AGENDA ITEM NO. 8
BRISTOL CITY COUNCIL CABINET
27 January 2011
Report of: Strategic Director - City Development
Title: Bristol Old Vic Overdraft Guarantee
Ward: Citywide
Officer Presenting Report: Kate Davenport, Change Manager City Development
Contact Telephone Number: (0117) 922 3293
RECOMMENDATION
That Cabinet agree to underwrite a bank loan of up to £500k plus fees and interest, in order to enable the completion of capital improvement works worth £19 million at Bristol Old Vic (BOV)
Summary BOV have secured capital funding from a variety of sources, including Arts Council England and BCC, to carry out a major redevelopment of the Theatre Royal and other parts of the BOV. In order to manage the cashflow issues that arise due to funders paying in arrears, the BOV have arranged an overdraft facility of £500k. The bank requires third party security for the overdraft, and BOV have approached BCC for a guarantee.
The significant issues in the report are:
Cultural activity delivers a range of benefits to the city (3.1)
BOV is a very important element in this (3.2)
A full redevelopment programme is under way (3.3)
For the work packages that are due to start in 2011, BOV are seeking a bank overdraft to enable them to manage cashflow (4.1)
BCC are asked to guarantee this overdraft, and legal advice is that BCC has the power to do so (4.2) - 1 -
The risk of the guarantee being called upon is very low, but if it were to happen, there is no budgetary provision to cover it (6.4)
BOV have agreed to indemnify BCC so that in the event that the bank called in the guarantee, BOV would be required to reimburse us at a later stage (6.10)
Policy
1. Culture and creativity are the key opportunity identified in the Bristol 20:20 Plan. This project offers the opportunity to greatly increase participation in theatre-related activity in future.
2. Consultation
Internal
Relevant legal, finance and other BCC officers Will Godfrey, Strategic Director, Corporate Resources - met with the BOV Finance Director on 10 June 2010
Cllr Barbara Janke, as Portfolio Holder for Resources, on 18 November 2010
External N/A 3. Context
3.1 Cultural activity delivers clear benefits to the city and its residents: A top-class cultural offer underpins a strong business economy Creative industries represent a significant growth sector in the city and the wider West of England area The strength of the Bristol cultural brand reinforces Bristol’s overall image as an edgy, interesting place to be Culture and heritage are key attractors in developing tourism into the city Engagement in cultural activity has demonstrable social benefits for individuals and communities, strengthening personal confidence and building cohesion
Creative education exposes young people to new ways of dealing with social and personal situations, and teaches them skills that have relevance in all walks of life
- 2 -
3.2 Within the cultural landscape of Bristol, the BOV is the most important producing theatre, with an all-star cast of patrons including some of the finest actors and actresses in the country. The Theatre Royal is arguably the most iconic cultural building in Bristol, and Tom Morris, the BOV Artistic Director, is renowned nationally and internationally for his innovative and thoughtful productions. The potential value that BOV brings to the economy and wellbeing of the city cannot be underestimated. The Bristol Theatre Royal is a unique Georgian theatre building, awarded Grade 1 Listed status in 2000
3.3 BOV has been planning a major capital refurbishment for a number of years, and has completed the first work package, which included vital repairs to the external fabric of the Theatre Royal auditorium and remedied some health and safety issues. The cost of this work package was £1.5 million. Work packages 2 and 3 are due to start in early 2011, and will involve the internal refurbishment of the Theatre Royal and extensive reconfiguration and remodelling of other performance and rehearsal spaces, technical areas and offices. The combined cost of these packages is £11.7 million. A final work package, to start in 2012, will improve the foyer, bar and cafe and the frontage onto King Street, at a cost of £6 million. 3.4 The attached two documents, “Bristol Old Vic Redevelopment Project - Summary of Project” (Appendix A) and “Bristol Old Vic Redevelops” (Appendix B) set out more detail of the work to be undertaken, the funding streams, and the strategic importance of BOV. In summary: The project enables a flexible approach that will re-energise the building and allow more activities to be developed at the same time, acting as a hub for the theatre sector in Bristol and regionally The works will allow an increase in education, participation and lifelong learning, and will enable bridges to be built into Bristol's many communities BOV feeds and drives creative enterprise, offering practice-based learning that covers artistic, technical, financial and managerial skills This project is a key element in the regeneration of King Street
4. Proposal
4.1 Throughout the duration of Work Packages 2 and 3 (between January 2011 and October 2012), there will be cashflow difficulties, as payment to contractors will need to be made in advance of funding being drawn down. The extent of the problem will vary throughout the period, but the shortfall is never expected to exceed £500k. BOV has arranged an
- 3 -
overdraft facility up to this amount with their bank, in a separate account from their regular transactions to allow clarity and segregation. The overdraft will finally be paid off in full on receipt of the last Arts Council England (ACE) payment, scheduled for October 2012. 4.2 The bank requires a third party guarantee for the overdraft, in the event that BOV is unable to draw down the full amount of its funding from ACE, and BCC have been asked to provide this guarantee. Legal advice is that BCC does have the power to enter into such an agreement.
5. Other Options Considered
5.1 Use of regular bank balance to mitigate cashflow problems:
In Work Package 1 this was possible, but with increasing volumes of activity and a requirement for greater stakeholder supervision a more clearly segregated system is needed. Showing the income and payments in a separate account is the best way to do this. To some degree it will still be possible to use unrestricted cash reserves to mitigate the extent of the overdraft, based on a monthly reconciliation between accounts. However the amount of free cash that BOV has is not static due to the nature of the business, which causes reserves to be depleted between February and August and then to be replenished between September and January. The quantum available in practice will range from about £50k to £200k.
5.2 Use of the building as security for the loan:
Not possible as the Theatre Royal is held in trust and Cooper's Hall is leasehold from BCC.
6 Risk Assessment
6.1 A risk assessment has been completed for this project and a summary of the major risks is detailed below.
6.2 The main risks of not agreeing to this course of action are as follows:- BOV is unable to find alternative security acceptable to the bank, and is therefore unable to go ahead with the refurbishment project due to cashflow difficulties. This would restrict the development potential of one of the most important cultural organisations in Bristol.
6.3 The main risks of agreeing to this course of action are as follows:- 6.4 Financial risk for BCC of up to £500k plus fees and interest, for which no budgetary provision has been made.
- 4 -
This risk is considered to be very low. However, it could occur for a number of reasons: BOV do not comply with funders' terms, resulting in one or more funders withholding money. The project overspends and is obliged to use some or all of the overdraft towards the capital costs. One or more funders is/are unable to honour their commitment due to unexpected change in their own financial position. This is a greater risk in the current economic climate than it might have been at other times, but is still unlikely. However, members should be aware that the ACE contract does allow for the withdrawal of funding in the event of changes affecting their spending plans. 6.5 State aid challenge from another organisation. This risk is considered to be very low, as the decision will not distort competition or affect trade between EU member states.
6.6 The action taken to mitigate these risks is:- 6.7 Withholding of funding: The lead funding organisation is ACE, and the well developed monitoring and control systems which they impose on all funded projects leave little room for deviation from the agreed plan. The kind of capital project funding that BOV are drawing down from ACE is routine and is always subject to a retention until the project is complete. The Colston Hall foyer project drew on the same funding programme and was subject to the same conditions. It is extremely rare that money is held back due to non-compliance, because the monitoring process during the course of the project normally throws up any concerns at a much earlier stage, when it is still possible to correct the problem. 6.8 Project overspend: The design of the work schedule limits spending growth to within contingency, and the working assumption is that exceeding the total budget is not an option. 6.9 Change of priority for funders: ACE's commitment to this project is extremely strong, to the extent that they have actively solicited additional funding bids over the course of the project development. It is therefore very unlikely that they will target BOV for capital spending cuts. 6.10 In the event of any of these situations arising, BOV have agreed to indemnify BCC for the sum of the guarantee. In other words, they would need to pay back any money paid by BCC to the bank, over an agreed period of years. 6.11 Detailed legal advice has been taken to understand the nature of the risks – see below. - 5 -
Equalities Impact Assessment
7 An Equalities screening is attached as Appendix C. While BOV are committed to achieving DDA compliance, further information is being requested relating to their programming proposals for the future. Environmental Impact Assessment 8 There are no environmental impacts, either negative or positive, associated with this proposal.
Legal and Resource Implications
Legal 1. The Council should be aware that there are three areas of potential risk that can be identified in the Council entering the Guarantee. First, the risk that the Council may be considered not to have the powers to enter the Guarantee, second the risk that the Guarantee may be considered illegal state aid, and third the financial risk of the Bank acting on the Guarantee. Advice is given on each risk.
2. It is advised that s2 of the Local Government Act 2000 provides the Council with the power to enter the Guarantee. The provision is sometimes known as the “Well-Being Power”. It is an adequate and sufficient power as the primary purpose of the action to enter the Guarantee is likely to promote and improve the well-being in the area, as is required by the legislation. Furthermore, the primary purpose of the action is not to raise money, nor is it explicitly prohibited, nor does it have any limitations placed upon it, on the face of other legislation.
3. In determining whether to use the powers granted under s2 the Council is required to have regard to its community strategy. The Council should therefore be aware that one of the stated aims of Bristol’s community strategy is to develop Bristol’s “cultural infrastructure”. This cultural infrastructure is stated within the community strategy to include the Bristol Old Vic. Accordingly, in entering the Guarantee the Council would be assisting in the development of the Bristol Old Vic, a stated aim of the community strategy. Regard of Bristol’s community strategy thus further strengthens the assertion that the Council has the power to enter the Guarantee under s2 of the Local Government Act 2000.
4. There is a risk that if the Guarantee came to the attention of
- 6 -
the European Commission, it may be deemed State Aid. On the face of it entering into the Guarantee could be seen as State Aid. Our view, which is supported by the State Aid Branch of the Department for Business, Innovation and Skills, is that it is possible to escape the state aid rules on the grounds that there is no impact on intra-Community trade as the audience for a regional theatre is drawn from the immediate locality. Nevertheless, the small risk exists that the Commission would not take that view.
5. Finally, there is the financial risk of the Guarantee being acted upon by the Bank if BOV is unable to discharge its obligations to the Bank due to the anticipated funding either not materialising or being insufficient in amount. . However, this risk is offset by an indemnity that has been negotiated with BOV. The terms of the indemnity have been agreed in principle that should the Bank act upon the Guarantee in circumstances which include any breach by BOV of its obligations to its funders such that anticipated funds are withheld by the funders and for any unforeseen budget overspend then BOV will indemnify the Council for its loss.
6. It is considered that whilst there are risks inherent in providing the Guarantee, these risks are sufficiently low to enable the Council to support BOV by entering into the Guarantee.
Legal advice given by: Alderwicks Solicitors and endorsed by Stephen McNamara, Head of Legal Services
Financial BCC are being requested to provide a bank guarantee of £500k against an overdraft facility that BOV requires providing cash flow support for their phase 2 refurbishment works. The BOV itself has insufficient assets to secure the overdraft facility, the freehold of the theatre being held in trust. The facility is being provided solely to cover Arts Council funding being paid in arrears after the expenditure has been made. The Council can terminate the bank guarantee at any time but obviously being timed to coincide with the full Arts Council funding being received by BOV (i.e. including any retention monies), this is anticipated to be October 2012.
BOV is offering to provide BCC with an indemnity against the bank guarantee that will provide for the overdraft to be made available for a specifically nominated capital account - 7 -
that will only be used for the receipt of grant & pledges and the payments of expenditure against phase 2 of the project. BOV will implement strict governance of the account for these purposes and allow full BCC access to account transactions.
The indemnity will also require BOV to indemnify the Council against any grant “malpractices “or shortfall in the receipt of the Arts Council funding.
Should the bank call in the overdraft, the Council in providing the guarantee would be called upon to repay the bank together with outstanding interest and charges. There is no provision within the Council’s budget to cover this eventuality and the amount would have to be provided from reserves
Financial advice given by: Mike Harding, Finance Business Partner, City Development
Land N/A
Personnel N/A
Appendices: Appendix A - Bristol Old Vic Redevelopment Project: Summary of Project Appendix B - Bristol Old Vic Redevelops
Appendix C - Equalities Impact Assessment screening
ACCESS TO INFORMATION Background Papers: None
- 8 -
APPENDIX A Bristol Old Vic Redevelopment Project Summary of project The Bristol Old Vic Redevelopment project will reinvent the building as a creative hub for live performance. It will create a high quality resource for artists and audiences with the capacity to develop ideas, talent and excellent theatre. Integral to the project is the recovery of the original Theatre Royal design qualities – qualities of intimacy which were appropriate in 1766 and are absolutely of the essence of contemporary theatre experience. This will be combined with the opening up of the rest of the building to more flexible and intensive use. Thus in redeveloping the building we will draw inspiration from the generations of artists and audiences who have gone before and create a vibrant centre of artistic exploration, exchange and expression. The result will be a major new asset for theatre in the UK and the appropriate setting for the 2016 celebration of 250 years of continuous theatrical adventure in King Street.
Project aims and vision The project will create a theatre that responds to the needs of the theatre community in the twenty-first century whilst respecting the historic fabric of the Grade I listed building. The development of the theatre, which took place in the 1970s, no longer possesses the infrastructure that is essential for artistic and financial health. Bristol Old Vic believes that the redevelopment of the theatre will immeasurably improve the quality of this resource providing an inspiring and vibrant complex for all participants and secure its use for future generations
Strategic importance of project The re-development programme will create more capacity and flexibility of spaces for rehearsal and performance. This will enable more projects to be in development at the same time, originated by Bristol Old Vic and by others. This will create a natural ferment of ideas and creative exchange, making Bristol Old Vic a hub for theatre artists and audiences that will regularly feed talent into Bristol’s theatre sector as well as the wider regional and national theatre ecology. Bristol Old Vic has a pivotal role to play in establishing and sustaining the open and ambitious performance sector in the city envisaged in a 10 year strategy for the sector commissioned by Theatre Bristol, “Bristol Live- a Performance Culture of Ambition”. This describes the significant strategic contribution Bristol Old Vic can make to the theatre making community in Bristol and the region and its potential impact on the lives of individuals, communities and the wider civic and economic life of the city. 1. Re-energise a unique theatrical building to become a shared civic space where conversations are encouraged and where difference can be articulated and acknowledged. As Bristol Old Vic’s artistic, learning and engagement programmes continue to take off in the next few years, we will work with audiences, artists and staff to re-define the function and role of a regional theatre so that our historic building is relevant to Bristol in the 21st century and position live performance as a focus for public debate and deliberation. 2. Engage and empower individuals. Through education, participation and lifelong learning, performance can engage and empower individuals of all ages, including the most gifted and talented as well as the most vulnerable or disadvantaged. Developing this creativity is central to developing the life and employment skills of existing and future generations of Bristolians. At a strategic level, Bristol Old Vic will work with others to establish clear and accessible talent pathways, so that individuals of whatever age or background have an equal chance to develop their ideas and skills.
3. Regenerate and animate King Street. The creative regeneration of the city’s public spaces through cultural events, venues, and festivals remains an important challenge for Bristol. In collaboration with our neighbours Bristol Old Vic can make a unique contribution to the reinvention of King Street as a vibrant, creative hub of performing arts within Bristol. Our redeveloped premises will be open throughout the week from morning to late at night with facilities that include a café, bars, merchandise, function room and restaurant alongside performance and rehearsal spaces. Bristol Old Vic plans to create a Theatre Heritage Centre within the building working closely with the University Theatre Collection to provide a world-class visitor destination not just because of the richness of its history, but because the Bristol Old Vic is a living, working theatre. 4. Building bridges within and across communities. Performance is a powerful social driver and can inspire and support communities to develop a new sense of self-confidence by celebrating what makes them distinctive based on their specific history and geography. It can also help to foster understanding and appreciation of differences, building important bridges between communities and across generations. Bristol Old Vic will use its resources to understand and extend the potential of live performance to contribute to social cohesion in the city. 5. Feed and drive creative enterprise across the city. The creative industries are predicted to become a major high growth contributor to the UK economy over the next 5 years according to NESTA. Performance skills have an important contribution in feeding and driving creative enterprise across the city providing a production line of talent as well as generating the “content” on which cross-media platforms depend. Bristol Old Vic will have an important role to play in the sub-regional creative economy as a vibrant site of practice-based learning covering the wide spectrum of skills sets required to create a live performance - artistic, technical, financial and managerial. 6. These changes will create an excitement and energy in the building which will add a different dimension critical to the overall success of Bristol Old Vic’s mission which is to make exceptional theatre with and for the people of Bristol. 7. Engaging people with the theatre on many different levels is also key to its future. Additional spaces will be incorporated into the building to create a variety of use. Education and rehearsal rooms will allow young people, students from the Bristol Old Vic Theatre School and theatre makers to use the spaces on a daily basis, and the addition of a Theatre Heritage Centre, which will be open to all, will establish links with the University of Bristol and will house historic documentation regarding the theatre. 8. These changes will create an excitement and energy in the building which will add a different dimension critical to the overall success of Bristol Old Vic’s mission which is to make exceptional theatre with and for the people of Bristol. 9. The project is very much about recovery, renewal, connectivity and openness, responding to and influenced by the energy and creative vision of the Theatre. The project will give the Theatre Royal the new lease of life which is much needed and deserved, not only in terms of Architectural merit and improvements to the Auditorium and buildiing overall, but also to its heritage status and the audience experience in this unique and key building in the theatre landscape.
Relationship of project to wider development Bristol Old Vic is made up of different buildings that were joined together in the 1970s development scheme, namely the Theatre Royal built in 1766 and the Coopers’ Hall built in 1744. Both were key buildings in King Street which is situated in the heart of the Old City.
1972 saw the completion of the current building which created a new energy in King Street for the next ten years. However this part of the city has declined over the past twenty years and to reverse this decline the area has been made a part of a major regeneration scheme by Bristol City Council. Queen Square which is adjacent to King Street has now been completed and there are plans to regenerate King Street with priority for pedestrians and cyclists.
Plans for the redevelopment of the front of Bristol Old Vic reflect these ideas and propose a piazza and performance area in front of the Coopers’ Hall. The plans also include improvements to the technical facilities in The Rackhay which will no doubt have a positive impact on the look of the back of the building and the surrounding area as a whole.
A £19.29 million scheme to redevelop Bristol Old Vic
May 2010
Contents
Executive Summary...... 3
Our Vision...... 5
Our Project ...... 9
Our Redevelopment ...... 13
Our Funding ...... 15
Appendix
i. History
ii. Ownership and Governance
For further information, iii. Patrons please contact iv. Get Involved Vicki Carver Development Director on 0117 907 2689 [email protected] or write to Bristol Old Vic King Street Bristol BS1 4ED bristololdvic.org.uk Reg. Charity No. 228235 Reg. Company No. 756007
1 ‘With Tom Morris at hand there’s nothing to stop Bristol turning into a powerhouse of British theatre.’
Juliet and her Romeo The Guardian, September 2009 Bristol Old Vic 2010 2 Executive Summary
Bristol Old Vic is thriving under new leadership and an extraordinary theatre is now being redeveloped.
We aim to create an internationally renowned theatre that is rooted in its community.
It’s a process that will be artistically driven, managerially achievable and financially sustainable.
Our plan is contingent on a redeveloped building.
The Grade I listed Bristol Theatre Royal is one of the finest examples of a Georgian theatre still in existence. It forms part of the magnificent Bristol Old Vic, which is being redeveloped to support our new vision.
Our plans include:
• Refurbishment of the Georgian Bristol Theatre Royal, built 1766.
• Refurbishment of The Studio Theatre, built 1970.
• Reinvention of the Paintshop as a flexible performance and rehearsal space.
• Creation of a new performance space in the side stage.
• Creation of a new Theatre Heritage Centre to provide a vibrant new academic and community resource.
• Expansion and upgrade of the current rehearsal space.
• Creation of a new rehearsal space.
• Refurbishment of Coopers’ loft providing a unique rehearsal, workshop or performance space.
• Remodelling of the technical block to include a new ‘get in’ area and lift improving access for sets, technical equipment and visiting companies.
• Extensive remodelling of the dressing rooms and offices.
• Reconfiguration of the foyer, café bar and function facilities.
Our intention is to make Bristol Old Vic fit for purpose in the 21st Century.
In doing so we’ll ensure compliance with Disability Discrimination Act regulations, whilst not disturbing the significant heritage aspects of the building.
The total cost to redevelop Bristol Old Vic is £19.29m, and to date a total of £10.5m has been raised (£6.1m from Arts Council England, £1m from Bristol City Council and a further £3.4m from trusts, companies, community groups and individuals).
We are in need of a further £8.8m, and ask for your help.
3 ‘Original intelligent and funny…Hansel and Gretel is on another level’
10/10 Bristol Evening Post
Hansel and Gretel Kneehigh Theatre 2009
4 Our Vision
In September 2009 Tom Morris and Emma Stenning took up their new leadership of Bristol Old Vic and put in place a bold vision for its future:
‘To delight, surprise and inspire the people of Bristol with excellent live theatre in an environment of creativity, welcome and adventure.’
Our new approach is three-fold.
1. To welcome world class artists to make work in response to the building and city
Bristol Old Vic is cherished by theatre makers the world over. Artists who could work anywhere in the world are flocking to Bristol to explore new shows conceived for our unique auditorium and this vibrant city. We have invited, among others, Catherine Johnson, Caryl Churchill, Richard Eyre, Phylidda Lloyd, Bijan Sheibani, Emma Rice, Rufus Norris, Siân Phillips, Tom Hollander and David Warner to be inspired by our building and city. We aim to give them a creative freedom that will catalyse their most imaginative work.
• Bristol Old Vic will be recognised as a place to experiment, innovate and push artistic boundaries – an originator of performances of the highest quality.
• This will create an audience that is growing in number and diversity.
2. To develop the work of artists and companies based in the region
Bristol is a cultural magnet, a thriving creative community bursting with potential. Our history and position gives Bristol Old Vic great influence upon the local performing arts scene and an extraordinary opportunity to engage with that community. We aim to support and develop an effective, living model for nurturing local talent.
• Bristol Old Vic will help local artists find and clarify their voices so that they achieve their potential nationally and internationally.
• This will bring artists and audiences into the building to make, see and share new work, and encourage an open dialogue between our audience and the creative community.
5 ‘I am overwhelmingly privileged to be a part of such an amazing company of talented leaders, directors and young people, we are all so very lucky!...’
Joey Hickman, Young Company member 2010
Two Bristol Old Vic Young Company 2010
6 3. To play an essential role in the region by offering a diverse range of opportunities in education, outreach and community projects
Bristol Old Vic has a responsibility to invest in and demonstrate the value of culture in the lives of the people of Bristol and beyond. We are committed to developing our audience, and making a meaningful connection between them and their theatre. We aim to reach out to these wider communities through a creative programme of Education, Outreach and Community Projects.
• Bristol Old Vic will work with extraordinary artists to develop a programme of non- professional participation.
• We will deliver creative projects that reflect the true diversity of our city to Bristol and the surrounding region.
• We will increase the diversity and reach of our Young Company, an ensemble of performers aged 7 – 25 who work with professional artists to make work driven by theatrical curiosity.
7 ‘Bristol Old Vic was the first professional theatre in which I appeared. It is also the most beautiful theatre. I am honoured to be a Patron and will happily and enthusiastically lend my support.’
Sir Patrick Stewart, OBE
Bristol Old Vic Actor and Patron
8 Our Project
Bristol Old Vic is a unique asset; a cherished venue that is part of the national theatre landscape.
The redevelopment that took place in 1970 no longer delivers the infrastructure required of a venue in the 21st Century. Our new project approaches the building with one defining philosophy: flexibility. We believe that our plans will enable a broader range of activity, with stronger artistic and financial outputs. Our redevelopment is designed to deliver on the needs of a producing theatre, reinvented as an engine-house of live performance and origination.
We will provide a number of additional spaces that can be used for performance, rehearsal, training, professional development and commercial use. The extended public spaces will be reconfigured and will provide improved access to all the building’s facilities, fully complying with Disability Discrimination Act regulations.
Our plans will incorporate energy-saving and environmental solutions wherever possible.
The Bristol Theatre Royal
The Bristol Theatre Royal is among the most beautiful auditoria in the world. Just stepping through the door takes your breath away. A year of exploration from a skilled and dedicated heritage team has uncovered original features, and we’re thrilled at the potential this now offers our redevelopment. The Bristol Theatre Royal will be refurbished with flexibility in mind, so that the audience/actor relationship can adapt to meet the needs of a specific show, while keeping the space fresh and surprising. Architect Thomas Paty created a theatre of intimacy and perfect acoustic, one that put the actor right at the heart of the horseshoe auditorium, within touching distance of the assembled audience; exactly the relationship that today’s theatre makers long for. The designs for the auditorium will recapture the original ‘thrust’ staging, while introducing the capability for different stage configurations. The intimacy of the auditorium will be improved by reconfiguring and replacing the current seating, providing greater comfort and better sightlines for the audience.
9 ‘Everybody knows that the Bristol Old Vic is old, rare and beautiful. What they might not know is that it’s one of the best places in the world for actors, directors and writers to put on plays and for audiences to see them.’
Sir Richard Eyre, CBE Actor and Patron
The Bristol Theatre Royal auditorium roof space, showing original rooms, ventilation system and the ‘Thunder Run’ an early sound effect. Production Facilities
Bristol Old Vic has always been a producing theatre, and our production department consists of carpentry, metalwork, wardrobe, props, scenic painting, lighting and sound. We plan to relocate our production team to a large workshop at Albion Docks, which is leased from Bristol City Council at a peppercorn rent. Bringing the individual departments together under one roof to form a specialised production unit will enable us to more efficiently deliver our own productions, as well as offering these skills to other creative industries and the wider Bristol community.
At the theatre, a new ‘get-in’ area will provide companies with easy access into the performance spaces, and a new lift to all levels will improve access throughout the back of the house enabling equipment to be moved and shared between the spaces.
We will also be improving and expanding our rehearsal spaces, so that we can welcome more artists to spend time with us exploring their ideas and creating work.
Public Spaces
Our redeveloped building will be much more accessible to the public. The facilities will be expanded and upgraded to include contemporary, friendly café bars and modern front-of-house areas. Digital potential will be maximised by incorporating wireless internet access, digital screens and projections that can be used for promoting in-house productions and services.
The creation of modern function spaces with computer facilities will allow us to cater for corporate clients by hosting meetings, conferences, and hospitality events, developing new revenue streams to the organisation. Coopers’ Hall will once again be stunning space for banquets, weddings, and a variety of different performances and semi permanent exhibitions. Corporate clients will also have the opportunity to work with theatre practitioners, in professional rehearsal spaces, on a range of workshops and practical sessions.
Theatre Heritage Centre
The history of the Bristol Theatre Royal, when combined with our ongoing activity, provides for a unique educational resource. It’s one that we’ll develop as an engaging visitor experience, using digital technology to articulate the changing role of theatre in contemporary society.
Our online platform will include the ability to watch performances streamed over the internet, a virtual tour of the redeveloped building, and a wide collection of information and images from our archive. We’re also working with the Technology Strategy Board to advance ‘Locative Media Technology’ so that we can make and transmit site specific audio broadcasts within the building that will be receivable over a headset plugged into your mobile phone. Over the coming years we’ll be collecting memories from our audience, young and old, new and faded, and recording them in the location of their recollection. The memories will forever live in their particular space, to be broadcast, discovered and enjoyed by our audiences of the future.
11 Proposed phasing strategy for the redevelopment project, showing restricted access. Costing Details of our Redevelopment
Our project has been split into four work packages so that we can complete specific areas of the building separately, and keep functioning as an organisation throughout the scheme.
The overall budget for the redevelopment is £19,289,909.
Work package 1 has been completed, and included vital repairs to the external fabric of the Bristol Theatre Royal auditorium, and replacement of fire escape stairs and fire exit doors. The total cost for this package was £1,575,161.
Work packages 2 and 3 will commence in October 2010, and will include:
• Refurbishment of the Bristol Theatre Royal including re-seating to improve sightlines and comfort, and the installation of a misting sprinkler system.
• Reinvention of the Paintshop as a flexible performance and rehearsal space.
• Reconfiguration of the side stage to create a flexible performance space.
• Extensive remodelling of the dressing rooms.
• Creation of a new Theatre Heritage Centre.
• Remodelling of the technical block to include a new ‘get in’ and lift improving access for sets, technical equipment and visiting companies.
• Extensive remodelling of the offices.
• Expansion and upgrade of the current rehearsal space.
• Creation of a new rehearsal space.
• Refurbishment of Coopers’ loft providing a unique rehearsal, workshop or performance space.
The combined total cost for work packages 2 and 3 will be £11,714,748.
Work package 4 will commence in 2012 and will include:
• Reimagining Bristol Old Vic’s architectural overture to Kings Street and beyond.
• Reconfiguration of the foyer, café bar and enhanced function area in Coopers’ Hall.
• Ensuring compliance with Disability Discrimination Act regulations.
The total cost for work package 4 will be £6,000,000. Full details are available on request.
Project status
Planning permission was originally granted in April 2007 and permission to extend this application was granted in April 2010. Amendments to the planning application for work packages 2 and 3 will be submitted in June 2010 with a new planning application for work package 4 submitted in October 2010.
13 ‘I have a vested interest in Bristol Old Vic being restored to its full glory. I want other young people, from any and all walks of life, to have their new work staged in the magnificent setting of the Theatre Royal, and feel the magic that I have felt.’
Kwame Kwei-Armah Writer, Actor, Director, Patron
A new performance space will be created in the Side Stage area. Our Funding
Funding requirements
The total cost of the redevelopment of Bristol Old Vic is £19.29m.
To date a total of £10.5 million has been raised from donations and pledges:
• £6.1m from Arts Council England
• £1m from Bristol City Council
• £3.4m from trusts, individuals, companies and community groups
A further £8.8m is needed to complete the full redevelopment.
Funding sources
Arts Council England – we have made two successful applications to ACE, and have been awarded capital grants totalling £6.1m, in addition to our annual revenue grant of £1.1m.
Bristol City Council – we have secured £1m from BCC, and discussions continue further to support the capital project, in addition to our annual revenue grant of £274,000.
Heritage Lottery Fund – we have submitted a Stage 1 application to HLF, and continue to work with funding officers to secure a significant grant in support of our project.
Regional Development Agency – we are working to secure funding from the RDA in recognition of our contribution to Bristol’s growing status and impact as a core city of international acclaim.
Trusts and Foundations – we have made a number of successful applications, and we continue to make approaches to appropriate funds.
Major Gifts – we have received a number of significant donations, and we continue to identify and cultivate the individuals who we believe might be interested in making a major gift. We have the support of over 70 high profile Patrons, including Dame Judi Dench, Daniel Day-Lewis and Sir Ian McKellen, many of whom have offered financial support.
Corporate Support – we are working closely with GWE Business West to develop relationships with our local business community through bespoke sponsorship opportunities.
Events and Public Fundraising – we are planning a number of high-profile events involving our Patrons, and will launch our public campaign this summer under the leadership of one of our most recognisable (and Oscar- laden!) alumni.
15 ‘Bristol Old Vic was the first theatre I fell in love with. My grandmother had her name on a seat, presumably from the theatre’s 1970s’ refurbishment, and proudly took me as a child to sit in it. I am still overwhelmed with childlike enthusiasm at one of the marvels of the British theatre from this seat. What appeal could be more important than allowing this thriving theatre to gleam and sparkle once again?’
Stephen Daldry, CBE Seat experimentation project Film & Theatre Director and Patron Current and Target Income
The table below lists the sources to be approached to achieve the funding:
Donations/Pledges Predicted additional to date income
Arts Council England £6,100,000
Bristol City Council £1,000,000 -
Heritage Lottery Fund - £3,000,000
Regional Development Agency - £1,000,000
Linbury Trust £1,000,000 -
Garfield Weston Foundation £500,000 -
Trusts and Foundations £491,000 £3,024,058
Major Gifts £1,050,890 £948,961
Corporate, Events and Public Fundraising £498,401 £616,599
Total £10,640,291 £8,589,618
Grand Total £19,229,909
17 ‘Having been assured for years that Bristol Old Vic was the loveliest theatre in the world to play in, I was inexpressibly delighted to be invited to experience this for myself. My months at King Street have been just about the most thrilling of my life in the theatre.’
Siân Phillips Actress
Bristol Theatre Royal Façade canopy, right late 19th Century History of the Bristol Theatre Royal and Bristol Old Vic
In 1764 a group of 50 philanthropic merchants, lawyers and politicians had the foresight to join together and fund the construction of the first theatre within the city of Bristol. In return for the then princely sum of £50, each of these founders received a silver token admitting the bearer to the ‘sight of every performance’. Many of these original tokens are in existence today, and are still honoured by the theatre.
Construction began in 1764, to a design by the Bristol architect Thomas Paty, which was loosely based on London’s Drury Lane Theatre. His most significant alteration was to the shape of the auditorium - for the first time in Britain, the traditional ‘rectangle’ was replaced by a horseshoe - a layout which is now found across the nation and the world.
The theatre received its first Royal visitor within a month of its May 1766 opening, when the Duke of York ‘expressed his high approbation of the Structure and of the Performance’, but it would not obtain a Royal Licence until 1778, when it was granted by King George III.
In 1800 the ornate star-studded ceiling was sloped to allow for the construction of the gallery tier, and, apart from some repair work after World War II, the Bristol Theatre Royal remained largely unchanged until 1970 when leading post-war architect Peter Moro expanded the building to create the current Bristol Old Vic. By remodelling and incorporating the neighbouring Coopers’ Hall (designed by William Halfpenny and dating from 1744), the theatre was given the grand façade and foyer area it had always lacked. At the same time, the Studio Theatre (a flexible 150-seat black box space) and substantial backstage, technical and administrative facilities were constructed.
Today the Bristol Theatre Royal is held in trust for the benefit of the nation and serves as a rare example of a Georgian town theatre; its survival is all the more impressive in comparison to the 12–18 year lifespan of its peers. In recognition of the great architectural importance of the Theatre Royal itself, and Moro’s redevelopment, the entire Bristol Old Vic building was Grade I listed in 2000.
Throughout its history, the Bristol Theatre Royal has been home to many theatre companies - most recently, since its creation in 1946, the Bristol Old Vic Company, which now gives the building its name. A joint venture between the newly formed Arts Council, and the London Old Vic, it was a popular and successful attempt to place a residential theatre company of the highest quality in Bristol. The Bristol Old Vic Theatre School was originally part of the producing company, and though it is now a separate organisation, the two are closely associated.
Bristol Old Vic has relationships with well-known, talented actors, many of whom performed upon the Bristol Theatre Royal stage early in their careers – Daniel Day- Lewis, Jeremy Irons, Jane Lapotaire, Peter O’Toole, Pete Postlethwaite, Greta Scacchi, Patrick Stewart, and Susannah York to name but a few. The Company also has a tradition of fostering or showcasing the work of talented playwrights, including John Arden, Catherine Johnson, Kwame Kwei-Armah, Peter Nichols, Harold Pinter and Tom Stoppard.
Appendix i 20 Ownership and Governance
Bristol Old Vic Trust (Reg. Charity No. 228235)
Bristol Old Vic Trust exists for ‘the advancement of education of the public in the appreciation and understanding of the dramatic and musical arts in all their forms.’
Board Members Dick Penny Chair, Managing Director - ‘Watershed’ media centre Patrick Malahide Deputy Chair, Actor and Director Cllr. Peter Abraham Bristol City Council Cllr. Simon Cook Bristol City Council Jennie Gentles Director of Communications, ‘The Drum’, Birmingham Peter Gourd Accountant Martyn Heighton Director, National Historic Ships Catherine Johnson Writer for Theatre, Film & Television Laura Marshall Managing Director, Icon Films Jos Moule Partner, Veale Wasbrough Vizards (Lawyers)
Executive Team Tom Morris Artistic Director Emma Stenning Executive Director
Joint Project Board The Joint Project Board formed to oversee the development and delivery of the project Dick Penny Denis Burn Phil Davies Martyn Heighton John Iles Emma Stenning
The teams working together on this project include specialists in design and heritage as follows: Project & Design Team LCE andrzej blonski Architects Architects Davis Langdon LLP Project Managers, Costs Consultants and CDMC Structures One Ltd. Structural Engineers Hoare Lea Ltd. Electrical and Mechanical Engineer Charcoal Blue Ltd. Stage Equipment Engineers Acoustic Consultants Ltd. Acoustic Consultant Sarah Smith, elev8 Ltd. Project Director
Appendix ii Coopers’ Loft. This area will be reconfigured as a rehearsal space or as a creative space for the business sector
22 Ownership and Governance
Consultants Jane Toplis Associates Access Faber Maunsell Fire Consultants
Legal Osborne Clarke Lawyers
Heritage Team Peter Carey Donald Insall Associates Ltd, Conservation Architects Lisa Oestreicher Architectural Paint Researcher Julie Root Building Historian John Ward Ward & Co, Historic Building Conservators David Wilmore Theatresearch Ltd., Theatre Historian LCE andrzej blonski Architects Architects Giles Quarme Giles Quarme & Associates, Conservation Architects
The Heritage Team have been working with us for the past 18 months researching and learning about the Bristol Theatre Royal. The purpose of this work is to gain a better understanding of the Bristol Theatre Royal to inform the Architects and also to share this information with future generations. A number of reports have been commissioned and David Wilmore, renowned Theatre Historian, has co-ordinated the team’s activities.
The Heritage Team’s summary report will be submitted in June 2010. This report will help to inform the design team on decoration, seating and lighting, provide the information to enable the team to complete the conservation management plan for the building. In addition much of this research will be accessible in our planned Theatre Heritage Centre.
Research and Accessible Archive Jo Elsworth Director, University of Bristol Theatre Collection Heather Romaine Keeper Theatre Archives, University of Bristol Theatre Collection Professor Martin White Foundation Chair of Drama, Professor of Theatre & Provost of the Institute for Advanced Studies, University of Bristol Shirley Brown Researcher and Historian of Bristol Old Vic
We work closely with the University of Bristol Theatre Collection which holds most of the archive material of Bristol Old Vic and the Theatre Royal. Shirley Brown, Bristol Old Vic’s historian, is working with the Theatre Collection to develop an accessible archive which will include a narrative record of Bristol Old Vic’s productions, management, funding, changing status and social context. The archive will include records detailing the relationships between Bristol Old Vic and the Old Vic (London), Bristol Old Vic Theatre School, Bristol Old Vic Theatre Club, Bristol Theatre Royal Trust, and the University of Bristol.
Appendix ii 24 Patrons
Jane Asher Barbara Leigh-Hunt Peter Baldwin Philip Madoc Thelma Barlow Patrick Malahide June Barrie Miriam Margolyes, OBE Christopher Biggins Paul McGann Isla Blair Sir Ian McKellen, CBE Brian Blessed Nick Moran Jean Boht Bill Nighy Samantha Bond Adrian Noble Peter Bowles Richard Pasco Richard Briers, CBE Joanne Pearce Selina Cadell Neil Pearson John Caird Tim Pigott-Smith David Calder Dame Joan Plowright Simon Callow, CBE Pete Postlethwaite, OBE Martin Clunes Robert Powell Stephanie Cole, OBE Pauline Quirke Annette Crosbie, OBE Amanda Redman Bob Crowley Alan Rickman Stephen Daldry, CBE The Lord Brian Rix, KT CBE DL Daniel Day-Lewis Tony Robinson Dame Judi Dench, CH Linda Robson Sir Richard Eyre, CBE Patricia Routledge, CBE Edward Fox, OBE Greta Scacchi Julian Glover Prunella Scales, CBE Edward Hardwicke Jenny Seagrove Lady Pamela Harlech Simon Shepherd Gerald Harper Sir Donald Sinden, CBE Daniel Hill Sir Patrick Stewart, OBE Jeremy Irons Trudie Styler Catherine Johnson John Telfer Felicity Kendal, CBE Alan Titchmarsh, MBE VMH DL Kwame Kwei-Armah Marcia Warren Ian Lavender Timothy West, CBE Phyllida Law Susannah York
Appendix iii
Get Involved
There are many ways you can support our redevelopment, from making an individual donation to corporate sponsorship opportunities.
Rather than asking you to fill in an impersonal form, we would really like to talk to you personally about how you are able to get involved.
We can tell you more about the theatre, the redevelopment, our future plans and how we plan to recognise your support within the theatre.
If you are able to, we would be delighted to welcome you to the Bristol Old Vic, to show you round behind the scenes so that you can see at first hand why your support is needed.
Whether you are an individual, company, or a charitable trust, please contact the Development Office for more information:
Development Office Vicki Carver Development Director Lori Taylor Arnold Business Development Officer Emily Hodge Development Officer Marisa Vaughan Development Officer Sara Perrin Development Officer Erika Neumann Patron Co-ordinator
Bristol Old Vic King Street Bristol BS1 4ED 0117 949 3993 / extension 320 [email protected] bristololdvic.org.uk
Appendix iv Bristol Old Vic King Street Bristol BS1 4ED 0117 907 2689 bristololdvic.org.uk
Reg. Charity No. 228235 Reg. Company No. 756007
28 APPENDIX C
BRISTOL CITY COUNCIL Equality Impact Assessment – Part One - Screening
Part one of an EqIA – the screening – should be carried out at the planning and development stage of a policy, project, service, contract or strategy. This form should be used in conjunction with the guidance and as the first part of a full EqIA.
Name of policy, project, Guarantee of overdraft to support Bristol Old Vic redevelopment service, contract or strategy programme being assessed
Directorate and Service City Development, Cultural Services Kate Davenport, Service Director Economic & Cultural Development Names and roles of officers completing the assessment
0117 922 3293 Main contact telephone number
8 November 2010 Date
1 1. Identify the aims of the policy, project, service, contract or strategy and how it is implemented
Key Questions Notes / Answers Any actions needed? By whom? 1.1 Is this a new policy, project, service, contract or strategy or a New review of an existing one? 1.2 What is the main purpose of the To provide a guarantee to Bristol Old Vic's policy, project, service, contract bank in the event that BOV are unable to or strategy? repay an overdraft up to £500k
1.3 What are the main activities of The overdraft is to enable a full the policy, project, service, redevelopment of the Theatre Royal contract or strategy? 1.4 Who are the main beneficiaries? Audience, performers, and artistic, technical Whose needs is it designed to and office staff at BOV meet? 1.5 Which staff carry out the policy, Not applicable at this stage project, service, contract or strategy? 1.6 Are there areas of the policy or No function that could be governed by an officer's judgement? eg. home visits "where appropriate". If so, is there guidance on how to exercise this to prevent any possible bias/prejudice creeping in?
2 Key Questions Notes / Answers Any actions needed? By whom? 1.7 Is the Council working in BOV themselves are responsible for Partnership with other carrying out the redevelopment programme. organisations to implement this Their project summary states that they will policy or function? Should this be ensure compliance with DDA. taken into consideration? eg. Agree equalities monitoring categories Should the partnership arrangements have an EqIA? 1.8 Taking the six strands of As a physical redevelopment, the key equalities, equalities group likely to be affected is do you have any initial thoughts disabled people. The scheme will be fully that any of the six equalities DDA compliant by the end of Work Package strands have particular needs 4 (ie 2012/13). relevant to the policy or function? The reconfiguration of space will enable Or is there anything in the policy, more opportunities for education, outreach project, service, contract or and community projects, meaning that BOV strategy that you can think of at will be better able to meet the needs of this stage that could discriminate equalities groups. or disadvantage any groups of people? ie.
Gender (include Transgender) Disability Age Race Sexual Orientation 3 Key Questions Notes / Answers Any actions needed? By whom? Faith/Belief Do any other specific groups have particular needs relevant to the policy, project, service, contract or strategy?
1.9 Did you use any data to inform No your initial thoughts above? What data do you already have? 1.10 Are there gaps in the data that EqIA to be requested from BOV to ensure KD require you to do further work? that they are fully taking account of the What are these gaps? needs of equalities groups in their physical and programme planning
If the result of the screening process is that there is the potential for a significant impact on any equality group or if any equality group has significantly different needs, then a full equality impact assessment must be carried out. If you are unsure please seek advice from a directorate or corporate equalities officer.
Signed Signed Service Manager Directorate Equalities Adviser/Officer or Equalities Contact Date Date
4