P6825

Berjaya UK Investment and Development Limited THEAT COLLINS FORMER

RE SITE SITE RE

Former Collins Theatre site

MANAGEME OPERATIONAL Islington on the Green, LB Islington, London

Operational Management Plan

NT PLAN

RJP: P6825

April 2018

Contents

1.0 Introduction 1

1.1 Site Description 1

1.2 Client Background 1

1.3 Description of the proposal 1

1.4 Management Plan Contributors 2

2.0 Site Management 3

2.1 Organisation Structure 3

2.2 Roles and Responsibilities 3

2.3 Logistics (Between Theatre and Other Uses) 5

2.4 Marketing 5

3.0 The Theatre 6

3.1 Summary 6

3.2 Shawthing Productions 6

3.3 The Collins Theatre 8

3.4 Demographics and Competitors 9

3.5 The Theatre: 10

3.6 Operation of the Theatre 10

3.7 Weekly Running 11

3.8 Other Considerations 12

4.0 The Retail Element 14

4.1 Overview of Units proposed 14

4.2 Islington Green Unit – A1 to A4 Use Class 14

4.3 Units 1-10 – A1 to A4 15

4.4 Basement Unit – A1 to A4 17

4.5 Management 17

5.0 Viability 18

5.1 Outline Cost Plan 18

Operational Management Plan ii

6.0 Delivery of Theatre – Programme. 19

Operational Management Plan iii

1.0 Introduction

1.1 Site Description

1.1.1 Collins Theatre is a purpose built Theatre delivered as part of a new residential development at Islington on the Green in the London Borough of Islington. The theatre is in the form of a 3 storey basement shell. Due to concerns regarding the viability of the theatre operating under a number of different business models, the space has sat unoccupied since its completion in early 2000’s.

1.1.2 The Theatre is located in central Islington near Upper Street with excellent public transport access both via London Underground and local bus services. The surrounding area is characterised by retail and commercial spaces at ground floor, often with residential development at upper levels. The site is not listed, nor is any listed building within close proximity, however part of the building is covered by the Angel Conservation Area.

1.1.3 Islington Green is pedestrianised along the site frontage. It forms the northern boundary of the Islington Green Triangle which is an area of open space bound by Upper Street, Essex Road and Islington Green.

1.1.4 Alongside the Theatre a shell for a number of mixed use commercial units is provided at ground floor level. The units either face onto Islington Green, Essex Road or a covered inner courtyard within the centre of the development.

1.2 Client Background

1.2.1 The Owner of the Property is a substantial International Development and Investment Company with decades of experience in Retail, Residential, Leisure, Sports, Entertainment and the Hospitality Industries. Berjaya the principle company is based and listed on the stock exchange in Malaysia, where its core business has been developed. Through its business success in the Far East, it has expanded into a global business through worldwide strategic investments and joint ventures and now has interests that span the globe. For many years Berjaya has been increasing its investments and interests in Europe and the UK, where it is the main stakeholder in a variety of businesses.

1.2.2 The company is very familiar with the long term strategies that require to be implemented to make a project successful and sustainable, and the effort required managing a multitude of diverse interests for the benefit of all stakeholders.

1.3 Description of the proposal

1.3.1 This operational management plan is written to accompany a planning application for amendments to the approved layouts of the theatre and ground floor commercial units within the development. These changes are designed to improve the flexibility of the Theatre and are conducive to the viable use of the theatre within the long term.

1.3.2 For the purpose of the planning application of which this management plan relates to, the development description is as follows:

Section 73 application seeking to vary the description of the proposal and the wording of condition 2 attached to planning permission P000205 to allow for amendments to the theatre and commercial spaces.

1.4 Management Plan Contributors

1.4.1 It is intended that this document reflects the expertise required to viably deliver a theatre within a constrained site. The applicant has therefore sought to engage a number of expert consultancies within the relevant fields to contribute to this plan:

 Shawthing Productions have contributed a vast amount of expertise to the document to ensure that it can viable operate within the current commercial climate. The advice extends to operational and logistical comments regarding site layout and servicing as well as justifying the theatre spaces within a planned programme of entertainment.

 , Berjaya UK Investment and Development Limited and the general management staff have detailed how the theatre will operate with the other uses sharing the site, ensuring that the residential accommodation above is not compromised and the retail offer at ground floor is appropriate to the ethos of the development.

2.0 Site Management

2.1 Organisation Structure

2.1.1 The following chart demonstrates the management structure for the operation of the theatre.

2.2 Roles and Responsibilities

2.2.1 The following section outlines the roles and responsibilities of the individual organisations involved in the running of the theatre and associated commercial units.

Owner - Berjaya UK Investment & Development Ltd

2.2.2 The owner of the site has overarching responsibility for the proposed theatre and commercial units and will ultimately be responsible for all decisions for the site pending the advice of the management team detailed below.

General Manager – Project Management

2.2.3 The general manager is responsible for the overarching management of the theatre and commercial units. They are designed to create a conduit between the site owner and tenants on site and ensure that the tenants and the theatre can operate unencumbered on site.

2.2.4 General responsibilities include:

 Overall financial control

 Management of overall site & Tenants

 Management & Co-ordination with Theatre Tenant

o Assist in marketing / alternative uses of theatre space when not in use

o Co-ordination between Retail Unit 1 & Theatre & Box Office interests, to enable cohesive operation for all parties.

o Main point of contact for all parties

 Liaison between Residential, Theatre & Retail Tenants

 Management of site Operations & Facilities Teams

 To maintain maximum occupancy & rental potential from residential apartments

 To ensure that the whole site is maintained regularly in accordance with legislation & Tenancy guidelines.

 To co-ordinate venue marketing campaign with tenants

 Remarketing & Rental Reviews

Deputy Site Manager

 Assist the GM in Upkeep of Residential Area

 Co-ordination of Cleaning & Site Maintenance & Concierge

 Management of Site Services

Theatre Operator Appointment – Tenant/ Operator

2.2.5 The Owner/Landlord will be seeking to appoint an established, experienced, enlightened and flexible Theatre operator / Manager to run the theatre, contracted to promote and produce in the majority Shows but also Plays, Comedy, Cabaret and Entertainment to suit a wide audience from regular theatre goers to families and young people unfamiliar with the theatrical experience, all appropriate to the Theatres location in Central Islington. They will be encouraged and incentivised to diversify their purely Theatrical interests and expand on established theatre financial strategy to maximise revenue by utilising all the available theatre and ancillary spaces throughout the day and year for diverse activities.

2.2.6 They will be required to integrate their activities and interests with the other retail and residential occupiers of the site, to benefit the whole development. They will be expected to collaborate with the General Manager and alongside the Retailers, to contribute to the programming and marketing of events, festivals and activities throughout the year to promote and work in the interests of the venue as a whole.

2.2.7 The General Manager and the Theatre will coordinate the activities on site should the operator wish to vacate the site for predetermined periods of the year. The Landlord will be offering a long lease tenancy, with annual early reviews followed by medium term reviews with and break clauses for the remaining lease period. This is to enable sufficient flexibility for the end user based on changing market demands in this emerging area.

2.2.8 The annual reviews in the early years are also intended to aid in establishing and adjusting the appropriate rental payable to assist the growth of a new venture in a new location. All Incomes and expenditure will need to be made transparent by an open book policy between the Theatre and Landlord.

2.2.9 Should Retail Unit 1 be demised to the Theatre Operator it will be on a commercial rent or Rent plus overage appropriate to its location and potential, its duration to coincide with the Theatre agreement.

Appointment of Retail Tenants

2.2.10 The Landlord will be offering long tenancies with break clauses, but will not be averse to negotiating incentivised rents enhanced by overage payments to encourage the right mix of operators.

2.2.11 The Tenants will be expected to collaborate with the General Manager and the Theatre to promote and market the Venue throughout the year for special activities, and work in the interests of the venue as a whole. The central courtyard area has the potential as an occasional entertainment venue during part of the day as well as overflow seating for one or more of the Retail tenants subject to good neighbourly restrictions

2.2.12 The Tenants will be expected to comply with restrictions set by the general manager on operating procedures to safeguard the interests and amenities of the residential tenants within the development.

2.3 Logistics (Between Theatre and Other Uses)

2.3.1 Theatre/ Retail Units - Lease implications. In order to unify the venue and maintain the collaborative but incentivised relationships of the Theatre and the Retail Tenants within the overall development it is essential that the GM play a leading role in managing the whole site. The Rental arrangements while of necessity commercially based can be modified by the GM to suit the circumstances of the individual tenants. An open book policy will be adopted if agreement can be reached between the parties.

2.3.2 Any future retail tenants will be made fully aware that the primary use of the site is the theatre and will be expected to collaborate with any theatre operator to ensure the success of the development.

2.4 Marketing

2.4.1 Marketing will be undertaken by the Theatre and individual Retail tenants to suit their own specific requirements, but all parties will be expected to contribute and collaborate on an overall marketing campaign to launch the venue and continue to promote it. The specific marketing strategy and methods will be agreed between the GM and the Tenants.

3.0 The Theatre

3.1 Summary

3.1.1 The operation of the theatre is subject to commercial negotiations away from the planning process. However a preferred operator has been engaged and for the purpose of this management plan Shawthing Productions have been commissioned to undertake a feasibility study of the theatre to outline the potential management and operation strategy.

3.2 Shawthing Productions

3.2.1 Shaw Thing Productions Limited was incorporated in early 2016 initially formed to promote and present theatre productions for new unknown Writer/ Directors. The concept was to help support and provide opportunities for unknown talent.

3.2.2 After a successful musical production on the fringes of London in 2015 the participators strove to realise the full potential of the original work at their disposal and incorporated Shaw Thing Productions. Together they secured equity investment for a new Musical Theatre work ‘27’. Since this equity raise in early 2016, Shaw Thing Productions have used their resources to develop the creative works under their stewardship. Their most recent work could be seen at the Cockpit Theatre in 2016 and Shaw Thing Productions have now secured a programme slot at The Other Palace in London for their next project in March 2018.

3.2.3 The collective experience of the team and the diversity of skills, spread across several industries and professions have pushed Shaw Thing Productions quickly beyond its competitors and the company’s plan in respect of the Collins Music Hall is testament to their vision, ambition and determination.

The Vision

3.2.4 The Collins Music Hall occupies a particular space in the history of Islington and the evolution of theatre and entertainment in London. Its restoration will return the venue to glory, marrying the grandeur of traditional theatre, with the modernity of the industry in the twenty first century.

3.2.5 The concept is for The Collins Music Hall to help create a New Centre of the Arts in Islington, which, in conjunction with other local theatres and music venues, will form an exciting creative hub that proves a viable alternative to the West End.

3.2.6 The annual programme will be of mixed use. The Theatre, first and foremost, will present dramatic theatre but will also cross over into the live music scene echoing the Theatres historical use.

3.2.7 The theatre will also seek to add Corporate Events to the programme when appropriate, adding to the viability and accessibility of the venue.

3.2.8 Culturally, the Theatre will be an exciting mix of the hugely important historical legacy and the 21st century digital ‘Connected World’. The intention is to utilise new innovations to enhance the audience experience in the Theatre, both before, during and after the performances.

3.2.9 The venue will offer a viable commercial opportunity for producers at a price point that doesn’t discriminate against the local community or wider theatre audience. The strategic goal is to ensure that production value and creative integrity become synonymous with this historic and cultural regeneration.

3.2.10 Above and beyond the commercial success of the venue and its artistic contribution to society, Shaw Thing Productions are committed to fulfilling their corporate social responsibilities and intend to employ apprentices from the local college. Talks have already begun with The National Youth Musical Theatre Group regarding regular use of the space and we hope this will serve as the basis for a long-term relationship with the organisation.

The Team

3.2.11 Mark Shaw: Director: Mark is Chairman and founder of the Tritax Group which is a leading FCA and AIFM Regulated Real Estate Fund Management house with assets under management of over £3 billion.

3.2.12 Mark commenced his property activities in the 1960’s and since then has played a prominent role in the development and marketing of commercial property investments within close-ended managed funds and subsequently introducing institutional-backed open-ended and listed funds, including Tritax Big Box REIT which is a FTSE 250 company. Mark has considerable experience in a range of commercial, banking and investment operations; other business Interests include ownership of the Magenta Self Storage Group with five stores and others under construction. Mark is a Fellow of the Institute of Chartered Accountants.

3.2.13 Arlene Phillips: Artistic Director: Arlene Phillips is a showbiz legend, honoured as a CBE for her services to dance and charity. From creating the provocative and revolutionary dance group Hot Gossip in the 1970’s to working with stars from film, TV and theatre, Arlene has since become a household name as a world-renowned choreographer, director and one of Britain’s favourite TV judges.

3.2.14 Arlene's musical theatre knowledge and back catalogue is unsurpassable. A long-time collaborator of Andrew Lloyd Webber's, she has been integral to much-loved productions such as The Wizard of Oz, Joseph, Jesus Christ Superstar and The Sound of Music. Her choreography has also been seen in We Will Rock You, Grease, Flash dance and Jackie the Musical. Arlene will be returning to working once again with Andrew Lloyd Webber on an updated production of Starlight Express.

3.2.15 Nick Eve: Director: On leaving Bournemouth College of Art & Design Nick worked as a photographer before becoming a Lighting Designer in the Music and Television industries. In the 1980’s he designed shows and tours for a number of major Artists including Robert Palmer, Michael Jackson, Tony Bennett, Curtis Stigers, Elaine Paige and the dance group Hot Gossip where he met Arlene Phillips. In 1992 Nick founded a corporate event production agency, Pump house Productions, which he ran for 25 years. The company created and delivered major programmes and events for many large corporates including BT, Zurich, BP, ARM, IBM, Rolls Royce and

many more. Nick sold the company in 2015 to return to his roots the entertainment industry. Nick brings a wealth of business knowledge and creative ability to the team.

3.2.16 Adam Pritchard: Director: Adam Pritchard graduated from the University of Nottingham with a BA Hons in History before attaining a Master’s Degree in Theatre from The Guildford School of Acting. In his early 20’s Adam worked in the West End and on tour in musicals. He retrained as a chartered accountant before going on to work in the independent film industry. He later established his own practice, property Investment Company and most recently most recently launched Shaw Thing Productions alongside fellow participators.

3.2.17 Sam Cassidy: Director: Sam is a British Actor and Writer. Sam started his career very early and went on to train at the prestigious Mountview Academy, moving on to enjoy a successful career in theatre and television. Over the past seven years, a part time passion for writing music and words steered Sam onto a path becoming one of the UK’s most exciting new talents in musical theatre. His first Musical “27” received rave reviews and attracted the interest of Nica Burns, Trevor Nunn and Andrew Lloyd Webber. Sam has become one to watch in this field. His passion lies in bringing new, exciting, innovative musical theatre to the UK and is well on his way in doing so.

3.3 The Collins Theatre

3.3.1 The Collins’ excellent location and facilities will enable the whole community to additionally benefit from synergistic businesses such as conferences, workshops, exhibitions, commercial lets, weddings, commemorations and other celebrations.

3.3.2 Most importantly the range of spaces will provide continuous activity throughout the day, not limited in the same way that single theatre spaces are to a single production. It is proposed that the new Theatre comprise 400 seats in total, designed to serve different audiences and so arranged as to enable flexible operation and managed by the Theatre Operator.

3.3.3 For this approach to succeed it is crucial that the retail tenants buy into the benefits that working alongside the theatre would bring. Accordingly it would be desirable for the theatre to be part of the team assembling the portfolio of tenants.

3.3.4 Creating clear visibility for the theatre onto Islington Green is vital to the success of the site. The S73 application proposes substantial but sensitively designed signage onto the main elevation facing Islington Green and Essex Road to ensure that the presence of the theatre is marketed within the area. In addition the theatre will retain a form of visibility through retail unit one on the Ground Floor. As a minimum, a route will be available through the unit which is also clearly demarked by signage to encourage customers to access the main central courtyard of the development.

3.3.5 The box office will also sell tickets for other Islington theatres. Research suggests that such an arrangement could increase general footfall by between 15-20% and draw people into the coffee shop as well the courtyard and the main theatre and retail spaces.

3.4 Demographics and Competitors

3.4.1 The latest data (2011) shows that Islington is becoming an ever more popular place to live with more single people than anywhere in Britain. It is also becoming much more ethnically diverse.

3.4.2 Population density is highest in Islington at 142.6 persons per hectare, closely followed by Kensington and Chelsea (142). The population of Islington increased by 30,000 (17%) between 2001 and 2011, to 206,100 residents. Almost 40% of this increase is accounted for by a growth in the population born in the European Union but outside of the UK and Ireland (11,500 people, 73% increases).

3.4.3 The number of people born in non-EU countries increased by 10,400 (25% increase), while the number of people born in the UK increased by 9,600 (8% increase).

3.4.4 Islington’s population profile in terms of relationship status is considerably different compared to London and England, with the majority recorded as single (60% vs 44% in London and 35% in England). This proportion has increased from 54% since 2001.

3.4.5 Islington’s population has become more ethnically diverse over the past ten years, with less than half (48%) of residents being White British in 2011 compared to 57% in 2001. This percentage is now slightly higher than the London average (45%) and much lower than the England average (80%)

3.4.6 Any marketing and programming will take account of this particular local demographic.

3.4.7 In terms of theatre only, the principal comparators are:

 The King’s Head

 Donmar Warehouse

 Trafalgar Studios

 Almeida Theatre

 The Park Theatre

 The Lyric Hammersmith

 The Old Vic

3.4.8 In terms of mixed use venue:

 The Soho Theatre

 Riverside Studios

3.4.9 The local theatre-only competition will influence theatre ticket pricing. The Theatre will be required to remain vigilant at all times to ensure programming is stimulating and distinctive; and ticket pricing policy competitive, but affordable.

3.5 The Theatre:

3.5.1 This outline business plan is presented in conjunction with the plans created by architects, Foster Wilson. Shawthing Productions are confident that the plans will fulfil the scope of this business plan and add flexibility to the delivery of the theatre. The Theatre would be fitted out to a professional standard, as specified by the operator. Comparative theatre spaces which are similar in finish, style and facilities include The Young Vic, Hampstead Theatre, and The Lyric in Hammersmith, The St James Theatre and Soho Theatre.

3.5.2 As part of the site transport plan. The Theatre will require loading from the pavement directly into the vehicle lift on Essex road. Whilst it is anticipated that the majority of deliveries will come on light delivery trucks (7.5 tonne), there will also be necessity for large articulated HGV’s (up to 44 tonne) to unload and load to and from the theatre. It has been identified that the only practical place for this loading bay is on the northbound side of Essex road, adjacent to the North side of the lift entrance.

400 Seat Theatre

3.5.3 This space is the pinnacle of the site’s aspirations, and the theatre space that will provide the financial backbone to the whole complex. As a fully flexible theatre, it provides enormous opportunity for both commercial and non- commercial theatre companies from all over the world, in a well-designed, intimate and adaptable performance space in central London. Programming focussing Theatre but with also Comedy, Dance, Music and Film will make this space extremely attractive to a wide cross section of companies. This space would have the flexibility in terms of intimacy and scalability.

3.5.4 The theatre will include all necessary support spaces, encompassing control rooms, foyers and bars, changing rooms and toilets. In order for it to operate efficiently it will also include the necessary adjacent backstage area and lift for unloading and accommodating technical vehicles.

3.6 Operation of the Theatre

Foyer, Stairs / Lifts

3.6.1 The main theatre entry point will be through the foyer located to the west of the covered courtyard at ground floor level. Access will also be available from the Islington Green entrance via the A3 café / wine bar / box office unit. From the theatre entry foyer at ground floor level patrons will access the main auditorium and studio theatres via the passenger lifts (lifts 1 and 2) and the main feature stair (Stair 3).

3.6.2 Emergency escape routes will be to the nearest safe refuge and generally follow the stair cores from the basement levels to the ground floor level.

Dressing Rooms / Backstage

3.6.3 Back of house dressing, technical, office, servicing and support areas are distributed across the ground and basement levels in order to provide the full range of facilities for a broad range of theatrical, music, rehearsal, workshop, exhibition, conference and other functions. A backstage stair linking all three basement levels will be provided.

Main Stage / Seating

3.6.4 The main theatre auditorium will comprise an end stage format with a balcony level at basement -1 and balcony platform with retractable stalls seating at basement -2 and -3 levels. Various seating configurations will be possible with this arrangement, allowing flexibility for a wide range of theatrical, music, conference and other uses for the auditorium.

Lighting and Sound

3.6.5 A control room for the auditorium is located behind the upper balcony at basement -1 level and stage lighting, sound and communication equipment is to be provided. A lighting rig is provided within the theatre space which has been designed with sufficient flexibility to allow other operators to use the space.

3.6.6 The theatre auditorium and studio theatres will each be acoustically isolated from each other, from the surrounding front and back of house areas (including plant and servicing functions) using a ‘box-in-box’ design.

3.6.7 Acoustic separation is provided between the theatre spaces and the commercial and residential apartment areas on the floors above. Please refer to the Acoustic Design Statement by Gillieron Scoot Acoustic Design for additional details.

3.7 Weekly Running

3.7.1 This draft weekly programme of the theatre spaces has been designed to illustrate how the theatre could operate. This schedule would vary for seasonal occasions such as Christmas and School holidays.

3.7.2 The annual running of the theatre is based upon a full operating schedule, allowing time for annual maintenance and traditionally seasonal low points in the annual calendar. For example September following the end of the summer holidays etc.

3.7.3 The programme of work will be focussed on traditional theatre however also has the ability to be varied and could also include a mix of Comedy, Music, Dance and Children’s shows. The spaces and programme will be universally accessible.

3.8 Other Considerations

Hours of Operation

3.8.1 The Theatre will operate under a typical live show programme with special regard given to the residential properties at upper levels. The mixed use space at upper floors currently is subject a series of licenses restricting

hours of operation, it is proposed to maintain these hours of operation to help complement to the entertainment choice within the surrounding area.

3.8.2 A venue management plan will be put in place for the application site to ensure that any visitors leaving the site do so in a quiet and appropriate manner for the mixed use character of the area. Given the residential development above the theatre is also within the applicants ownership it is expedient to ensure a dialogue between the two uses is maintained to negate potential conflict.

Operation of Bars and concessions

3.8.3 A number of dedicated areas have been designated for the operation of bars and concessions stands within the theatre. These spaces will be run by the theatre operator and will be typical of the general additional facilities which are expected as part of a successful theatre programme.

3.8.4 A number of informal spaces have also be provided for the potential set up of additional bars and concession stands where any operator deems it expedient to do so. Ultimately the theatre has been designed with sufficient flexibility to allow for a number of ancillary operations to be undertaken on site without compromising the quality of theatre production.

Central Courtyard Space

3.8.5 It is proposed that this space is used for small scale informal cultural events which create a niche atmosphere for both the theatre and commercial units to operate within. Any outdoor events will be strictly controlled to ensure they do not harm the surrounding residential amenity.

3.8.6 It is also proposed that the space can act as informal spill out space for the commercial units and the theatre during operation hours. This use will also be carefully managed to ensure that the space does not act a congregation point during closing hours.

Staffing

3.8.7 The levels of staffing will be down to the individual operator to ensure an adequate provision is available to run the site.

4.0 The Retail Element

4.1 Overview of Units proposed

4.1.1 The Appointment of Retail Tenants for the units will be carefully researched and selected as far as commercially possible to provide a diversified range of food offer, which will be available throughout the day, to satisfy a range of markets, and who see the benefits of working alongside other likeminded operators, in a prime location enhanced by the presence of an active theatre venue. The preferred Retail operators will be commercially astute, and have a track record for operating successful innovative businesses, which could bring a unique concept to the new venture. They would ideally have experience of working collaboratively, and Theatre or Entertainment affiliations would be an advantage.

4.1.2 It is not intended to market to established high street names, but to search out more individual operators who understand the location and are sympathetic to the collaborative concept.

4.1.3 An initial market research report has been undertaken by Davis Coffer Lyons and has been used to inform the following brief. The report is appended to this document.

4.2 Islington Green Unit – A1 to A4 Use Class

4.2.1 This is proposed as a Coffee shop/Wine bar with some food provision for theatre patrons and the public alike. It is planned not only to provide a very public face for the Theatre in a prominent location on Islington Green, but patrons will be encouraged to linger and be informed about all the other Theatrical activities taking place in Islington. Its close affiliation to the Theatre and its prominent location on Islington green should provide a vibrant hub of activity throughout the day, serving breakfast, brunch especially at weekends, light lunch, afternoon tea and a limited evening menu suitable for pre theatre snacks, and post theatre drinks. The atmosphere is to be inviting and relaxed , exemplified by the Foyer bar and restaurant at the Young Vic , and the Foyer Bar Café in the new Signature theatre in New York , with the opportunity for alfresco dining on the pavement facing Islington green under extending canopies, and in the glazed courtyard adjacent the theatre entrance.

Possible Tenants

Grind ;

Lantana/Salvation Jane;

The Proud Archivist in Haggerston, Hackney

Timber Yard;

4.3 Units 1-10 – A1 to A4

4.3.1 This is a large combined space which can be split into separate unit and has no direct exposure to the street through Unit 1. It can also be accessed from the Courtyard where some additional seating for the unit can be provided. A sublet Multilet space occupied by makers collectives and or food market pop ups is envisaged. It is proposed as a collection of individual smaller units under the control of a single tenant, who will sublet and control the units. This will provide a flexible variety of outlets to serve different foods and drinks throughout the day. The theming and mix is the prerogative of the principle Tenant who will be encouraged to tailor the mix to coincide with the aims and aspirations of the Theatre and the landlord.

Possible Tenants:

Kerb

Brixton Pop

Box Park

4.4 Basement Unit – A1 to A4

4.4.1 Contained within the -1 basement it is proposed that this unit take on a restaurant / bar approach however also with some flexibility for A1 uses should the demand arise for the space. The space will seek to complement and work with the existing uses on site and contribute to the overall cultural atmosphere within the Collins Theatre Development.

4.5 Management

4.5.1 Managed by the individual restaurants, but working closely with the GM and the Theatre, jointly sharing marketing and liaising closely on the promotion of an integrated venue. All retail tenants will be made acutely aware of the importance of the theatre and the encouraged to integrate with the operator where possible to encourage the success of the development.

5.0 Viability

5.1 Outline Cost Plan

Theatre

5.1.1 Give the stage of the negotiations for the site and sensitivity of the information the cost plan and revenue projections for the Theatre are confidential. A breakdown of the specifics of the financial analysis can be provided to the Council on a confidential basis if requested.

Retail

5.1.2 Projected Income Restaurants and Retail (based on Coffer Davis Lyons and Savills views on the current market)

5.1.3 The base figures available indicate that the development of the Retail and Theatre, if considered as a whole or independently will be a sustainable venture. Any profits from the Theatre and Retail/Restaurants will need to be put back into the project to sustain it in the medium term. It is feasible that if the project is well managed and successful that over time improved profits may be generated.

6.0 Delivery of Theatre – Programme.

6.1.1 The current projected Programme is as follows

Planning Application period April – September 2018

Design Development period August 2015 to December 2018.

Project commencement February 2019

Theatre delivery Sept/Oct 2019