TYPE NUMBER COST COST TO COMPLETED OF SEATS BUILD IN 2018 $ 1997 Mandurah Performing Arts Centre Theatre 777 $35m $76.8m Studio 144 Rehearsal Studio 120 2008 Shoalhaven Entertainment Centre Auditorium 1,200 $27m $35.4m 2009 Wangaratta Performing Arts Centre Theatre 512 $8.5m $10.9m 2009 Melbourne Recital Centre Recital Hall 1,000 $128m $164.5m 2009 The Glasshouse, Port Macquarie Theatre 588 $44m* $51.4m Studio 2010 Dubbo Regional Theatre & Theatre 500 $18m $22.2m Convention Centre 2010 Albany Entertainment Centre Auditorium 620 $70.0m $86.5m Studio 220 2011 The Cube, Wadonga Theatre (Flexible) 410 $11.6m $14.0m Standing 800 Indoor/outdoor 1,600 2011 The Concourse, Chatswood Theatre 500 $171m $207.2m Concert Hall 1,000 Events Centre 500 Rehearsal Rooms x 2 300 Library Retail 2012 Mildura Arts Centre Theatre 444 $8.7m $10.3m 2015 Ulumbarra Theatre Theatre 951 $25.8m $28.3m 2016 The Art House, Wyong Theatre 500 $12.7m $13.5m 2016 SunPAC Theatre (Flexible) 300 $15m $15.9m 2017 Red Earth Arts Precinct Theatre (Flexible) 476 $56m $57.5m Rehearsal Rooms x 2 Library Amphitheatre 1,700 2017 Bunjil Place Theatre 800 $125m $128.4m Art Gallery Studio 200 Function Space 350 Library Customer Service 2018 Cairns Performing Arts Centre Theatre 941 $71.0m $71.0m Studio 400 2019 HEART (Hub of entertainment, arts Theatre 450 $10m N/A & regional touring) Margaret River 2019 The Coliseum Theatre Theatre (Flexible) 2,000 $100m N/A Standing 2,200 Banquet 600
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The previous table outlines a number of new performing arts centre infrastructure projects that have been completed in the past 10 years. Mandurah Performing Arts Centre has also been included for comparison purposes. The costs are for new infrastructure and does not include venues that have been upgraded or changed significantly from their original form which there are numerous examples throughout Australia. The list also does not include any theatres or studios that have been built by schools particularly private schools over the past ten years which are numerous, in the order of 100 across Australia.
The table also includes a 2018 cost figure which is based on the addition of the rate of inflation to each of the projects.
Based on the previous table it is estimated that the cost of a performing arts centre would be between $50m – $60m (2019) depending on the final scope and the quantum and location of parking. Underground parking will add approximately $5m to $10m to the project depending on the number of car spaces supplied.
These costs have been based on the following:
ITEM COST Construction cost $40M Project management, architects and consultants at 10% $4M Allowance for front of house and associated retail $5M Back of house/rehearsal and smaller performance spaces $4M TOTAL $53m
Parking 150 spaces (estimate) $6.75M
The construction cost includes an allocation of approximately $5m for technical infrastructure including a flytower or theatrical rigging system and associated equipment for the delivery of productions including: • Lighting; • Sound; • Audio-visual; and • Staging.
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Next steps Review of documentation The review of relevant documentation has occurred and is completed.
Venue analysis and benchmarking Hawkridge Entertainment Services have reviewed a number of venues across Coffs Harbour and spoken to the Managers/Coordinators of those spaces. Indoor venues reviewed include: • Coffs Harbour Regional Conservatorium; • Jetty Memorial Theatre; • Cavanbah Centre; • Life House Church; • Sawtell RSL – Princess Room; • Showgrounds Exhibition Hall; • Showgrounds Norm Jordan Pavilion; • Sportz Central; • Pacific Bay Resort; • Coffs Harbour Racing Club; • Coffs Harbour Education Campus (Lecture Theatre D); • C.ex International Stadium; and • Branson Centre (Bishop Druitt College).
Indoor venues still to be reviewed are as follows: • Aanuka Beach Resort; • Opal Cove Resort.
Outdoor venues that have been reviewed are as follows: • Botanic Gardens; • Jetty Foreshores; • Park Beach Reserve; • City Hill; • Brelsford Park; • Coffs Harbour Education Campus (CHEC); • South Coffs Island (Quarry); • C.ex International Stadium; • Showgrounds.
Outdoor venues still to be reviewed are as follows: • Coffs Harbour Racing Club; • Yarrawarra Aboriginal Cultural Centre.
Discussions have also occurred with a number of other regional performing arts venues however further information is still required and more analysis of the information collected needs to be undertaken including: • Ascertaining the components of the operational costs to ensure comparison is fair; • Completing outstanding discussions with regional performing arts venues.
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Stakeholder and Community Engagement
There will be opportunities between December 2019 and March 2020 for community members to provide feedback on community and cultural facilities, including their views on performing arts spaces in an online survey available via the Have Your Say platform.
Further consultation and information sessions are planned for February and will be an opportunity to test the preliminary findings and receive feedback on the recommendations.
The following figure outlines the proposed timetable for engagement.
Sept • Stakeholder engagement commences; Have Your Say project page opens. 19
• Venue and site visits underway including stakeholder interviews Oct 19
Nov • Data analysis and preliminary findings developed 19 • Perfoming Arts Issues and Options Discussion Paper targeted to Council Dec 19 • Online survey opens • Have Your Say Project Page available for information, feedback and to Jan 20 complete survey
• Community consultation and information forums planned Feb 20 • Survey closes March 20 • Feedback provided back to sector and community stakeholders • Final Issues & Options targeted to report and make recommendations to April Council 20 • Stage 2a) Issues & Options for Performing Arts Spaces completed and if May adopted by Council Stage 2b) Feasibility commences. 20
Demand – Drivers for usage Interim analysis of demographic, sociographic and economic trends has occurred however further analysis particularly of economic drivers is required prior to the delivery of the final report.
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Appendices Appendix 1 – Historical Timeline
Historical Timeline including Coffs Harbour Performing Arts
1904 School of Arts opens
1928 RSL Jetty Memorial Theatre built
1960 School of Arts closes
1963 Council builds Civic Centre; Coffs Harbour Library opens a year later as part of the Civic Centre
1965 First Woolgoolga Library opens
1973 Council joined the NSW Regional Art Galleries Association
1980 Coffs Harbour District Historical Society Museum opens at 189B Harbour Drive
1984 Council resolved “to establish a Regional Art Gallery”
1986 City Hill Land purchased by Council with a covenant
1988 Concept plans developed for Henry Kendall Arts Centre (Government Architect) at City Hill land (includes Library, Gallery, Museum, theatre/auditorium, music centre and community arts centre and future options that include civic administration, hotel, visitor information and convention centre)
1991 Property swap (Ex Services and Council) to enable Coffs Harbour Education Campus to be built
1994 Development application and concept plans, scale and contour site models developed for City Hill Arts Centre (Philip Cox Richardson Taylor & Partners) that include a Gallery, gardens, community hall (now Bridge Club), mixed enterprise/residential
1994 Development application submitted for regional gallery, artist studios, Bunker Gallery and community hall only. The Bunker Cartoon Gallery (now the National Cartoon Gallery @ the Bunker) and community hall (now Bridge Club) were constructed, alongside access roads and associated building services (approximately $750,000 expenditure). A subsequent application was made to subdivide the Bridge Club site which was subsequently sold.
1995 Development Application approved for City Hill Arts Centre including Regional Gallery, 3 Artists’ Studios, community hall and Bunker Cartoon Gallery
1995 Coffs Harbour Education Campus opens. University students, staff and administration move from City Centre to campus. D Block theatre (500 seats) is included on campus.
1996 Toormina Library opens – initially in shopping centre, then Minorie Drive
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1996 Bunker Cartoon Gallery officially opens, managed and run by Bunker Cartoon Gallery Inc.
1996 Civic Centre demolished – Ex Services Club Auditorium extended
1997 Costs estimated $24m for expanded City Hill concepts (included Council Chambers and administration offices, art gallery, library, theatre, museum and commercial/residential wing)
1998 Purchase of additional City Hill land
1998 Site plan for Coffs Harbour Cultural Centre City Hill (Vil Brickman Architects)
1998 Grant funding unsuccessful City Hill concepts and development
1998 Company approaches Council interested to develop lower section of City Hill for a retirement village
1998 Community submissions for City Hill Concept and Consultation report
1998 Coffs Harbour City Centre urban design and planning studies undertaken
1999 Attempts to move the Central Library to City Hill received opposition from community members due to accessibility (concerns for walking and access to shops) and lack of transport options. Environmental concerns were also raised.
1999 City Centre Strategic Planning Committee prepares plans for civic and entertainment facilities in City Centre. Report to Council on business plans for City Library, Entertainment Centre and Regional Art Gallery.
1999 Rigby House purchased
2000 Coffs Harbour City Centre Strategic Plan: ‘a people place’ adopted by Council to create the City Centre as a commercial, cultural and civic heart of Coffs Harbour
2000 Civic Entertainment Centre development team formed and City Hill Development Advisory Committee disbanded.
2001 Assessment of Current Venues and Proposed Venues (for Performing Arts Space), by Pegasus Venue Management
2001 Concept plans developed for cultural facilities at Fitzroy Oval not progressed due to Aboriginal significance of area
2001 Central Library and Regional Gallery open at Rigby House – planned to be temporary basis only
2002 Council successfully applies for grant to develop a Performance Venue/ Civic Pavilion at Coffs Harbour Showground- later opposed by local residents group and concept not progressed
2003 Jetty Memorial Theatre opens after major renovations
2003 Concept plans developed for a Multi-Functional Arts/Performance Centre at Brelsford Park
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2005 Draft Cultural Precinct Concept Plan for Brelsford Park: Art Gallery, Entertainment Centre, Senior Citizens/ Multipurpose Centre, City Park and Admin building released
2006 Council takes on management of Bunker Cartoon Gallery
2006 Council Arts & Cultural Development Plan 2006-2009 (incorporating Creative Industries Development) adopted with input from Towards a new Cultural Plan: The Arts and Cultural Strategy Consultancy Report
2006 Plans for Multipurpose Centre at Brelsford Park placed on public exhibition
2007 Large part of the southern (lower more cleared) area of the site rezoned for medium density residential development.
2008 Concept Master Plan for Brelsford Park: A New Vision exhibited publicly and adopted 2009
2009 Major flooding delayed work on Brelsford Park.
2009 Regional Museum closed due to flooding
2009 Coffs Harbour Regional Conservatorium purchases permanent site at Bray Street, Coffs Harbour. Council provides assistance with DA fees and later on through Council Community Capital Infrastructure grant funding.
2009 Council commences consultation Coffs Coast Culture: You can make a difference! to inform a revised cultural strategic plan.
2010 Council adopts Coffs Coast Culture Community Consultation Report and resolved to pursue grants, and requests a report to identify site, construction costs and design estimates for an Entertainment/Performing Arts Centre (850 seats)
2010 Development application for the subdivision of City Hill site. The application was not acted upon and lapsed in 2015.
2010 215A Harbour Drive (former Police Station and Court House) purchased by Council for Regional Museum
2010 Council report notes extensive consultation has been undertaken over a number of years in relation to a performing arts facility and makes recommendation to remove the performance space from the Brelsford Park Masterplan. Council resolves to quarantine City Hill site as future site of a performance space and develop a Master Plan for overall use of the site.
2011 Council report notes that City Hill location may now not be the most favourable location for a performance space. Council resolved skate park location and to consider including $20m in the Long Term Financial Plan for provision of a Performing Arts Centre, including developing a business case for the preferred site and review the Brelsford Park Master Plan and Plan of management.
2012 Coffs Harbour City Council CBD Commercial Brief – resolved 6 guiding principles to guide City Centre/CBD master planning processes including that the Council policy is for the primacy of
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the CBD to be maintained, where possible and practical co-location principles are to be applied, Brelsford Park Precinct be retained as a significant social family, cultural and community recreation space, that council resolve not to quarantine the City Hill site for an Entertainment Centre and Art Gallery, that 23-31 Gordon Street be disposed of.
2012 Development and adoption of the Coffs Harbour City Library Strategic Plan 2012-16.
2013 Coffs Harbour City Centre Masterplan 2031 Adopted - outlining a centralised cultural focus for the City Centre, including an Entertainment Centre. Lower City Hill site and the Gordon Street site remain as options for a future Entertainment Centre.
2013 A rescission motion for the Coffs Harbour City Centre Masterplan 2031 resolution was carried. The amended resolution that was carried removed reference to both Lower City Hill and Gordon Street.
2013 Coffs Harbour Cultural Policy and Cultural Plan 2013-2016 adopted
2013 Adoption of the Jetty Memorial Theatre Strategic and Business Plans 2013-2018
2014 Council resolved to undertake estimated costings and associated community surveys regarding the provision of an Entertainment Centre, Central Library and Regional Art Gallery. Council resolved to note the survey results and to take further action once Council’s financial sustainability strategy had been finalised.
2014 Regional Museum opens at 215 Harbour Drive location
2015 Management of the Bunker Cartoon Gallery Inc. to Bunker Cartoon Gallery under license with annual subsidy from Council
2015 Council resolves to develop a Cultural Strategic Plan 2017-2022 and commence Performing Arts Centre Feasibility and Cost Benefit Assessment planning. Performing arts feasibility to include exploring options for public/private partnerships and assess existing venues for expansion or redevelopment opportunities.
2015 Council resolves to commence research and concept development for a new central library and regional gallery in the City Centre.
2016 Community consultation commenced around the needs and requirements for a new central library and gallery and the development of a new Cultural Strategic Plan. A Library and Gallery Planning Advisory Group (LGPAG) and Council project team were formed and undertook an assessment of eleven sites for the concept planning and detailed research for a new central library and regional gallery in the City Centre Masterplan area.
2016 Council resolved unanimously to endorse 23-31 Gordon Street site and to undertake a detailed precinct analysis and to investigate mixed and civic use of the site (in addition to the library and gallery) in order to maximise utilisation of the site, urban renewal and activation outcomes consistent with the City Centre Masterplan 2031.
2017 Cultural Policy and Creative Coffs - Cultural Strategic Plan 2017-2022 adopted. Council notes the commencement of the next stage of Cultural strategic planning process being Stage 2a) finalise issues and options analysis for future performance and/or conference venue(s) in Coffs Harbour that includes a Performing Arts Space.
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2017 In May 2017, Council endorsed the Precinct Analysis, Cultural and Civic Space project scope and budget to undertake project management, architectural services and community consultation to progress through the Concept Design Phase. The scope was confirmed to include a library and gallery (and further investigation of museum), Council customer service, Council staff accommodation and a multipurpose space (to be used as a Chambers when required). In the same resolution, Council resolved to allocate $75,000 to undertake studies, concepts design and preliminary budgets for cultural development on City Hill.
2017 Stakeholder consultation undertaken to inform scoping for concept designs for cultural development at City Hill
2018 Council applies for Stronger Communities Grant to upgrade Coffs Harbour Education Campus (CHEC) D-Theatre (500 seats) to improve performance functionality, equipment and upgrade community halls and DCP cinema equipment at Jetty Memorial Theatre.
2018 Development application approved for the expansion of the National Cartoon Gallery @ the Bunker.
2018 Coffs Harbour Regional Conservatorium upgraded Performance Space (part funded through Council Community Capital Infrastructure grant) opens (193 seats)
2018 Council undertakes community consultation for the Cultural and Civic space project around key features and components for 3 concept designs. In June 2018 Council resolved to proceed with project (including the museum in the scope) to the Schematic design phase. In September 2018 Council resolved to confirm the procurement and project approach to expedite the project and allocated a further $1.5million to fast track the design processes.
2018 Consultation process commences for development of draft Library, Museum and Gallery Strategic Plan
2018 Research and site analysis planning continues to inform possible options for City Hill cultural development and Stage 2A) Issues and Options for Performing Arts Spaces (Indoor and Outdoor)
2019 Concept design developed and development consent for Expansion of Jetty Memorial Theatre to include a Rehearsal and Community Space
2019 Council resolved to issue Bunker Cartoon Gallery Inc. a 20-year lease from June 2020. National Cartoon Gallery successful with $2.6m grant to from Regional Cultural Fund to extend gallery area
2019 Council resolved to progress the Cultural and Civic Space project by: 1. Allocating full project funding of $76.52mn, 2. Lodging a development application, 3. Disposing of the nominated properties, 4. Procuring the build through a two stage design and construct contract
2019 Draft Library, Museum and Gallery Strategic Plan 2020-2023 considered by Council and released for public exhibition.
2019 City Hill site analysis and scoping report targeted for Council consideration in late 2019
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2019 A Council report with interim findings from stakeholder consultation for the Stage 2 a) Issues and Options for Performing Arts Spaces (Indoor and Outdoor) research targeted for Council in late 2019
2020 Proposed further community consultation and testing of initial findings to finalise Stage 2a) Issues and Options for Performing Arts Spaces (Indoor and Outdoor) report and recommendations. Council to determine course of action whether to progress to Stage 2b) Feasibility stage.
2020 Community consultation continues for development of draft Community and Cultural Facilities Plan targeted to be completed mid-2020.
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Appendix 2 – Venue Hire Charges
VENUE (ABOVE 150 CAPACITY IN THEATRE SEATING HIRE RATES SEATING ARRANGEMENT) CAPACITY Coffs Harbour Regional Conservatorium 132 fixed Subject to variation, depending on seats + 30 event requirements removable seats Jetty Memorial Theatre 249 Hire for Performances Not for profit daily rate $465 General daily rate 10% Gross Sales (Min. fee $885.00) BreakFree Aanuka Beach Resort - Lagoon Room 240 Subject to variation, depending on event requirements Cavanbah Centre - Cavanbah Hall 200 Not for profit hourly rate Daytime until 5pm $16.50 Evening after 5pm $23.50 General Use hourly rate $50 Pacific Bay Resort – Reef Room 300 Hire rates can vary based on the parameters of the event Pacific Bay Resort – Charlesworth Room 600 Subject to variation, depending on event requirements Sawtell RSL - Princess Room 650 $200 Coffs Harbour Showground Function Centre - 580 $910 Exhibition Pavilion Coffs Harbour Showground Function Centre - 420 $770 Norm Jordan Function Rooms Sportz Central 386 fixed Subject to variation, depending on seats event requirements Coffs Harbour Education Campus - D Theatre 500 Daily rate (8 hours) $1200.00 Minimum rate (4 hours) $600.00 Coffs Harbour Golf Club - Auditorium 150 $200 Opal Cove Resort - Ballroom 550 Subject to variation, depending on event requirements Coffs Harbour Racing Club and Function Centre 500 $1500 – Merv Mercer Auditorium Coffs Harbour Racing Club and Function Centre 200 $880 – Jim Browning Lounge C.ex - Grand Auditorium 1000 Mon-Fri am $670 Fri pm - Sat $1020 Sun & Pub Hols $1340 C.ex - Auditorium 600 Mon-Fri am $390 Fri pm - Sat $580 Sun & Pub Hols $750 C.ex - Rainbow Room 250 Mon-Fri am $300 Fri pm - Sat $450 Sun & Pub Hols $610 C.ex - Blue Room 250 Mon-Fri am $240
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Fri pm - Sat $390 Sun & Pub Hols $560 C.ex - Entertainment Lounge 200 Mon-Fri am $240 Fri pm - Sat $320 Sun & Pub Hols $430 RED-C Events & Function Centre (Former Deep- 250 Four-hour blocks: $1500 ex GST Sea Fishing Club) - Harbour Room Bishop Druitt College – The Branson Centre 1200 Possibly not available for hire from 2020 onwards Woolgoolga Diggers (Woolgoolga RSL) - 200 $150 per day/evening, $25 hourly Auditorium rate C.ex Woolgoolga - Large Auditorium 300 Daily rates Mon-Fri $360 Saturday $460 Sun and Public hols $560 Nana Glen Memorial Hall & Community Centre 150 $25 per hour, $100 maximum for full day hire
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Appendix 3 – Common Performing Arts Terminology
Glossary of Selected Theatre Terms Acoustics The quality of sound in a given space, measured and analysed by its clarity, loudness, liveliness, reverberance, echoes, dynamic range, envelopment, spaciousness, warmth and silence or noise control rating. Apron That part of the stage floor which projects forward of the proscenium toward the audience. Also known as the forestage. Arena Theatre Theatre-in-the-round, where the audience surrounds the stage. Backdrop A suspended canvas or velour panel extending the full width of the performing area and providing the background for a performance. Backstage (Back of House, BOH) Usually used as a synonym for offstage but may include any space outside the stagehouse used by performers or crew. Barre A support used for ballet practice. Batten An overhead length of steel pipe to which scenery, drapery or lighting equipment is attached. Part of the rigging system, the battens run across the stage parallel to the proscenium and are suspended from the grid. Boom In stage lighting, a vertical length of pipe on which stage lighting fixtures are mounted one above the other. They are used most often for side lighting from the wings (tormentor booms) or for lighting from positions along the side walls of the auditorium (box boom). Border Overhead masking (curtains or canvas) that forms the upper edge of the stage picture and that conceals battens and other hanging equipment from the view of the audience. Also called "teaser." Border Lights Lighting fixtures used to light scenic borders and drops. Bridge A steel walkway usually placed parallel to the stage, from which lights may be hung or operators may work. Changeover Preparing a theatre for a new program or show by rearranging or changing scenery, props and lighting equipment. Control Console Unit used for remote control of the entire stage lighting system. Control room A room, usually at the rear of the auditorium, from which lighting, sound, and other control equipment is operated during the performance. Counterweight Rigging System A mechanical system for flying scenery. In this arrangement, lines from a rigging batten run up to loftblocks (pulleys) above a grid, and then across the top of the stagehouse to a side wall. The lines are then gathered at a headblock and directed down the side wall to the counterweight arbour. Crossover
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A corridor for performers and crew, hidden behind a backdrop or cyclorama or running behind the stagehouse, allowing passage from one side of the stage to the other out of view of the audience. Cue Lights A special lighting system to signal stage personnel to make an entrance or shift a scene. Curtain Line The line across the stage behind the proscenium which marks the position of the front curtain when it is closed. Cyclorama (or Cyc) A neutral background, often made of fabric, at the upstage limit of the performing area, generally used to represent sky. Dimmer An electrical device that regulates the flow of current to a lighting fixture, thus controlling the intensity of the lamp. Dimmer Bank/Dimmer Rack An array of stage lighting dimmers and associated wiring and circuit breakers contained in a cabinet. Downstage The front of the performing area; i.e., that part of the stage nearest the audience. Dress Circle A term referring to the first balcony. Drop A scenic element, usually made of canvas, running the full width of the stage. It is suspended from a rigging batten and stiffened at the bottom by pipe. Electronic Memory Lighting Control Lighting control system that stores in computer memory all cues and presets of a given stage lighting design. Fire Curtain (short for "Fireproof Curtain") An asbestos, fire-resistant fabric or steel curtain that, in the event of a fire, is automatically lowered to isolate the stagehouse from the audience. Flat A scenery panel usually constructed of canvas stretched over a wooden frame and painted. "Two fold" and "book flats" are free-standing and constructed in hinged sections. Fly Floor (or Fly Gallery) An elevated platform along the side wall of the stagehouse, from which stagehands operate the rigging system. Fly To raise or lower scenery and equipment above the performing area by means of a rigging system. Fly Space (or Flys) The space above the stage into which scenery and lighting equipment are raised out of sight of the audience. Followspot Movable spotlight that pivots both horizontally and vertically, allowing a stagehand to aim it at any portion of the performing area or to "follow" a performer. Footlights A row of lights at the downstage edge of the stage, usually concealed in a trough. Front-of-House (or FOH) Any part of the theatre, such as the auditorium or lobby, which is usually accessible to the public. Front- of-house lighting positions are located in the auditorium rather than in the stagehouse. Gallery 1. a raised audience seating area, balcony; a raised seating area at the side of an auditorium, often with only one or two rows of loose chairs;
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2. a raised work platform within the stage house, providing walkways for staff and operating and mounting positions for theatre equipment.
Grand Drape A fixed, decorative drapery hung at the top of the proscenium arch. Gridiron (or Grid) The openwork steel floor and associated structure placed above the stage to support the stage rigging and to provide access to it. Grid Height The distance between the stage floor and the upper surface of the gridiron. House The auditorium or seating area. House Curtain A decorative curtain between the auditorium and the performing area. It may be drawn open horizontally or flown vertically. Hydraulic Stage Lift An elevator system using fluid pressure to raise and lower the orchestra pit or sections of the stage. Intercom System The communications system through which the stage manager maintains voice contact with the production crew during a performance or rehearsal. Legs Masking curtains hung vertically and parallel to the sides of the proscenium. Legs define the sides of the performing area and hide offstage areas from the view of the audience. Lighting Portable stage lighting fixture usually mounted in position with clamps. Lighting catwalk A raised walkway, usually above the auditorium, with operating and mounting positions for stage spotlights. Lighting Plot A diagram showing the location of all lighting fixtures and equipment required for a given stage lighting design. Load-In/Load-Out Load-in is the process of unloading from trucks, unpacking and setting up all of the scenery, costumes, sound, lighting and other equipment required for a particular production or performance. Load-out is the reverse. Masking Stage draperies and flats used at the side limits of the performing space to conceal offstage areas and equipment from the audience's view. (See also Legs and Borders). Mix position A location within the auditorium, often temporary, from which a sound mixing console is operated during the performance Offstage Usually a synonym for backstage but can include any area beyond the wings and out of sight of the audience. On Stage Within the performing area; in view of the audience. Orchestra pit A depressed floor area immediately down-stage of (or partly under) the apron, where the orchestra plays during performances. The orchestra pit is often equipped with a lift or platforms to raise the floor level to form an extension of the audience seating area or a stage extension. Orchestra Rail
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The railing separating the orchestra pit from the audience.
Orchestra Shell A portable structure used on stage to surround an orchestra or smaller musical group. Curving behind the orchestra, the shell directs sound to the audience. Patch Panel Electrical switchboard allowing any branch circuit in the stage lighting system to be assigned to any dimmer. Performance Monitoring/Paging System A communication system that carries the sound of a performance to performers and crew backstage and permits the stage manager to make announcements to all backstage locations. Performing Area That portion of the stage seen by the audience. Presenting Organisation A venue that contracts with performing arts groups or producers. The "presenter" buys a pre-packaged show, promotes it, sells tickets, and guarantees a minimum fee or share of the box office receipts. Preset In stage lighting, the ability to set all dimmers at the levels required for a particular cue, in advance of executing the actual lighting change. Producer (Creative Producer) A person who is responsible for all aspects of a theatrical production including the development of the original concept, through various drafts of the script, to development workshops and into rehearsals. They may also have raised investment from backers, found the venue, hired the creative team and had a say in casting and a veto with the design. Promoter A person who assumes the financial responsibility of an event, festival or performance. Generally, refers to sporting, contemporary music and music festivals where there is minimal creative content. Producing Organisation An organisation that creates its own work for performance. Management typically includes an administrative and an artistic staff. Props (or Properties) Furniture, set decor and small, moveable items used onstage. Proscenium The wall which divides the stagehouse from the auditorium. The opening through which the audience views the stage is known as the proscenium arch. Rake The slope of the stage or auditorium and balcony floors. A raked stage slopes from the stage apron towards the rear wall of the stagehouse (hence the terms "upstage" and "downstage"). Repertoire A company's stock of works available for performance. Rigging Set/Line Set Rigging batten and all lines and associated equipment required for its operation. Scenery Dock A place on or adjacent to the stage where scenery is kept when not in use. Scenery Built or painted elements of the stage picture, including backdrops, flats and wagons. Scrim A loosely woven drop, opaque to the audience when lit from the front, yet nearly transparent when lit from behind. Side Lighting
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Lighting aimed at the performing area from the wings.
Sightlines Theatre geometry that plots an audience's view of the performing area. Analysis of the vertical and horizontal sightlines predicts the views from different seats in the house. Sound and light lock A vestibule that separates the auditorium from the lobby or circulation areas, to keep noise and light out of the auditorium; a similar vestibule separating the stage from back of house. Stage The performing area and those areas offstage in its immediate vicinity, all bounded by the stagehouse walls. Stagehouse In a proscenium theatre, the structure containing the performing area and offstage space. The term is generally reserved for theatres with full-height, counterweight rigging systems or low-grid rigging systems. Stage Left To the left of a performer as he faces the audience. To the audience's right. Stage Right To the right of a performer as he faces the audience. To the audience's left. Strike To dismantle and load out a production following its run or to remove a piece of stage equipment from its playing position. Tab Curtain A curtain which opens to the sides and up, creating a draped effect. Thrust Theatre A theatre where the performing area projects into the auditorium and is surrounded by seating on three sides. Tormentor Generally, refers to the first adjustable leg or portal downstage. Tormentor Boom Vertical steel pipe in the wings, to which stage lighting fixtures are attached for side lighting. Traps Removable sections of stage floor which allow access to the performing area from below. Traveler A curtain that may be drawn open or closed on horizontal tracks. Trim The height at which a piece of scenery, masking or other element is intended to hang above the stage floor. To level off a piece of hung scenery to the correct height for a performance. Upstage The rear of the performing area; that part of the stage which is farthest from the audience. Valence At the top of a proscenium arch, the fixed, decorative element framing the top of the border or grand drape. Vomitory In a thrust or arena theatre, a ramped or stepped tunnel giving performers access to the stage from beneath the seating area. Wings In a proscenium theatre, the offstage spaces located to the immediate left and right of the stage.
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Appendix 4 – Areas of a Theatre
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