Stage Craft— Treading the boards of business with Liverpool Everyman and Playhouse. Writer— Mark Till
Photography— Phil Vile
In a city of storytellers it’s only fitting that investment in the arts remains a key strand of economic policy: this spring Hope Street’s Everyman theatre reopened after a £27m refurbishment; next, the Philharmonic Hall will be the recipient of a £10m makeover. It’s ten years since the Everyman — a 400-seat thrust stage — joined the city’s more traditional, proscenium-arched Playhouse theatre, to create a dynamic, forward-thinking creative hub under artistic director Gemma Bodinetz and executive director Deborah Aydon, who moved to the city from London to take on the challenge. While the two theatres each have distinguished and distinct histories launching careers of stage and screen luminaries — including Anthony Hopkins, John Thaw, Ian McKellen, Julie Walters, Pete Postlethwaite and Bill Nighy, as well as directors and writers such as Alan Bleasdale and Willy Russell — their strength today lies in their collective innovation. Bodinetz’s mission to “reflect the aspirations and concerns of our audiences, to dazzle and inspire them, welcome and converse with them, nurture the artists within them and engender civic pride” has resulted in 41 world premières — 37 by local writers — and 50 tours and transfers. Both theatres play an active part in LARC — the Liverpool Arts Regeneration Consortium — alongside the Bluecoat, FACT, Biennial, Philharmonic, Tate and Unity Theatre – allowing them to crosspollinate their artistic and development programmes and collaborate on projects. In the post-Capital of Culture years, the arts have been firmly positioned at the heart of the city’s development strategy, with LARC recognised as an important forum for shaping policy on Merseyside. Mayor Joe Anderson describes the arts as the ‘rocket fuel’ of the local economy. Yet with cuts to council budgets, it is increasingly necessary for arts organisations to generate more private revenue, and to work with businesses in the city. In April the Everyman and Playhouse confirmed a three-year partnership with John Moores University, and is rapidly expanding its business membership and sponsorship relationships. “We have long recognised the benefits the arts give to every sector of the community — including businesses,” says Chris Topping, Partner at QualitySolicitors Jackson and Canter. “As a firm founded in Livepool in the heady days of the ealy 1960s we have long-standing relationships with with clients involved in theatre, art, design, and music. We see these two theatres as being a central part of Liverpool life.” A combination of public and private funding is behind the £27m renovation: the majority came from Arts Council England’s Lottery fund, the European Regional Development Fund, and the North West Development Agency; the balance was secured from private trusts and foundations and a
fundraising campaign that recruited more than 1,000 individual donors. Designed by Haworth Tompkins, the new Everyman won RIBA’s North West Building of the Year accolade shortly after its March reopening. It has been transformed into a light, bright space, with exceptional accessibility for visitors with disabilities and high environmental sustainability. Reinforcing the theatre’s role in city life, across the front images of Liverpool citizens have been crafted into metal shutters. A sell-out production of Shakespeare’s Twelfth Night marked the reopening, while the redevelopment brings the building firmly into the 21st century, in its 50th anniversary year: the legendary basement bistro sits alongside cutting-edge technical equipment, a rehearsal room, costume workshop and sound studio. A Writers’ Room provides a place to work, meet and create, while the 25,000 bricks reclaimed from the original Hope Hall structure have created a modern, dynamic space equipped for conferences and events when the theatre programme allows. The Playhouse carried the mantle for both during the redevelopment, celebrating its 100th anniversary in 2011, and has enjoyed West End and national tour success with shows such as The Ladykillers, Ghost Stories and The Misanthrope. This summer’s inaugural season at the reborn Everyman concludes in a collaboration with the irrepressible Kneehigh theatre company on a radical new version of John Gay’s musical satire The Beggar’s Opera, titled Dead Dog in a Suitcase (and other love songs). The Playhouse, meanwhile, offers the regional première of Betty Blue Eyes, a riotous, feel-good musical, based on Alan Bennett’s A Private Function, which played to critical acclaim in the West End.
The Liverpool Everyman and Playhouse is writing a bi-weekly blog looking further into the business culture within theatre — you’ll find it at www.thecitytribune.net.
Published on May 30, 2014
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