We believe that current and future generations should have access to good quality theatre buildings where they can be inspired by, and enjoy, live theatre.
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All unsigned or otherwise uncredited articles are the work of the Editors. The views expressed editorially or by correspondents in this magazine are not necessarily those of the Trust. Notes, queries and letters are always welcome.
ISSN: 2756-0732 (Online)
Design: Whatever Design
Photo: Eljay Briss
Photo: @shotaway.com
Orchard West Construction
Photo: Courtesy of Orchard Theatre
Billy Liar Finale
Photo: Courtesy of Sherbourne Studio Theatre
Director’s welcome
Theatres Trust Director Jon Morgan introduces TM, which highlights
what is happening across the sector to help theatres
survive and thrive.
Welcome to the Summer 2024 edition of Theatres Magazine, where we’ve returned to the perennial theme of how theatres are striving to be more sustainable – in both senses of the word – resilience and environmental sustainability.
Supporting theatres to be more resilient is at the heart of Theatres Trust’s work, whether that is through our planning role (pg 23), our free advice service or our grant giving (pg 3). It will be no surprise then that ‘Making Theatres Thrive’ is the broad subject for our annual conference, which takes place at the Lowry in October. More details will be available over the coming weeks, but for now you can read about the new location and format on page 21.
The Theatre Green Book project continues to be at the vanguard of driving forward environmental sustainability across the theatre sector, both in the UK and further afield. Following the publication of its second edition and a raft of new tools, Lisa Burger and Paddy Dillon of Renew Culture give an update on all things Theatre Green Book (page 7).
Staying with sector-wide initiatives, we have a review of the Association of British Theatre Technicians’ new publication Theatre Buildings: A Design Guide, which is a must-read for anyone interested in how to build and adapt theatre buildings for optimum usage. It contains contributions from a whole host of experts including our Architecture Adviser Claire Appleby contributing to the section on the restoration and conversion of existing buildings (page 29).
This issue of Theatres Magazine also features some notable case studies from venues tackling particular challenges. Our Showcase feature is Bristol Beacon, where a major capital project has been undertaken to create a world class concert hall within a Grade II Victorian building, that will not only meet the needs of today’s audiences and artists, but those of future users too. With Bristol Beacon aiming to be the UK’s first net zero concert hall by 2030, the project had environmentally conscious design at its core. Architect Levitt Bernstein explains more on page 11.
Facing a very different challenge to ensure its survival is Dartford’s Orchard Theatre which was one of the unfortunate theatres that discovered it had Reinforced Autoclaved Aerated Concrete (RAAC) in its building last year. While several theatres across the UK are grappling with the challenges of RAAC, it’s encouraging to see the Orchard’s innovative response with the creation of its temporary venue Orchard West (page 18).
We are delighted at Theatres Trust to have recently welcomed several new supporters, which is always heartening (pg 28). We are extremely grateful for new and ongoing support of organisations and individuals, which makes our work possible.
New Vic Theatre
Photo: Emily Clarke
Improving environmental sustainability
We look at the successful projects in the latest round of the Theatre Improvement Scheme in association with the Wolfson Foundation and catch up with some of the theatres funded in previous years.
Since the partnership with the Wolfson Foundation began in 2017, we have awarded grants to 46 theatres for urgent repairs, accessibility projects, and since 2020 works to improve environmental sustainability. We are delighted that the Wolfson Foundation has recently renewed this partnership, committing more than half a million pounds to the fund over the next three years.
Six more theatres were awarded a share of more than £115,000 through the scheme in March, taking the total number of environmental projects supported through the fund to 32.
The UK’s first purpose-built theatre-in-the-round, the New Vic in Newcastle-under-Lyme received funding to replace or renovate the original windows in the backstage areas, which date back to the theatre’s inception in the 1980s. This simple change is estimated to reduce the building’s CO2 emissions by 35%. Storyhouse in Chester acts as a warm hub for the community in the winter months, so it is vitally important that its spaces can be heated efficiently. Its solar energy capacity will be trebled with the installation of additional solar panels. This will reduce carbon emissions, help the theatre generate more selfsustaining power, and make significant savings.
Battersea Arts Centre will undertake a major upgrade of its Building Management System (BMS), which will radically improve its ability to manage energy consumption, reduce its carbon footprint, and enable effective monitoring across more of the building. Birmingham Rep has identified a problem with how the air in its main auditorium is heated, wasting energy and leading to audience discomfort. This will be resolved by the installation of new fans, funded through this grant scheme.
Upgrading to energy-efficient lighting has been the most popular intervention with theatres applying to this grant scheme, with 13 theatres funded in total to make the switch to LEDs. In this round, we have funded London’s Park Theatre to begin the project to upgrade their entire theatre rig to LED units, and Midlands Arts Centre (MAC) in Birmingham to change its front-of-house illumination to LED fixtures.
The next round of the Theatre Improvement Scheme in association with the Wolfson Foundation is now open for applications with a deadline of midday on 5 September. Find out more on our website www.theatrestrust.org.uk
Storyhouse
Photo: Beccy Lane
Birmingham Rep Audience
Photo: Johnathan Williams Midlands Arts Centre
Photo: Will Pace
Theatre Improvement Scheme projects revisited
The Old Fire Station is a centre for creativity in Oxford, housing two organisations, Arts at the Old Fire Station (AOFS) and the homelessness charity Crisis in a converted Victorian Building. AOFS received a £20,000 grant from the Theatre Improvement Scheme last year to upgrade the Fire Station’s lighting rig to use LEDs. The new lighting system uses drastically less energy than the old rig – 5,000 watts compared with 22,000 watts previously. The organisation has also been impressed with the creative options the LEDs allow, a common misconception being that energy-efficient lighting means compromising on impact. Suzi Attree, Head of Development and Fundraising at AOFS said “One of the main benefits of the lights is that we have been able to give companies and artists that use our theatre confidence that LED lights can provide the same effects as our previous setup, but with much less environmental impact.”
Another Oxford venue, Grade II listed Oxford Playhouse received funding in 2022 to install secondary glazing on all its 26 sash and tilting windows, which while attractive were thermally inefficient. Sympathetic secondary glazing was sourced, with fine glazing bars matching those on the original windows, which was easy to install and has not impacted on the fabric of the building. As well as saving energy, the project has also had a significant impact on noise reduction.
In 2021, we funded Georgian Theatre Royal in Richmond, North Yorkshire to replace its boilers and building management system, to improve the organisation’s energy efficiency and reduce its environmental impact. Through this project, visitors to the 230-year-old theatre are now able to enjoy a comfortable auditorium with better air quality and a well-regulated temperature. The organisation reported that its utility bills are reduced through the improved energy efficiency of the new boilers and more efficient pipework and ductwork. Furthermore, the humidity level testing, which now reflects zero spikes in humidity, reflects how the system better protects the fabric of the historic building and the archive collection.
Small grants, big impact
In the sixth round of our Small Grants Programme supported by The Linbury Trust, we awarded grants totaling more than £100,000 to 24 theatres. Here we highlight key trends and some of the interesting projects supported.
A record 24 theatres received a share of £107,498 in this round of the grant scheme, which supports not-for-profit theatres with projects to improve their resilience, sustainability or accessibility.
Funding theatres in all four nations
This is the largest number of projects supported yet by the Small Grants scheme, and what is more, theatres received funding in each of the four nations of the UK. Three venues in Wales (Aberystwyth Arts Centre, Celynen Collieries Institute in Newbridge and The Welfare Ystradgynlais in Swansea), two in Scotland (the Barn in Banchory, Aberdeenshire and Pitlochry Festival Theatre) and one in Northern Ireland (Studio IA Theatre in Bangor) received funding for their projects. There was a good geographical spread across England with theatres funded from the south west (Tolmen Centre in Cornwall) up to the north east (Tyne Theatre and Opera House in Newcastle).
The Barn Photo: Courtesy of The Barn Arts
Georgian Theatre Royal
Photo: Ian Grundy
Increased demand for urgent repairs
By far the largest category of projects in this round was urgent and essential repair and maintenance works, which accounted for eleven of the successful applications. (the Barn; Blackpool Grand Theatre; Celynen Collieries Institute; Horse + Bamboo, Rossendale; Trestle Arts Base, St Albans; Watermill Theatre, Newbury; Woodshed Theatre, Oxford; Hackney Empire; Lyric Theatre Hammersmith; Stratford East, and Tolmen Centre). Projects range from roof and guttering repairs to key plant and boiler replacements. We know that funding is often difficult to come by for these types of projects, but they are vital to ensure theatres can remain open and serving their local community.
Investing in digital infrastructure
One of the aims of the Small Grants Programme is to fund works which make theatre buildings digital-ready, so we were delighted to support four theatres in this respect. Alexandra Palace Theatre, which was on our Theatres at Risk list until 2019, received funding for new digital relay and digital fundraising equipment. Auditorium cameras, transmission, and video relay screens in the lobby will support relaxed performances, allowing audiences to view the show if they choose to leave the auditorium, and relay screens in dressing rooms will improve the experience for performers. The installation of a ‘tap-to-donate’ digital fundraising point in the lobby will allow the theatre to collect card donations and Gift Aid.
With our grant, Aberystwyth Arts Centre will invest in low maintenance, inclusive digital access technology. Strategically placing screens around the site will support wayfinding as well as being used for event information and guiding visitors and audiences so that they can easily, accessibly and inclusively engage with the venue. Hard-
wiring connectivity and an internet upgrade at Colchester Arts Centre will enable the venue to offer more captioned and live-streamed performances, opening up to wider audiences, while installing a mesh Wi-Fi system to provide reliable building-wide Wi-Fi at Welfare Ystradgynlais will improve its appeal to hirers, visitors and performers.
Increasing accessibility and environmental sustainability
The remaining awards in this round were made to theatres looking to become more environmentally sustainable or more accessible. Five theatres (Bristol Old Vic, Cambridge Junction, Leeds Playhouse, Studio 1A and Tyne Theatre & Opera House) received funding to make the switch to LEDs. Whether they are used backstage or on stage, upgrading theatre lighting makes a big difference to a venue’s sustainability as well as saving money.
While all the sustainability projects involve lighting, the accessibility initiatives are varied. Pitlochry Festival Theatre had been hiring captioning equipment, which limited the number of captioned performances it could host. Our grant will pay for one of the two caption displays to be installed, which will increase its accessible performances, as well as reducing costs and the environmental impact of transporting the equipment. The Orange Tree Theatre in Richmond is also looking to improve access for Deaf and Hard of Hearing audience members by installing three large area hearing loops across the venue - in the auditorium, one in the bar, and a portable loop in the box office, which could be moved if needed. Sherborne Studio Theatre in Dorset will resurface an uneven path with a low maintenance, non-slip surface and replace steps with a ramp and handrail, making the theatre more accessible for wheelchair users or those with mobility issues, which make up around 20% of the theatre’s current audience. The focus of the Almeida Theatre’s project is improving accessibility for artists and staff, rather than audience members, by replacing the door of its office and rehearsal building with one that is accessible for wheelchair users and disabled people.
The latest round of the Small Grants Programme supported by The Linbury Trust is now open for applications with a deadline of 17 January 2025. Visit www.theatrestrust.org. uk/smallgrants to find out more.
Woodshed Story Museum courtyard
Photo: Diane Auckland
Total Arts, a creative participation group for young disabled artists, in J3 at Cambridge Junction
Photo: Claire Haigh
Theatre Green Book
Co-founders of the Theatre Green Book, Paddy Dillon and Lisa Burger update us on the initiative’s progress ahead of publication of the second edition.
The Theatre Green Book began with a Zoom call of theatre people wondering why we weren’t making more headway towards net zero, while theatres all over the word were boarded up in the first months of the Covid pandemic. A few months later we were Zooming directors, designers, carpenters, scenic artists and people who ran buildings and operated cafes, to download their expertise, and understand their challenges (all through the filter of Buro Happold’s sustainability expertise). At the Theatres Trust conference 2021, we launched the last of the Theatre Green Book’s three volumes – Sustainable Productions, Sustainable Operations and Sustainable Buildings. A Stage Innovation Award confirmed the Green Book’s place in the UK’s theatre landscape. Sustainability was here to stay. We were on the journey.
By then, we already knew it was working. The three national theatres were making all their shows to Green Book standards. So were dozens of small and medium-scale theatres, while the RSC, ENO, Scottish Opera and Glyndebourne were all trialling. The guidance for Buildings and Operations was being spread through theatre’s active, dynamic networks.
Why had the Theatre Green Book created this momentum? Partly, of course, because Julie’s Bicycle, Creative Carbon Scotland, the UK Arts Councils and others had already placed sustainability high up the agenda of UK culture. But we had a good idea, too, how the Theatre Green Book had transformed that discussion into practical action.
It's a collective initiative that draws in theatre-makers of all kinds. Our first action had been to unite the sector’s leading players. Theatres Trust, UK Theatre / SOLT, the ABTT, and the three National Theatres would become the Green Book’s UK management group, and every major organisation in the sector was affiliated; while freelancers and small companies filled focus groups, and provided tireless feedback. It makes no sense for every theatre to research its own rules for green theatre. Only if we collaborate, share, and develop a common language that allows us to learn freely from each other, does a swift transition to net zero become possible.
The Theatre Green Book is methodical. The division into three areas – productions, operations and buildings – turns a frightening challenge (where on earth do we start?) into something manageable. Furthermore, the Theatre Green Book guidance is determinedly practical. It was written by theatremakers, not theoreticians.
Finally, the Theatre Green Book sets out a measurable path to net zero. Measurable not through the intricate and data-heavy process of carbon calculators – they’ll have their role later – but by helping theatres measure how
their practice is changing. We know, after all, what we need to do to make theatre sustainable. The challenge is to get on and do it.
What we didn’t expect was the speed with which the Green Book would have impact. Within a year, it was being used across the UK by theatres of all scales. Nor did we expect the emails that started coming in, from across Europe and beyond, requesting permission to translate into German, French, Italian, Danish, Korean, Japanese … and more. That wasn’t going to work. We quickly learned from our German partners, the Deutsche Theatertechnische Gesellschaft (DTHG), that different countries produce in different ways, own buildings differently, and have local initiatives and regulations to engage with. So, we developed the model of a ‘network of networks’, licensing each country not just to translate but to adapt the Theatre Green Book to their own circumstances – while staying close enough to a common language we all shared. Those networks bore fruit. The Production Calculator accompanying version two of the Green Book is the collective brainchild of Royal Theatres Copenhagen with our own National Theatres and Royal Opera House, La Monnaie, in Belgium, Dutch Opera and Ballet, and the DTHG.
Theatre Green Book creators at Theatres Trust Conference 21
Photo: Sharron Wallace
What did all this mean? That just two years after the Green Book’s launch at the 2021 Theatres Trust conference, we’d learnt a huge amount about sustainable theatre, and had theatremakers across Europe engaged in a shared, collaborative conversation about how to achieve it. All that learning made the Theatre Green Book better. It was time for a new edition.
The first Green Book had been rushed together before theatres re-opened from lockdown. We made it – just –but there was plenty to revisit. Touring needed more thought. A fantastic touring group had come up with some guidelines, but they weren’t fully integrated. Co-production contained traps and complexities we hadn‘t fully considered. We hadn’t spoken with actors in the first round of consultation, thinking we shouldn’t make performers responsible for decisions they couldn’t control. Equity launched Equity for a Green New Deal, and brought new perspectives on the value and involvement of performers and stage managers –whose association pitched in with guidance and advice.
Most of all, we were aware that far more of the enquiries that came in to the website (www.theatregreenbook.com) were about production than about operations or buildings. Sustainable production is vital – it’s what theatre is here for, but some of the biggest impacts lie in our buildings and operations such as travel and transport. They had to be treated with equal weight.
Meanwhile, long conversations with theatres across Europe, most notably through a collaboration with Europe’s biggest theatre network, the European Theatre Convention, reinforced the value of underlying principles, clear priorities, and actions which have most impact. Theatre-makers are busy. They need clear guidance they can understand and implement with the least possible friction.
The second edition of the Theatre Green Book brings all three volumes together into one, setting out clearly and graphically how to plan the transition to net zero across productions, operations and buildings, through the logical steps of Basic, Intermediate and Advanced. We’ve added an initial step, Preliminary, that prompts theatre companies to
commit to transition, and organise themselves for the journey (support from the leadership, Green Team in place, plans for communication and capturing data, and a timeline to reach Basic). Using that ladder, from Preliminary to Advanced, theatres can self-certify each rung of their transition. Net zero by 2030 no longer need be an empty declaration. It’s a practical, achievable series of steps.
The Green Book’s detailed guidance is still there, of course, as a resource downloadable from the website. And so is a support tool for each area of the Green Book: a Production Calculator to analyse shows; an Operations Tracker to manage every aspect of catering, printing, travel, waste, building management and procurement; and a Building Survey Tool to start making theatre buildings fit-for-purpose in the climate emergency. They’re in Excel, so theatres can adapt and continually improve them for the benefit of all. And for the first time, thanks to the expertise of Creative Carbon Scotland and funding from the DTHG, they can accurately and swiftly calculate our main carbon impacts: the heavy new materials that go into sets, building energy use, travel and transport.
Northern Stage
Photo: Courtesy of Northern Stage
National Theatre
Photo: Ian Grundy
The UK Theatre Green Book’s second edition has been developed with help from across the sector, most notably from a fantastic trialling group: Chichester Festival Theatre, English National Ballet, Headlong, the Lowry, The National Theatre, National Theatre of Scotland, Northern Stage, Opera North, Royal Opera House, the RSC, SAIL, SHIFT, Wales Millenium Centre, and the Young Vic. Many others would have been willing to join. All are at, or within clear sight of, Basic or Intermediate. It means they’re well ahead in the transition to net zero and are, in meaningful ways, creating great theatre with less harm to our planet.
The UK isn’t alone. The European Theatre Convention has been a pioneer in this development, forging ties with the European Commission, and bringing expertise from another dedicated focus group: Théatre de Liège, Toneelmakerij, Het Zuidelijk Toneel, Det Norske Teatret, Deutsches Theater, Berlin, Staatschauspiel, Dresden, National Theatre Prague, and Teatro Arriaga, Bilbao. The ETC Theatre Green Book will be launched at the Avignon Theatre Festival on 3 July. By then, the German second edition will have come out at the DTHG’s conference in Bochum. New Theatre Green Books will follow in the Netherlands, Sweden, Denmark, Norway, Spain, Ireland, Australia and Taiwan.
In the first Zoom call that led to the Theatre Green Book, we agreed that theatre can only make this transition if we work collaboratively. That collaboration is now global. It is generating solutions to practical problems, along with an energy and momentum which is transforming theatre. Creatively, using the best of theatre’s craft expertise and intricate networks, theatre-makers have learnt to work in ways that protect our planet. We’ve learnt to share that knowledge. There will be future editions of the Theatre Green Book. Each will draw in more expertise, and reflect more learning.
Sustainability is not an overnight transformation, but a transition towards a new way of thinking and working. The second edition of the Theatre Green Book, launched this month, is another huge step on that journey.
Theatre Green Book UK has brought together theatre operators, theatre-makers and sustainability experts to create a common standard for making theatre sustainably. It sets standards for making productions sustainably, for making theatre buildings sustainable, and for improving operations like catering and front of house. It is a free resource for everyone in the UK theatre sector.
Theatre Green Book UK is led by a steering group comprising the three national theatres, with membership organisations Association of British Theatre Technicians (ABTT), and Society of London Theatre/UK Theatre, authors Paddy Dillon and Lisa Burger, structural engineers and sustainability specialists, Buro Happold, and Theatres Trust, which is also acting as Secretariat for the project.
A Shining Beacon
We’re proud to have worked with the visionary Bristol Beacon to create this state-ofthe-art venue.
“ As a lifelong Bristolian and someone who attended their very first concert in the Hall at the age of 14, it has been an immense privilege to play a significant part in the restoration of one of Bristol’s most iconic venues.
JOE
Showcase
Bristol Beacon
Architect and design team Levitt Bernstein share the complexities of delivering, not one but four, world class acoustic performance spaces within a Grade II listed venue.
Background
Bristol Beacon is the city’s premier music venue which has been upgraded to high acoustical and technical standards that rival the best UK and international venues of similar size. It now offers four music performance spaces, diverse programming and world-class facilities that complete and complement Bristol’s cultural infrastructure as a city with European standing.
Owned by Bristol City Council and operated by the Bristol Music Trust, the project commissioners shared high ambitions to radically transform the venue to attract the best artists from the national and international circuit. Key project objectives were established to deliver equally highquality sound for all kinds of musicunamplified or amplified - in intimate, engaging and comfortable spaces. The vision seeks the same artistic status as major
music venues around the UK and Europe and makes a significant contribution to the national and international music scene, as well as meeting the needs of Bristol and the Southwest of England.
Capital Works
The project brief was first drafted in 2001 in response to Bristol’s need for a firstclass concert hall to match other UK and international cities. It was delivered in two phases to align with available funding.
Phase 1, opened in 2009, delivered a striking new-build 3,500m2 foyer building clad in copper alloy that greatly improved accessibility and provided an open foyer performance space, spacious bars, WCs, offices and multi-purpose spaces. Levitt Bernstein was the architect, and the project was commissioned by Bristol City Council for a total project cost of £20m.
Beacon Hall
Photo: Tim Crocker
Showcase
Phase 2 opened in November 2023. This time, Levitt Bernstein has reimagined the Grade II listed Bristol Byzantine style Victorian building to meet the artistic, educational, and business needs of the Bristol Music Trust – the charity established as a condition of Arts Council England funding for phase 1 to provide artistic direction, operate the venue and deliver Phase 2.
The brief was developed by Levitt Bernstein’s design team, in close collaboration with Bristol Music Trust as the end-user, and recorded in a formal Facilities Requirement document that became legally binding between Bristol Music Trust and Bristol City Coucil to deliver the project. Functional areas were linked to key artistic and business outputs and funding streams to form a robust framework ensuring the project was delivered in its entirety.
A series of briefing workshops were held with Bristol Music Trust internal consultees in education, programming, development, operations, and technical teams. External consultations included several workshops with the local community access group, and public open days and exhibitions.
At feasibility stage in 2012-13, five strategic development options were appraised from maintaining the status quo through to a new-build concert hall on another site. The preferred option was to develop a new main concert hall to international quality, provide second and third halls to high professional standards, and convert the previously unused
cellars into a regional centre for music education.
The broad project scope and reach was clearly defined in the preferred option, and this gained support from multiple funders, allowing design work to commence in earnest in 2016.
Levitt Bernstein found that the proportions of the main hall’s enclosing walls were very similar to two of the best concert halls for unamplified sound at the Vienna Musikverein and Boston Symphony Hall and posited that equally good world-class sound could be for the Bristol Beacon. However, those halls have shallow balcony overhangs instead of the very large single balcony overhang at Bristol and it was concluded that main hall should be entirely reconstructed on two balcony levels with shallow overhangs.
Cut-away axonometric view
Drawing: Levitt Bernstein
Bristol Beacon
Photo: Tim Crocker
Acousticians, Sound Space Vision and theatre consultant, Charcoalblue were competitively selected by Bristol City Council and Bristol Music Trust in 2016 to join Levitt Bernstein on the design team that delivered phase 1 and included MEP (Mechanical, Electrical and Plumbing), structural and fire engineers from ARUP in Bristol. The project was constructed by Willmott Dixon using single-stage traditional procurement and an NEC III (New Engineering Contract) form of contract.
The project comprises an entirely new main hall within the Victorian walls, a second hall to the same high acoustical and technical quality, and a third space for education, rehearsal, DJ nights, and small-scale performances by younger and emerging artists. A key business plan requirement was that each hall should form separate self-contained ticketed event zones serviced with bars, dressing rooms, and a central event kitchen.
Field Art Projects was appointed to curate public art commissions that are fully embedded within the Beacons’ architectural design. Linda Bothwell has reinterpreted the lost Victorian balustrade on the street frontage as a linear bronze polychrome sculpture and flourish, Giles Round has enhanced the Lantern atrium with tiled murals, and Rana Begum has enriched the Beacon and Lantern Halls with colourful seating fabrics and variable acoustic drapes.
Beacon Hall
Beacon Hall accommodates 1,800 to 2,200 people and, while following a classic rectangular form suited for excellent symphonic sound, its programming is unlike historic shoebox halls in that only a small proportion of productions are unamplified concerts. Amplified events, such as rock, pop and comedy predominate. Therefore, its ambience, acoustics, seating format and staging can vary to suit the very different needs of the diverse range of programming that BMT delivers. This entirely new main hall has been designed to be equally welcoming to the calm and studious as to the rowdy and raucous.
All materials in Beacon Hall have been carefully selected and shaped for acoustic performance and to create a distinctive look unique to Bristol. The design delivers the varied shaping and textures important to achieving the rich high-quality sound of classically detailed concert halls using contemporary forms and materials.
A new lining of slim brown/blue Belgian bricks incorporating motifs reminiscent of the Bristol Byzantine style follows the profile of the historic walls. The rugged bricks offer an acoustically diffusive surface and high mass to minimise low frequency absorption - lending warmth to symphonic sound. In visual contrast, yellow/gold trifurcating columns, evocative of Bristol’s Harbourside cranes, and wave-like walnut balcony fronts enclose a dynamic and intimate space for audiences.
Showcase
Beacon Hall opening night Photo: @shotaway.com
Showcase
Acoustically beneficial drum-shaped chestnut panelling was salvaged from the previous 1950’s interior, stiffened-up, and reinstalled in the new stalls. Similarly, the organ screen has been retained and extended, and inspired the design of staggered edge-lit faceted oak veneered panelling for the organ flanks.
For amplified events, variable acoustic banners and drapes are deployed covering the side and rear walls to reduce the reverberation time – enhancing loudspeaker clarity.
Above the stage, shaped and textured acoustic reflectors provide ensemble conditions for orchestras as well as concealing six in-house production lighting trusses and a state-of-the-art installed amplified sound system which can be lowered-in to the hall through a pivoting row of reflector panels. There are also innovative inflatable bass-absorbers above the canopy to reduce boominess of amplified sound.
The new stage roof structure and rigging deck enables touring productions to hang their own lighting and sound equipment
through slots in the canopy without needing to de-rig the in-house equipment.
To increase spatial comfort and accessibility, there is a slight reduction in seated capacity compared to the previous hall but, in business terms, this is compensated for by an increase in capacity for events with standing. The front stalls seating is adaptable between fully seated and seated with standing using wheeled beam-mounted seats and standard seats fixed to moving wagons. These moving seats can be stored in an existing cellar, directly below the Beacon Hall using two full-width two-metredeep elevators that also create variable stage extensions as needed for larger productions and orchestras.
Lantern Hall
The second hall, now known as the Lantern Hall, seats 300 people on retractable / flat floor seating or a standing audience of 500. It dates from 1873 but has been altered many times. It is now an adaptable space suitable for smaller concerts, spoken word, and other income generating events.
In 1900, the stage end was reversed, and a separate access stair and WCs added. In the 1920s, the space was converted to the Little Theatre when a concrete proscenium was added, the windows bricked-up, and the balcony seating extended. Prior to the foyer building development it was the hall’s only bar, and most recently it has been an ad hoc second performance space.
All the previous alterations have been reversed and it is now a beautiful day-lit restoration of the original grand Victorian space and fully equipped to the same high professional standards as Beacon Hall.
Bristol Beacon acoustic panelling
Photo: Tim Crocker
A steel-framed concrete floor slab with acoustically isolated timber floor of Muhuhu, salvaged from the former main hall, has raised the floor level about 300mm to align with the foyer, Beacon Hall stage and crossover. This enables level access across the principal floor for audiences, performers, and equipment and provides sound separation from the restaurant below.
The stage comprises 12 platform lifts that can be all raised, tiered or retracted to create a flat floor across the whole room.
Seven arched windows have been reinstated in double-glazed steel frames, subdivided to match the appearance seen in historic photographs and supplemented with further internal glazing to provide the required sound reduction. Cleverly integrated between the glazing systems are electric black-out blinds, and the windows can be covered with artist-designed
variable acoustic drapes as required for amplified events.
Overhead, three flown production trusses provide considerable flexibility for sound and lighting systems.
Much of the decorative plasterwork was lost in previous alterations, and some of what remained was damaged or unstable. Bristol-based theatrical plaster restoration specialists Hayles and Howe has repaired, replaced and reinstated this to spectacular effect.
Lantern Building
Within the 1873 Lantern Building, much of the finest original fabric and character remained behind and within later alterations, and has been conserved, uncovered, or accurately reinstated from onsite evidence where it had been lost.
On the ground floor, the former box office space has been replaced by a new 110 cover restaurant and bar. This is on view to the city behind a newly glazed "shopfront" created by stripping away previous additions to reinstate the sevenbay streetfacing loggia.
The restaurant leads through to the Lantern Atrium, a new centrepiece for the building, organised around a steel and glass staircase that provides clearer orientation through the building.
When first built, the public areas were grand and impressive, but this had been diluted over time by later structural and decorative alterations. This part of the building has been dramatically opened-up and flooded with daylight, allowing views from the street through the restaurant and up into the Lantern Bar and Atrium.
Cellars
The former bonded cellars beneath Beacon Hall have undergone a creative transformation into a suite of spaces for music education, practice rooms, and the Weston stage - a new cellar venue for smaller, more intimate performances. This third hall serves as an additional performance space, reflecting the adaptability and versatility of the revitalised Bristol Beacon.
Showcase
Bristol Beacon staircase
Photo: Tim Crocker
Lantern Hall
Photo: Soul Media
Project Review
The total project cost including all temporary works, furniture, equipment, other client costs and professional fees was £132m, of which £91m was allocated to the construction contract. Over 8,362m2 for the new and refurbished areas, this equates to a cost of £10,883/m2.
Funding was sourced principally from within Bristol City Council, and from Arts Council England, National Heritage Lottery Fund, HM Treasury and many trusts, private funds and individual donations.
Completion was three years later than first planned and the final cost more than doubled. During the early phases of the work, the building revealed extensive and significant structural problems resulting from two major historic fires affecting the masonry strength, poor consolidation of three previous re-builds, and the discovery of multiple concealed flues, and three Elizabethan wells. Once the structural difficulties had been overcome, the Covid pandemic hit – limiting progress of the works and adding to preliminaries costs. And, post Brexit and pandemic, the project was further affected by wider economic factors including labour and materials shortages and high inflation.
As part of the essential upgrades to Bristol Beacon’s historic building there is a clear strategy of environmentally conscious design that reduces energy consumption and carbon emissions while also adapting the building for a lifetime of sustainable use.
Social, economic, and environmental sustainability issues have been embraced at the core of the project. The project is set to achieve BREEAM (Building Research Establishment Environmental Assessment) ‘Very Good’ – which is a challenging target for Grade II Listed building on a constrained urban site. The strategy includes improved thermal performance to new and upgraded historic fabric, retrofit over re-build where possible, sustainable procurement of materials, enhanced ventilation, 656m2 of Photovoltaics smart lighting, low water use fittings, energy monitoring, greater user comfort, climate resilience, more biodiversity, and encourages sustainable transport like cycling. Bristol Beacon aims to be the UK’s first net zero concert hall by 2030.
One of the most challenging aspects of the historic restoration was to ensure that the venue is able to deliver excellent acoustics for all kinds of music across the three new auditoriums. This did not only apply to the architectural design but also
the implementation and operation of the building’s extensive and complex services within the historic shell, in a sensitive manner.
Ventilation must be silent—requiring large ducts and outlets to be concealed within the constrained dimensions of the historic building. Different solutions were developed for each auditorium. In Beacon Hall, ventilation is provided from beneath the seats. In the Lantern Hall, it is ducted through the reinstated decorative corner pilasters and behind the seating. In the cellar venue, trenches were excavated below the floor to preserve the ceiling height and historic vaulted ceiling.
Most pleasing is the distinctive visual signature and unique character of each of the performance venues, making each instantly recognisable in visual media. The Beacon Hall sensationally contrasts textured brickwork with acoustically shaped warm timber linings and brightly contrasting seat fabric, designed by artist Rana Begum. The Lantern Hall is a beautifully restored historic space with subtle colours, hints of gilding and Rana’s acoustic drapes. Finally, the Weston Stage is an intriguing cellarlike venue with darker tones and materials, suited to innovative and emerging artists.
The result is more than a concert hall. It is a significant cultural, learning and creative hub - a harmonious blend of sustainability, conservation, distinctive visual design that will sustain this home of music in Bristol and the southwest for years to come.
Project Data
Client
Bristol City Council for Bristol Music Trust
Architect Levitt Bernstein
Project Manager Mace / Arcadis
Acoustician Sound Space Vision
Theatre consultant
Charcoalblue
Quantity surveyor
AECOM
Main contractor
Willmott Dixon
Showcase
Mechanical, electrical, and public health engineer
ARUP
Structural engineer
ARUP
Fire consultant
ARUP Fire
Access Consultant
Attitude is Everything
Public art curator
Field Art Projects
Stage engineering
Centre Stage
Stage electrics
LSI
The show must go on…
Tal Rosen, Theatre Director of The Orchard Theatre and Orchard West outlines the whirlwind journey from the discovery of Reinforced Autoclaved Aerated Concrete, to staging panto in the newly created Orchard West just six weeks later.
The Orchard Theatre, Dartfordmanaged by Trafalgar Entertainment in partnership with Dartford Borough Council - stands as a cornerstone of the local community, fostering connection and cultural enrichment through its diverse array of productions, workshops, and events. However, the theatre faced a serious and unexpected setback when concerns regarding Reinforced Autoclaved Aerated Concrete (RAAC) surfaced on a national scale in the summer of 2023. An ordinary roof inspection at the theatre unveiled deteriorating structural issues in the face of new guidelines, prompting the immediate closure of The Orchard Theatre and throwing its future into uncertainty.
The abrupt closure not only disrupted the anticipated schedule of shows (including the cherished and wellsupported annual Christmas panto), but also cast a shadow of uncertainty over the livelihoods of the venue’s dedicated staff. With over 30 permanent employees and 50 skilled temporary workers facing potential job losses the theatre team braced itself for the impact. Additionally, the prospect of losing connection with around 100 volunteers – who had dedicated themselves to the theatre's operation over many years - added to the sense of urgency to find a swift resolution.
Beyond the workforce, the closure of The Orchard posed a significant ripple effect on the local economy. With an estimated annual impact of £4.6m, the theatre served as a vital economic engine, supporting various businesses that relied on its continued operation. From contracts with local suppliers to the foot traffic generated for nearby establishments, the absence of theatre performances threatened to leave a noticeable void in Dartford's commercial landscape.
‘It is a hub for the local economy and the local community. It brings in people from the Southeast and far beyond. It is known as being that rock of the community, it means a lot to people in Dartford.’ Tal Rosen, Theatre Director, The Orchard Theatre and Orchard West
The closure also deprived Dartford's community of a significant cultural asset - leaving residents without a central hub for participation and entertainment. For years, The Orchard had served as more than just a venue for performances; it was a gathering place for families, friends, and individuals from across the area and beyond. Its sudden closure left a palpable void in the community's social fabric, highlighting
the profound impact that cultural institutions can have on the collective identity of a region.
In response to this crisis, a collaborative effort between Trafalgar Theatres and Dartford Borough Council was swiftly mobilized to address the pressing need for a temporary entertainment venue. Thus, Orchard West emerged as a beacon of hope amid uncertainty - a testament to the power of partnership and resilience in the face of adversity. With meticulous planning and unwavering commitment, a vacant site was transformed into a fully functional theatre within a remarkably short span of six weeks.
The journey from conception to realization was not without its challenges. From scouting suitable locations to navigating logistical hurdles, every step of the process demanded creative problem-solving and agile decision-making from the project team. Opting for a venue constructed from amalgamated marquee structures proved to be the most practical solution, ensuring that Orchard West not only met but exceeded the standards expected by customers.
‘There was initial apprehension from customers, the local community, producers, and promoters. People automatically assumed the temporary structure would be a big top in a car park with portable loos outside the back, but the new theatre is the complete opposite of that – a fully functional, state-of-the-art entertainment venue.’
David Bradbury, PR and Communications Manager, Trafalgar Entertainment
Orchard West Foyer
Photo: Devon Shoob
Collaborating with international company GL events and its sister companies, Aganto, and Flow Energy Solutions, helped to facilitate the execution of this ambitious project. Together, in close partnership with Trafalgar Entertainment and Dartford Borough Council, they delivered a turnkey solution that addressed every aspect of a permanent theatre building - from an auditorium with seating for over 1000 to the backstage facilities essential for supporting a diverse range of shows and productions and which ranged from local dance schools to large-scale professional shows. The result was a temporary theatre that not only met the immediate needs of patrons, participants and performers in a comfortable environment but also set a new standard for excellence in temporary entertainment venues.
The successful opening night of Beauty and the Beast at Orchard West served as a poignant reminder of the community's resilience and determination to keep the show going (quite literally). It was a testament to what can be achieved when partners and stakeholders come together with a shared vision and unwavering commitment to a common goal.
‘It was miraculous how we managed to get it delivered on time, it was a magnificent achievement by everyone involved.’
Tal Rosen, Theatre Director, The Orchard Theatre and Orchard West
‘On the opening night of panto in Orchard West, it was hard to believe that we were sitting in a temporary structure on a site that had been empty just a few weeks before. The collaborative efforts of Dartford Borough Council, Trafalgar Theatres and GL Events, along with a range of other contractors and contributors, made what was a seemingly impossible task possible. It has not been without its challenges but the potential impact of having no theatre was not an option for our borough and we are delighted to have kept this show on the road.’
Caroline Hicks, Director of Growth and Community, Dartford Borough Council
As the curtains rose on Orchard West, attention turned to the revitalisation efforts underway at The Orchard Theatre. Substantial
renovations, including enhancements to the technical infrastructure and accessibility features, are poised to transform the theatre into a modern, inclusive space fit for the diverse needs of its patrons. From improved acoustics and lighting to upgraded facilities for patrons with disabilities, no stone is being left unturned in the quest to ensure that The Orchard Theatre remains a beacon of cultural excellence in Dartford and beyond.
The reopening of The Orchard Theatre promises to be a momentous occasion, not only for the theatre community but for the entire Dartford area. It will mark the triumphant return of a beloved institution, reaffirming its rightful place at the heart of the community and signalling a new chapter in its storied history.
As patrons eagerly anticipate the unveiling of the theatre, there is a sense of excitement and optimism in the air, a testament to the enduring power of the arts to inspire, uplift, and unite us all.
Orchard West Construction
Photo: Courtesy of Orchard Theatre
Orchard West
Photo: Courtesy of Orchard Theatre
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Theatres Trust Conference 24: Making Theatres Thrive
Theatres Trust’s annual conference takes place in October in Salford and Manchester. Find out more about this year’s event.
New location, new format
For the first time in a decade, we’ve made the decision to take our annual conference outside of London. We are delighted that The Lowry in Salford will host the main day of the conference on Tuesday 8 October. We will bring together a mix of inspiring speakers and case studies, to help us understand what we all can do to make sure our theatres thrive. Taking on board feedback from previous conferences, there will be more opportunities for delegate discussion, sharing of best practice, and networking at the conference.
This will be followed by an optional half-day on Wednesday 9 October, where delegates will have the opportunity to spend a morning touring some of Manchester’s most distinctive theatre venues, including Aviva International, Contact and HOME.
Conference 24 theme
What do we need to do to ensure our theatres not only survive but thrive? Faced with the unprecedented challenges of post-covid recovery, the cost of living, and public funding crises, how can we adapt and change our theatres and how we run them so they can be more resilient and able to withstand these shocks? Do we need to develop more flexible business and operating models and what would these look like? How do we ensure theatres lead the way in reducing global warming and can adapt to climate impacts? How can we reassert theatres’ placemaking role, making our villages, towns and cities great places to live? And what does that mean for how our theatres are designed, maintained, adapted, and run?
These are some of questions that we’ll be debating – and hopefully collectively finding new and innovative answers to – at Conference 24: Making Theatres Thrive.
Wider participation and inclusion – discounts and free places
As part of Theatres Trust’s commitment to inclusion and diversity, we are delighted to introduce the Future Leaders initiative, enabling the next generation of theatre sector leaders to be part of the Conference 24 conversations, supported by their senior colleagues. Recognising that budgets don’t always allow for more junior staff to attend conferences, we are offering a second place at half price when booked alongside a full price conference place. A ‘future leader’ could be anyone in your organisation who is not part of your senior leadership team – perhaps a senior technician, front-of-house manager or a junior associate, trainee or apprentice. They may be an early career professional, someone who has just joined your organisation, or someone new to the sector. What is most important is that it should be someone who is interested in the conference’s focus on theatre buildings.
We will also be running our bursary scheme, which has been so successful in previous years, offering a free place and travel expenses to students, freelancers, and people from small unfunded theatres. Further details are available on our website with the deadline for applications being Friday 12 July.
Tickets for our conference are always competitively priced with discounted rates available for our Corporate Supporters, Patrons and Friends, as well as members of promotional partner organisations, including SOLT / UK Theatre, Independent Theatre Council, Creu Cymru, Federation of Scottish Theatre, Theatre and Dance NI, Community Leisure UK and ABTT. Look out for discount codes in your members’ newsletter.
Thanks to our sponsors and partners
Conference 24 is made possible thanks to the support of our sponsors and partners, including Unusual, Theatreplan, Buro Happold, Harlequin and LW Theatres
Theatres Trust’s conference is a great opportunity for organisations to raise their profile with theatre industry leaders and have their brand associated with one of the industry’s ‘must attend’ events. There are a number of sponsorship opportunities available – please contact Nicky Rowland nicky. rowland@theatrestrust.org.uk to discuss the best options for your organisation.
See you in Salford
More information on the agenda and speakers will be available soon, but we hope this has whet your appetite for Conference 24. You can book your tickets now via our website theatrestrust.org.uk. We look forward to seeing you in Salford in October.
The Lowry, Salford
Keep up-to-date with our planning news and casework by signing up to our mailing list on our website: theatrestrust.org.uk/newsletter
Our Work
We provide advice on the planning and development of theatres.
New theatres and major developments
Theatres Trust actively supports theatre owners and operators who plan positively for cultural use and much of our advice is around ensuring proposals for theatres offer the most viable solution. Cultural facilities are increasingly recognised as vital for arresting decline and encouraging activity within town centres because they generate footfall and spending in other businesses.
We were consulted on planning and listed building consent for a theatre and hotel scheme on the site of the former Saville Theatre, London. The Grade II listed building, on Shaftesbury Avenue, currently operates as a cinema. The proposal (2024/0993/P & 2024/1005/L) constitutes part demolition, restoration, and refurbishment. Proposed basement excavation would return theatre use to the site, along with restaurant / bar space at ground level, and an upwards extension housing
hotel facilities. Plans include significant internal alterations, as well as welcome refurbishment and restoration of the building’s facades and notable frieze. Theatres Trust supports the principle of the development delivering reprovision of a theatre within the building, which is currently intended as a permanent London base for Cirque du Soleil, however we have concerns over the balance of uses, the extent of upwards extension and the long-term safeguarding of the theatre space. We consider this building to be important, not just for its historic significance but because it represents a rare opportunity to deliver additional largerscale theatre within London’s West End. We understand from previous planning engagement that audience capacities of up to around 1,000 vs the proposed indicative capacity of around 400, would be realistic and viable within a less harmful scheme in heritage terms, so it is important that anything which limits such potential is properly understood and justified.
Saville Theatre
Photo: Greater London Council
Planning permission was supported for installation of a temporary theatre in the car park of Oldham Civic Centre (FUL/352513/24).
The original Coliseum Theatre in Oldham closed just over a year ago and plans are being progressed for a replacement theatre, but this is not currently expected to be available until 2026. We therefore welcome the provision of a 167-seat ‘pop-up’ theatre within a movable dome structure, which is scheduled to be open for performances until July 2024. This will provide at least some degree of replacement theatre provision and the nature of the structure paired with the hard standing site means that the area can be easily restored to its original state.
We were notified of plans for a mixed-use development in Luton (24/00157/FUL), comprising of residential, commercial, retail, and other community spaces alongside a new, multipurpose, live performance venue, to be called
The Stage Project. Theatres Trust supports the principle of a new performance venue for Luton, assuming its scale and anticipated programme would complement rather than compete with the town’s existing offering, and that the design is considerate to the acoustic requirements of the venue, while ensuring that it can successfully co-exist with future residents of the wider development without restrictions that could undermine its operations.
Refurbishment, restoration and sustainability
Theatres Trust encourages theatre owners and operators to invest in their buildings to meet the needs and expectations of modern users and improve accessibility and sustainability to increase their viability and social value.
We supported planning permission for replacement roof materials at Dartford’s Orchard Theatre (24/00305/FUL) due to the presence of Reinforced Autoclaved Aerated Concrete (RAAC) within the theatre’s roof construction. The venue has been closed since September 2023, and is operating from a temporary venue nearby (see our article on
Orchard West p.18). We welcome the council’s and the venue operator’s approach to bringing the main theatre building back into active use, and to extending the planning application to include the installation of solar panels and addition of greater insulation, which will improve efficiency and sustainability, while also adding acoustic protection.
The Grade II* listed Dome Cinema, in Worthing opened in 1911 and is described in the Theatres Trust database as “the most complete example of a building of its type” and said to be “amongst one of the ten finest buildings on the South Coast.”. We have objected in part to the application for listed building consent (AWDM/0459/23) for the venue to create a new cinema screen/function space, and to the refurbishment of existing ‘auditorium 2’ on the first floor. We have been unable to support the application without a sufficiently detailed heritage statement detailing how the proposed works would impact on the existing historic fabric and features of this important heritage building. We have, however, supported the alterations proposed in the application to the venue’s ground and first floor WC provision.
Theatres Trust supported the granting of listed building consent at Stephen Joseph Theatre Scarborough (ZF23/02008/LB). Originally built in 1936 as a cinema, the Grade II listed venue was redesigned to incorporate the theatre in 1996. Much of the proposed work is to the smaller McCarthy auditorium, which will see a revised layout to improve accessibility and bar/foyer space, along with new WCs and replacement air handling throughout the building. These works will deliver an improved provision for wheelchair users and increase the energy efficiency and sustainability of this important heritage asset.
We were made aware of plans for refurbishment and works to upgrade the theatre at Sutton Community Academy in Sutton-in-Ashfield (Z/2023/0703), and for the venue to be opened to the public under the name Cornerstone Theatre. We welcome the utilisation of Levelling Up funding in investment in theatre and the arts, and support the granting of planning permission with recommendations for improved accessibility and internal function.
In Warrington plans were supported at the Pyramid Arts Centre for both internal and external alterations (2023/01495/FUL). The centre opened in 2002, utilising the Grade II listed County Court building and neighbouring former Inland Revenue office. The proposed plans include the replacement of existing cladding and flat roof finishes, and a new loading door. Separate listed building consent has also been supported (2023/01487/LBC), which will see an increase in the number of WCs and better acoustic separation between the arts centre’s venues, resulting in improved energy efficiency and operational benefits, while not causing harm to the special character of the more sensitive former County Court building.
The Dome Cinema, Worthing
Photo: Ian Grundy.
provision of arts and cultural space for local people. We are in support of these plans.
Ian Grundy
Similarly, in Chatham we supported planning (MC/24/0335) and listed building consent (MC/24/0336) for the Brook Theatre to carry out various internal and external alterations and repairs. The Grade II listed venue is currently closed and undergoing a long-term restoration and refurbishment programme. The works proposed in these applications would see an enhancement to accessibility, with the addition of a new passenger lift, serving all floors replacing a current goods lift, and replacement of the existing platform lift at the main entrance with a ‘hidden’ lift system. Meanwhile, the box office counter would be lowered, and the refurbishment of WCs would include additional accessible provisions. Externally the venue would benefit from works to lighting, drainage and ventilation, all of which we welcome and support.
Theatres Trust has also responded to plans for a detached ‘extension’ for the Harlow Playhouse, as part of a larger development for a new arts and cultural square within the area (W/ FUL/23/00488). The Harlow Playhouse opened in 1971 following a successful campaign by a local group, who felt that a town of Harlow’s size deserved a theatre. It remains a valued cultural asset, delivering a wide and varied programme to its community. The proposed second building would provide studio and rehearsal spaces which would further enhance the theatre’s offer and versatility. We have made some suggestions for improvements to the plans to address concerns we have regarding layout, particularly in relation to accessibility in some areas, but welcome and support the plans in principle.
We were consulted on plans for the redevelopment of a site near to the Shanklin Theatre on the Isle of Wight (23/02226/FUL). The proposed works would provide a performing arts centre containing a 106-seat auditorium, studios, and a museum/heritage centre. The original building in which the Shanklin Theatre is housed dates from 1879 and operated as the Town Hall from 1913. After a serious fire, part of the building was rebuilt and opened as a theatre in 1934. Due to the constraints of its statutory listing and there being a lack of space, there is no opportunity to expand the existing theatre, therefore a neighbouring site has been identified to deliver a facility which will significantly expand the theatre’s offer, and enhance the
Planning permission for an extension to the Hexagon Theatre in Reading to provide a studio theatre, along with community and rehearsal spaces was also supported by Theatres Trust (240063). The Hexagon Theatre was designed in 1977 by the same notable firm of architects responsible for the design of the Royal Festival Hall in London. It was praised at the time for its radical appearance and technology, being one of the first venues to have assisted resonance designed into it, for day-to-day variation of acoustics. Although a listing application was turned down by Historic England, we believe that the theatre can be considered a nondesignated heritage asset and support the sensitively designed expansion of facilities, flexibility and offer to the community the proposed plans provide.
Developments affecting theatre buildings
Theatres Trust is also consulted on works to former theatre buildings, and we welcome proposals that retain significant architectural features or allow for a return to public use, or live performance.
Plans have been resubmitted for a new hotel scheme on the site of the Odeon/Regal in Colchester (232790). Designed by renowned cinema and theatre architect Cecil Massey, the Regal opened in 1931. It predominantly operated as a cinema, but was equipped
Stephen Joseph Theatre, Scarborough
Photo:
Shanklin Theatre, Isle of Wight
Photo: Shanklin Theatre and Community Trust
with full theatre and stage facilities, dressing rooms and orchestra pit, and provided an extensive theatre programme, including regular pantomimes. Previously submitted planning applications have cited complete demolition of the building, which we have strongly objected to. The reviewed plans reflect feedback from the applicant’s meeting with Theatres Trust to discuss our objections further, and we welcome the subsequent plans to restore the significant original Spanish-American façade of the building, and the reinstatement of a canopy to the main entrance. Sadly, demolition plans show that almost everything behind the front façade will be lost. Considering the significance and interest as a work of Massey, we have urged the inclusion of a full historic building recording report as a condition of our support of planning permission being granted.
A revised planning application was reviewed for development of student accommodation adjoining the Peacock Theatre, near Holborn, City of Westminster (24/00898/FULL). While we have no objection to this scheme in principle, we noted that some of the proposed accommodation is situated either directly next to, or in close proximity of, the theatre’s fly tower. With this in mind we stressed that plans should adequately manage design and acoustic insulation to ensure that the future operations of the Peacock Theatre are not undermined by the development.
Team news
Director Jon Morgan to step down at end of 2024
Jon will leave Theatres Trust after nearly eight years to develop a new initiative offering holistic coaching, support and development to arts and third sector leaders. Since joining Theatres Trust in January 2017, Jon has led the organisation through a period of remarkable change and growth, which has seen its role evolve beyond focusing on historic buildings to also providing crucial wider support to help theatres be fit for the future, its staff team expand, and its profile grow within the sector and beyond.
Recruitment for a new Director is underway and we hope to have the successful candidate in place by early December to ensure a smooth transition. Further details about the position are available on our website with 3 July deadline for applications. theatrestrust.org.uk/about-us/ opportunities
Improving policy
We responded to a national planning policy consultation covering England, which related to brownfield development. Whilst supportive of the overall premise of promoting development of existing under-used and vacant sites we raised concerns around some elements, urging that a relaxed planning regime should not overlook issues of noise and conflict with nearby existing theatres and other noise-generating venues. We cautioned that vacant theatres and other culturally and historically significant buildings could be unnecessarily lost, and that sensitive re-use and adaption should be prioritised.
Contact us if you are planning a capital project or want advice and guidance on maintaining your theatre building: advice@theatrestrust.org.uk
In memory of Ruth Eastwood
It is with great sadness we share the news that following a short and unexpected illness Ruth Eastwood, Theatres Adviser, passed away at the end of May.
Ruth’s passion for the work of Theatres Trust and her impact on the organisation has been huge. She served on the Board for nine years, six as Vice Chair. She also kindly stayed on as a co-opted member of our Executive Committee for a further two years to ensure continuity of governance while we awaited a new Chair to be appointed. As well as offering her wealth of knowledge and experience in theatres and theatre management to support our work, she also drew on her organisational development and coaching skills to support the staff and trustees through another leadership transition in the interim period before Jon Morgan was appointed as Director in January 2017. Such was her passion and commitment to Theatres Trust she then joined us as Theatres Adviser in February 2024, a role which she hugely enjoyed and in which her colleagues and theatres valued her considerable expertise and wisdom.
Over Ruth’s long career she worked with and led many of the theatre sector’s most important and well-regarded organisations. Following earlier positions at Hull Truck, the National Theatre, Bradford Theatres and as Head of Arts and Culture for Darlington Borough Council, she served as Chief Executive of Blackpool Grand, Curve Leicester and Lighthouse Poole. Ruth has had such an impact across the theatre sector and we know hundreds of colleagues will be mourning her loss.
Our Supporters
Thanks to our supporters
We would like to thank all of our supporters for your generosity and ongoing interest and support for our work protecting theatres for future generations.
New Corporate Supporters
Thank you to the following who recently joined us as Corporate Supporters:
Design and installation of retractable and auditorium seating. Manufacturing in the UK, they are known for their bespoke approach and long-lasting, elegant seating. Clients include The Royal Albert Hall, The Roundhouse and The Royal Shakespeare Company.
Part of the Kotobuki Seating Group, one of the largest manufacturers for Theatre, Cinema, Education, Hospitality & Sports seating with offices in the UK and manufacturing facilities in Malaysia.
SRTC are a theatre consultancy practice offering global experience to regional projects, providing expert services in theatre and venue design and planning, auditoria design, stage engineering, stage lighting, AV and client representation.
New Patrons
We would also like to thank and welcome two new Patrons Simon Fraser, and Ken and Lin Craig. Our Patrons play a vital role in supporting our work with theatres throughout the UK and we cannot thank them enough for their support
New Friend
We’d like to welcome new Friend Ari Volanakis who has joined us since the winter issue of the magazine.
In memory
Sadly, the following supporters have passed away:
Mike Kilburn (Life Friend)
Alic K Robertson (Life Friend)
We remain grateful for their contribution to our mission..
We continue to work with theatres of all sizes around the country, ensuring they can provide welcoming spaces for their audiences to enjoy performances and take part in activities. Our work is only possible thanks to the generosity of our public funders, trusts and foundations, Corporate Supporters, Friends and other donors.
Find out how you can support Theatres Trust by visiting our website – www.theatrestrust.org.uk/support-us
Theatre Buildings: A Design Guide
By Association of British Theatre Technicians (ABTT) (Editor), Margaret Shewring (Editor)
Routledge
ISBN 9781032355290
£48.99 Hardback (2024), 392pp
Reviewed by Charlotte Geeves, Executive Director at Bristol Old Vic
I spent the first part of my career working as a stage manager and company manager, touring the UK & Europe and am now the Executive Director at Bristol Old Vic. It’s been a journey of the best part of 30 years, and I have had the privilege to work in many of our UK theatres, before and after they have been refurbished.
This book delves into the detail of some of the great theatre refurbishment projects across the world. While there are some notable exceptions, such as the Young Vic and Royal Court, it covers the wide range of things that should be thought about, the things that should be interrogated and how, as a theatre maker you can play a crucial role in the success of a building going through a refurbishment. Whether it is being built from scratch; from backstage, to front of house, from auditorium flow and ventilation all the way to the social principles for a twenty first century building.
I was once told that building a theatre is as complex and complicated as building a hospital and when you read this, you start to understand why. It is an incredibly interesting read, for those who are just starting out in their career to those who have spent a lifetime working and existing within these buildings.
