The Hippodrome: Restoring a London landmark - Protecting theatres for everyone Community Assets - Theatres at Risk 2012 A sustainable future for ...
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
ISSUE #33 AUTUMN 12 The Hippodrome: Restoring a London landmark Community Assets — Theatres at Risk 2012 A sustainable future for Hoxton Hall Ecovenue Showcase: KX Platform Theatre, London Protecting theatres for everyone
2
9
The Hippodrome: Restoring a London landmark 2–5 Front cover photo:
The dramatic head figure which forms the
Community Assets – Theatres at Risk 2012 6–9 centrepiece of the cartouche topping the
A sustainable future for Hoxton Hall 10–11 proscenium arch at the London Hippodrome
© Locker & Riley
Showcase: KX Platform Theatre 13–16
Theatres Magazine is edited by Paul Connolly.
Ecovenue 18–21 © 2012 The Theatres Trust Charitable Fund.
& All unsigned or otherwise uncredited articles
are the work of the Editor. The views expressed
editorially or by correspondents in this magazine
are not necessarily those of the Trust. Notes,
Theatres Round-up 22–23 queries and letters are always welcome.
Current Casework 24–25 ISSN: 1759-7668
Reading Matter 26–27
Designed by www.vincentdesign.co.uk
Photo diary 28 Printed by Wyndeham Gait Limited
Dates for your diary 28 Advertising sales: Nicola Rowland
"
!
!!!
# !
Photo: David Jensen
HIPPODROME, LONDON NATIONAL SKILLS ACADEMY, THURROCK
NEW VENUE BUILDING FOR THE FUTURE
The 200-seat Matcham Room is an intimate A new state-of-the-art training facility for
new performance space which has been the entertainment industry, this building
inserted into the stagehouse of this Grade will deliver industry-endorsed training for
II listed theatre and hosts ‘Live at the young people & professionals from the world
Hippodrome’. Charcoalblue led the designs of theatre and live music. Charcoalblue
for the flexible seating and stage areas and provided strategic input into the masterplan,
designed the technical systems throughout and detailed planning and technical design
the venue. services to the project.
BRISTOL OLD VIC CHARCOALBLUE
REFURBISHMENT
Charcoalblue has collaborated with Andrzej Charcoalblue remains the brightest and
Blonski Architects to refurbish this historic most innovative theatre and acoustic
1780’s Georgian theatre. The scope of the consultancy in the UK. We are inspired by
project has included increasing comfort a passion for all types of performance, and
and improving sightlines for audience, new we bring a unique blend of collaboration and
technical systems throughout the building commitment to all our projects. We enjoy
and new rehearsal and ancillary spaces. what we do - and people seem to enjoy
working with us too!
‘A HEARTBREAKER...’
DIONNE WARWICK LIVE AT THE HIPPODROME
Openings
Mhora Samuel
Director
It’s been quite a summer (Olympics One of the theatres on the 2012 TBAR is Our conference broadened out the discussion
and Paralympics not withstanding) the Cochrane Theatre. It is due to be on sustainability to include economic, social
and we have another full issue of TM demolished for a hotel development at a and environmental issues associated with
for you to digest. For us it started with future date. Whilst we are concerned over the triple bottom line. We’ll also be publishing
our conference at Stratford Circus in the loss of the Cochrane given its central the Conference Report written by Jo Caird
June, followed not long afterwards by Holborn location on the fringe of Theatreland, in September. Hayley White, Group Director
the announcement of our 2012 Theatre we are pleased that a replacement theatre at Hoxton Hall, one of the participants in
Buildings at Risk register in July. In the was provided by Central Saint Martin’s, the the Ecovenue project picks up on their triple
same month the London Hippodrome Cochrane’s former owner, on its new campus bottom line approach in her introduction to
opened to the public as the Hippodrome at Kings Cross. Theatre Consultant, Andrew their three phase redevelopment programme,
Casino. Reopening this landmark building Stone of Drama by Design describes the work which includes environmental improvements,
in the heart of Leicester Square was a his company undertook to deliver the new new and improved educational facilities,
major exercise as it involved significant KX Platform Theatre, which opened in historic restoration and plans for a new capital
restoration and reinstatement of the November 2011. development to drive increased earned income
original Matcham interior. Plasterwork and support their long term viability.
specialist, Locker & Riley, was engaged At our annual conference, ‘Delivering
to restore the plasterwork of the London Sustainable Theatres’ on the 12 June at Each year we take a stand at the PLASA
Hippodrome and in our lead article its Stratford Circus, Tim Atkinson, the Trust’s Show at Earls Court to increase awareness
director Jon Riley describes how they Theatre Building Services Adviser gave a of the Trust’s work and at this year’s show
approached the work. special presentation on the Ecovenue project. we’ll be publishing the ‘Delivering Sustainable
The project will end on the 30 September Theatres’ Conference Report together
Our 2012 Theatre Buildings at Risk register and we’ll be publishing an evaluation report with ‘Evaluating Ecovenue’, a report which
was published on the 5 July. Once again this in September. Here Tim gives us a flavour summarises the work we’ve be engaged
received much publicity, particularly given the of his conference presentation and the with over the last three years. Our opening
Government’s new emphasis on promoting Display Energy Certificate findings arising to a busy autumn ahead.
assets of community value in the Localism from the project.
Act 2011. The Trust’s Planning & Heritage
Adviser, Mark Price reports on this year’s list
and some of the opportunities for theatres
to be reopened once again.
AUDIO
LIGHT
SYSTEMS LTD
www.AudioLightSystems.com
All photos © Locker & Riley
(except where noted)
The
Hippodrome
Restoring
a London
landmark
The Hippodrome Casino opened in July 2012. featuring performing animals including horses,
Jon Riley of plasterwork Back in the summer of 2010 Locker & Riley snakes, polar bears and elephants. It was
specialists Locker & Riley was approached by the new owners of the subsequently converted for use as a variety
London Hippodrome to reinstate the theatre’s theatre in 1909, when the proscenium arch
describes the company’s extensive plasterwork as part of the ambitious was moved forward and the stage enlarged.
work on the reinstatement restoration of this Grade II listed London Sadly, during the late 1950s, when
landmark. Although the building was being the theatre was converted once again most
of the decorative features brought back to life as a casino rather than of the original decorative plasterwork was
of the London Hippodrome. as a theatre, it was nevertheless encouraging destroyed. Such was the extent of internal
to hear that the whole volume of the structural alterations when the Hippodrome
auditorium was to be reopened and became the Talk of the Town, a cabaret
that the owners were keen to exploit restaurant, that the project was christened
the building’s theatrical history. ‘Operation Pickaxe’. The auditorium was
As many Theatres Magazine readers will ravaged and the majority of the original
be aware, the London Hippodrome opened in plasterwork destroyed.
1900 as a hippodrome, or circus, for Edward With little remaining evidence of existing
Moss. Designed by Frank Matcham, the venue plasterwork and only a handful of historic
included vast water tanks and played host photographs, researching the architect Frank
to a number of Victorian water spectacles, Matcham’s original designs proved to be
2 AUTUMN 2012 Theatres Magazine
a huge challenge. Historical evidence was digital artwork with plaster enrichments Area 3 Beam casings to the auditorium
pulled from every available source to provide should funds permit. The final approach ceiling
the basis of the reinstatement scheme. was classified into four categories. Area 4 Minstrels’ gallery ceiling
We were invited to attend meetings These being: Area 5 Function deck (gallery) ceiling
with Cadmium Designs (the lead architect) Type A Area 6 Friezes and existing decorative
to establish the best method of conservation Existing fibrous plasterwork elements features to the upper balcony
and repair. Given the dilapidation and remaining on site to be cleaned, patch Area 7 Diminished coves creating arches
destruction of the original interior, it was repaired as necessary and decorated to the monogram cartouches found
clear that a significant amount of the Type B to the upper balcony level
decorative plasterwork would have to New fibrous plasterwork elements to be Area 8 Mouldings and clasp details to
be entirely recreated. To this end, after developed from squeeze impressions taken the monogram arches
extensive consultation with The Theatres from existing adjacent plaster details (Type A) Area 9 Columns to the proscenium arch
Trust, Westminster City Council and reproduced to match in seamlessly Area 10 Scroll to the upper balcony
English Heritage, together with Alan Type C Area 11 Upper and lower balcony fronts
Baxter & Associates (the client’s historic New fibrous plaster elements as inspired incorporating cartouches, architraves
restoration consultant), an approach by existing features or historic photographs. and rinceau mouldings
and plan were formulated. Sympathetic recreations of elements visible Area 12 Column and headers forming the
The overriding approach was to from photographic evidence were hand arches to the balcony fronts
sympathetically restore and recreate the sculpted by Locker & Riley’s artisans. These Area 13 Main proscenium arch incorporating
decorative plasterwork in keeping with were initially drawn by Locker & Riley and columns, brackets (two vast sizes),
Frank Matcham’s original intent. Given offered for approval by the historical design pediments (left & right handed),
the enormity of the project, and mindful team and agreed as part of the planning pendants and the enormous
of the commercial budget, an incremental discharge process. Moulds and casts were central cartouche
design was carefully drawn up resulting in then created for the final fibrous plaster Area 14 Last remaining damaged panel
a tiered delivery approach. The focus would elements for site installation found in the entrance hall
be primarily on key features such as the Type D
proscenium arch, minstrels’ gallery and the New decorative printed digital wallpaper In preparation, Locker & Riley’s artisans
balcony fronts. elements as inspired by historical took record templates, carefully removing
Costs were mitigated in other areas photographs. The artwork was developed sections where loose. Wherever possible,
by simplifying designs and by the inclusion by Cadmium Design based on photographic impressions of existing plasterwork were taken
of sensitive digital artwork in lieu of actual evidence and digitally printed onto durable for reproduction and these then were overlaid
decorative plaster ornamentation in areas wallpaper which was applied to the fixed onto AutoCAD drawings to ensure correct
such as the main auditorium beam casings elements on site proportions. In relation to the size and scale of
and between the enormous brackets at the many of the items destroyed during the Talk
minstrels’ gallery soffit. The extensive scope of work included: of the Town conversion the team traced the
At all times this simplification was Area 1 Brackets to the minstrels’ gallery outlines of missing elements still visible in the
carefully considered and planned in the hope Area 2 Digital wallpaper between the wall plastering. The original timber supports,
that future generations could replace the brackets to the minstrel’s gallery that provided the framework for many of the
Theatres Magazine AUTUMN 2012 3
Piece by piece the missing components
were carved, with cartouches applied with
the “H” monogram and vast brackets being
sculpted to the Minstrel’s Gallery and either
side of the stage.
Being a commercial venture, time played
a significant part. We had to be focused
on high quality whilst ensuring programme
demands were also met. Careful planning was
essential to the project’s success and to ensure
the Casino was ready for the big opening night.
The highly complex and detailed moulds
were formed in the latest silicon rubber, which
is so accurate that even a fingerprint can be
picked up. Carefully cast in Locker & Riley’s
workshops in Essex, the finished components
were delivered in dedicated vehicles and
carefully distributed to the project.
In the theatre we were working at over
20 metres above the floor and a maze of
scaffolding was necessary to ensure safe
working conditions and the close up access
needed to undertake the works.
Our specialist craftsmen and women
main auditorium beams, offered further clues. Measuring some 13.5 metres high
undertook the on-site installation. This
All this was combined with historic photographs by nearly 16 metres wide, the scale was
included in-situ hand carved repairs, taking the
and enabled Locker & Riley’s design team to enormous. The first component that was
templates and squeeze impressions, and final
produce a set of finished workshop drawings. carved was the head feature found in the
installation of the newly carved components.
After the general AutoCAD “setting centre of the main cartouche. The scale was
Working closely at all times with Beck Interiors,
out” drawings had been established, our more than twice life size and the detailing,
who co-ordinated the fit out, the seamless
sculpture team was able to produce both despite being located over 21 metres above
interface between all trades proved to
beautifully scaled and full-sized sketches of the stage, was carved as if it would be
be a huge success.
each of the missing components for approval inspected close up and to the high quality
Locker & Riley is honoured to have been
and discharge of the listed building consent deserved by the Hippodrome. The carved
the plaster restoration specialist employed to
conditions. Each of these drawings were detailing was such that the full size central
undertake this ambitious visionary scheme.
works of art in their own right and necessary cartouche was used as the main exhibition
The work has recreated the architectural
to create the proportion and form for each piece at the London Decorex Exhibition to
landmark that is the London Hippodrome
sculpt to be produced. showcase the craft of Locker & Riley’s artisans
back to Frank Matcham’s brief.
A team of nine full-time sculptors’ headed to designers. Visitors had an opportunity to
by Robin Lawrence set about carving the observe the close attention to detail that had
missing elements. The most challenging of been applied before the piece was installed
these by far was the proscenium arch high up above the stage.
4 AUTUMN 2012 Theatres Magazine
The Hippodrome c. 1908
© RCHME
Upper section of balcony
face cartouche
“It was only when the unhappy state of the
Hippodrome which faced the contractors
after the nightclub era ended was shown in
a series of slides that our members could
see just what a mammoth task had been
undertaken with such stunning results.
How could such wonderful results be
achieved when there had been so little
to work on, they rightly asked! Members
had visited the London Palladium in the
previous year and recorded their further
congratulations to the Locker & Riley
team responsible for plaster work there.
Keep up the good work please!”
Rupert Rhymes OBE,
Chairman Frank Matcham Society
Circle pillar and supports
Theatres Magazine AUTUMN 2012 5
Community Assets
Theatres at Risk 2012
Theatres at Risk is one of the Trust’s core service
areas and our Theatre Buildings at Risk register
provides a means of highlighting theatres in danger
of being lost across the UK. Mark Price reports
on the 2012 list.
On 5 July we published the Trust’s potential for community based organisations
annual Theatre Buildings at Risk (TBAR) to secure the ownership of theatres for the
register. Now in its seventh year, this is benefit of their community. For the first time in
an important event which generates a legislation the Act defined a community asset,
great deal of publicity for many theatres and provided clarity that these included land
across the UK and highlights the potential and buildings of cultural interest. It placed an
for bringing former theatre buildings emphasis on securing assets that could further
back into use. social wellbeing and set out the legislation for
The 2012 TBAR register identifies 49 local authorities to prepare lists of assets of
theatre buildings in England, Scotland and community value. Once an asset is placed on
Wales. Uniquely, the Trust’s register doesn’t just the list the owner of the property has to inform
focus on a building’s architectural or historic the council if they decide to sell. Community
groups then have six weeks to express an
Swansea Palace Theatre interest in buying it and up to six months to
© Mark Price
put together an offer. The Trust’s hope is that
this will encourage more theatre owners to
recognise that their theatres are assets –
for the community and the nation and work
with trusts and local communities to secure
their future.
The changes in the 2012 TBAR register
from last year highlight how a lack of care
and investment by owners leaves theatres
particularly vulnerable to neglect, whilst
opportunities to harness the social and
cultural value of theatres are being lost.
It also shows how local champions, with
the support of councils, grant making trusts
and Lottery distributors can provide a new
lease of life for theatres at risk.
The good news in 2012 is that overall the
number of buildings on the register has fallen
from 56 last year. And we’re pleased some
theatres have found the funds and support
they needed, such as Wilton’s Music Hall in
London’s East End, the Gaiety Theatre in Ayr,
value, it also looks at the quality of the building and the State in Grays. Wilton’s has received
as a theatre and its place in the provision of funds from SITA Trust and the Heritage Lottery
theatres in the UK. The new Localism Act, Fund which mean the capital works needed to
passed in November 2011 represented a real secure the building’s future can now proceed.
milestone in asserting both the values we The Ayr Gaiety has secured vital funding from
apply to theatres in the TBAR register and the the Scottish Government and South Ayrshire
6 AUTUMN 2012 Theatres Magazine
Hulme Hippodrome
© Mark Price
Council to enable it to appoint a development (Grade II) Brighton Astoria in September 2011;
officer, undertake an initial programme of and the Grade II listed Council owned Bedford
capital works, and reopen later this year; and Civic theatre was lost due to a change of use.
the State, Grays received planning permission The Trust is also very concerned about
for a mixed use leisure and retail development the future of the 17 theatres added to the
in January this year. In all, a total of 24 theatres register this year. Amongst those, Darlington
have been removed from the 2011 register. Borough Council closed the Darlington Arts
“The new Localism Act,
passed in November 2011
represented a real milestone
in asserting both the values
we apply to theatres in
the TBAR register and the
potential for community
based organisations to
secure the ownership of
theatres for the benefit
of their community.”
Centre earlier this year but plans to develop
a new arts centre are yet to be finalised; the
Precinct Theatre in Islington is yet to find a
new home as a result of the redevelopment of
the Packington Estate; and it is unclear what
impact the loss of the Croydon Warehouse,
which went into receivership earlier this
year, will have for its planned replacement. A
new theatre was secured by a Section 106
Agreement as part of the Ruskin Square
development site, next to East Croydon Station,
but a viable Business Plan is required. Without
it the £3 million identified in the Section 106
could be given instead to Croydon Council
without any guarantee that it would be used
for a replacement theatre. The Theatre Royal in
Margate also faces an uncertain future, though
Thanet District Council and Kent County
Council are committed to finding a solution to
keeping the theatre open. Thanet Council took
back the lease of Margate Theatre Royal in
Theatre Royal, Hyde April 2012 and contracted Thanet Leisureforce
© Mark Price
But there is also bad news too - we’ve to operate the theatre for 12 months.
lost some important local venues. The As well as highlighting theatres at risk
Waltham Forest Theatre in Lloyd Park was through publishing the annual TBAR register,
demolished August 2011, despite a vigorous the Trust works hard throughout the year
local campaign to save it; Brighton & Hove championing those theatres most at risk and
City Council granted Listed Building Consent working with local groups and councils to
for the demolition of the statutory designated secure a future for the buildings. In preparing
Theatres Magazine AUTUMN 2012 7
our next three year plan we reviewed our There are 38 theatres on the 2012 register in
work with theatres on the risk register and England. Those with the highest risk ratings
established that we wanted to become more include:
proactively engaged with the TBAR group
of theatres. Going forward, in our three year Theatre Royal Hyde is currently closed. It
plan 2012-15, ‘Theatres at Risk’ becomes one was purchased by an investment company,
but is in need of extensive repair and
restoration. Works to eradicate the dry rot have
included removing the cinema inserted into the
stage and levelling the auditorium floor. Hyde
Theatre Royal Onward is campaigning to save
the theatre. The longer term aim is to restore,
reopen and establish a viable commercial or
community use for Hyde Theatre Royal that
respects its listed status.
Alexandra Palace Theatre in north London
currently remains closed and unusable.
However, the Alexandra Park and Palace
Charitable Trust is developing a business plan
specifically for the theatre in the context of the
wider offer at Alexandra Palace, which would
make the case for capital investment.
At Hulme Hippodrome, Tony Wright,
community worker and Operations Manager
for social enterprise Youth Village has
embarked on a campaign to reopen the full
building. Manchester Metropolitan University
is very keen to support the project in the
Alexandra Palace Theatre context of their involvement with Hulme and
© Mark Price
of four service areas. Our long term aim is to Moss Side (Student residential housing and
establish specific projects and programmes community outreach).
of work at the Trust to specifically secure the
protection of these theatres. Hulme Playhouse was leased to Fountain
At our 2012 conference, ‘Delivering Gate Chapel for 50 years in July 2012.
Sustainable Theatres’ at Stratford Circus in It is in the process of fixing the roof, drying
June we profiled the work of Tony Wright, who out the building and repairing broken windows.
has been championing the Hulme Hippodrome, The Playhouse benefited from being in a
a theatre which has been on the TBAR register reasonable condition as a result of the capital
since its start in 2007. We visited Manchester works when it was the Nia Centre. The
to meet Tony and members and officers of auditorium and the former stage area/foyer
Manchester City Council and also met with are now usable, but some attention is still
Charles Nketia of Fountain Gate Chapel, needed to the plasterwork on the proscenium
which has recently taken a 50 year lease and areas where the Playhouse adjoins the
of the adjacent Hulme Playhouse. Hippodrome.
In London, we have been assisting
the Alexandra Park and Palace Charitable Morecambe Winter Gardens is owned
Trust, supporting the development of a by a Preservation Trust which continues
feasibility study to look at options for viable to fundraise and do piecemeal work.
use of the Alexandra Palace Theatre. And in Sadly, lead flashings were stolen from
Morecambe, we helped to raise the profile the roof in 2011 and the damage is
of the Winter Gardens by introducing BBC estimated to cost up to £10,000 to repair.
Reporter, Ian Youngs, to the theatre. He
subsequently produced a short photo montage Plymouth Palace remains closed and in
with Preservation Trust chair, Evelyn Archer, poor repair since its owner was sentenced for
showing him around the building. allowing his nightclub which operated in the
theatre to be used to sell illegal drugs.
8 AUTUMN 2012 Theatres MagazineHe was recently released on bail and wants to
The Theatres Trust’s TBAR register
bring the building back to life but has not yet
works alongside other at risk registers
elaborated on his plans for the Palace, saying
of English Heritage, Historic Scotland,
much would depend on the outcome of his
Cadw, national amenity societies and
appeal hearing. Stonehouse Action, a local
local authorities. However the TBAR
volunteer group is considering setting up a
register differs from these risk registers
Building Preservation Trust.
in that it includes all theatre buildings,
old and new, statutory designated, in
Brighton Hippodrome is owned by Live
“The good news in 2012 is Nation. The company has confirmed that it is
a conservation area, or not listed. This
means that the Trust is able to monitor
that overall the number of progressing plans with Brighton & Hove City
theatres which are under threat whether
Council over the reopening of the Hippodrome
buildings on the register has but the licensing of the venue remains an
they are afforded statutory protection
or not. The risk criteria that we apply are:
fallen from 56 last year. And issue and the theatre remains empty.
— Threat through sale or ownership;
we’re pleased some theatres Burnley Empire remains closed and in a poor — Difficulties in obtaining capital or
have found the funds and condition, and the owner is not contactable. revenue funding;
— The poor quality of operation
support they needed.” Derby Hippodrome remains partially threatening continuing or future
demolished. Latham Architects have undertaken theatre use of the building;
an Options Appraisal for the use of the theatre — High cost of maintenance /
for the Derby Hippodrome Restoration Trust. refurbishment works;
Restoring the Hippodrome to full working order — Local development adversely affecting
as a 1,000-seat theatre would cost around access to the theatre or restricting
£15.4 million, and a further £3 million would future expansion/improvements;
be required to give the venue the technical — A clear threat of demolition;
specifications of a West End-style theatre. — Alteration to a non-beneficial use;
— Decay of a building not in use or
Doncaster Grand remains in a poor state of removal of significant features; and
repair and in private ownership. The Friends — Irreversible works which may prevent
of Doncaster Grand Theatre as well as the a return to theatre use in the future.
Mayor, Peter Davies, have written to the
The Trust applies a ‘star rating’ which
theatre’s owners, in effort to establish access
also enables it to apply a qualitative
and use of the theatre.
judgement on the importance of the
theatre as:
In Scotland, the five theatres at risk include
the Tivoli in Aberdeen. Purchased in 2009 by — A theatre (for example, excellent
businessman, Mr Brian Hendry, his intention is sightlines, acoustics, warmth, facilities);
to operate the Category A listed theatre on a — Its architectural quality;
profit-making basis as a mid-scale venue with — Its historical significance; and
ancillary facilities, through the Tivoli Theatre — Its uniqueness (in relation to the
Company Ltd. The exterior of the building has provision of working theatres within
been restored with a Townscape Heritage the locality and catchment and its
Initiative grant and a listed building application value to the community).
has been made to improve access and install
temporary exhibition boards.
And of the six theatres on the 2012 register The Theatre Buildings at Risk 2012
in Wales, the Swansea Palace is of great Register can be searched online. More
concern. Last in use as a nightclub, it closed in information on each theatre is provided
2006 and is now a dangerous state of repair through a link to the Trust’s online Theatres
both internally and externally. The Swansea Database, which includes around 2,000
Civic Society has begun to prepare a list existing theatre buildings. Each of the top
of buildings at risk within the City to target entries has a downloadable information sheet.
for action. The Trust met with officers from
Swansea Council in April 2012 and they
indicated that they were trying to work with
the owner to identify a potential community
use for the building.
Theatres Magazine AUTUMN 2012 9A SUSTAINABLE
phases, each designed to meet three
distinct requirements:
1. Education and Access
2. Heritage and Music Hall Theatre
FUTURE FOR
3. Sustainability
Each phase has been planned so that the
building can remain in use by the community
HOXTON HALL
whilst building work is undertaken.
Phase One: Education and Access
The aim of this phase was to provide creative
industry-focused youth facilities, access and
major infrastructure improvements to position
Hoxton Hall as part of the Young Hackney
Centres scheme, providing a new youth
Hoxton Hall is a beautiful and atmospheric service neighbourhood venue for Shoreditch
Hayley White, Group Grade II* listed early Music Hall situated and the wider Borough of Hackney.
Director at Hoxton Hall in Shoreditch, East London. Designed by Completed in June 2012 with a remarkably
James Mortimer, the hall, which houses small 1% time and money overrun, phase one
describes the juggling act adjoining spaces including music rooms has been a landmark in the building’s history,
of heritage, modernisation, with recording space, rehearsal rooms, with an upgrade to critical services, which
dance studio, art studio, design suite, were at imminent risk of failure, many of
environmental sustainability meeting rooms and café (added as part which were untouched since its last
and government funding in of a Bertie Crewe scheme in 1910), is a refurbishment in 1970s. Phase one works
purpose-built Music Hall which unusually included a new lift, extensive new toilets
their project to restore this did not have its origins in a pre-existing and plumbing, a new heating and ventilation
important Music Hall public house. system, fire alarm and revamped facilities
For 149 years Hoxton Hall has been such as our music, art and dance studios,
the creative hub of its community providing to help achieve an overall building wide
‘education and entertainment for the humbler increase in capacity from 120 to 450.
classes’ since Mortimer’s opening night on Phase one has provided over 900 local
the 7 November 1863, to our present vision, young people with a place to not only enjoy
‘Nurturing Talent and Creativity of Young the arts but most importantly with space to
Londoners’. Through its varied history and actively participate, taking inspiration from the
many stories, Hoxton Hall demonstrates historic Music Hall. Through this work Hoxton
the rich fabric of society, combining social Hall continues to inspire, support and change
change, education and culture, all of which the lives of young people, in partnership
are embodied in the physical space, as a with London Borough of Hackney and the
pioneering arts, theatre and performance government’s Myplace programme (the main
hub in East London. As well as facilitating funders of the work).
youth arts, fostering community partnerships
and playing a key role in the regeneration of Phase Two: Heritage and Music Hall Theatre
Hoxton, the building also provides a stunning This phase addresses heritage preservation
venue for performances, weddings, shows, and restoration alongside the challenges
gigs and events. of repair and modernisation of the unique
Hoxton Hall is one of only four remaining Victorian Music Hall and related facilities.
early music halls in the UK, each of which Works include improvements to the fabric of
is unique in style and history. Hoxton Hall the listed building, building services, technical
is the only building which has been in facilities, seating, means of escape and
constant use, never having closed its doors backstage facilities. It will also improve the
in 149 years. capacity (from 120 to 250 in Music Hall)
ensuring ongoing use and fitness-for-
Refurbished Music Room
© Amy Scaife Restoration and Refurbishment: purpose for at least another 150 years.
the £5 million Master Plan Phase two looks to put Hoxton Hall on
A significant capital works project began in the map as a heritage resource looking at
March 2010, with Foster Wilson Architects how a theatre space has been at the centre
producing a Master Plan consisting of three of a wealth of exciting East End stories
10 AUTUMN 2012 Theatres Magazine“Hoxton Hall is a theatrical survival of extreme
rarity in national terms. Its outstanding importance
was recognised in 1969 by its inclusion in the statutory Environmental Strategy
Our services consultant and architect have
list of buildings of special architectural or historic also developed an environmental strategy to
interest and its upgrading in 1981 to Grade II*, address factors in design and construction
plans and The Theatres Trust’s Ecovenue
putting it in the top six or seven percent of all listed project has been a great source of advice
buildings.” John Earl, May 2010 and support and provided useful
measurement tools.
In the context of a project that is largely
from Shakespeare’s Rose Theatre and early Monitoring and reducing energy
concerned with the restoration of a Grade II*
Victorian Music Hall, early feminist stories — Installing sub meters on each circuit board
listed building it was decided that BREEAM
from the ‘Girls Guild of Good Life’, the to regularly measure any electricity spikes
accreditation was not appropriate. We chose
poor and the city, to the built architecture or unusual usage to a much more defined
instead to focus on producing an energy
of the Music Hall, the Quaker temperance location to target and reduce electricity;
efficient design within the constraints of a
movement’s ‘antidote to the gin palace’ and — Turning lights off when not required,
historic building and a limited budget following
the current day working theatre. introducing PIR operated lighting where
BREEAM principals where appropriate and
All themes contribute to the over arching appropriate and replacing bulbs with
where they could be shown to add benefit.
concept of the heritage at Hoxton Hall, ‘Lives’ energy efficient alternatives;
of the people, ‘Leisure’ of the time (culture and — Turning down the thermostat by one
The key aspects of the environmental
theatre) and ‘Locality’ – the geographical and degree centigrade (cutting heating bills
strategy in summary are:
culturally diverse areas of Hoxton, Hackney c.8%), installing TVRs and regulating
—E fficient mechanical and natural
and East London. The sum of £247,400 has and managing heating times;
ventilation – the Music Hall is to be provided
been secured witha much larger £2 million — Installing 2 new modern condensing
with heat recovery ventilation via two air
Heritage Lottery Fund application currently boilers, expected to reduce heating bills
handler units located on the roof. These
pending. Further funding is required and we by over 30%;
units have been selected to comply with
welcome donations and support to help us — Adding new insulation pipe work to
stringent eurovent criteria, requiring efficient
achieve our aspirations for this phase. reduce heating costs.
motors, controls and air filtration with low
pressure drops;
Phase Three: Sustainability Recycling and reducing waste and
—E fficient lighting and lighting control
This future phase will include a new build separate collections
including the reintroduction of daylight
development on a strip of adjoining land to — Providing appropriate bins to encourage
to the Music Hall;
create additional facilities for Hoxton Hall staff and visitors alike to recycle more with
—M inimise water usage with appropriate
including a café/bar, purpose built music an expected saving of £450 per year;
selection of sanitary ware;
studios and offices, combined with residential — Introducing a 80% paperless office -
—S ustainable Materials – the use of
accommodation to contribute to financial following phase one Hoxton Hall we
considered materials from sustainable
sustainability. Land acquisition negotiations are also introduced hot desking, invested in
sources.
ongoing and we are working on securing the increased server storage, the use of laptops
finance for the cost of this phase, estimated in meetings and encourage staff not to print;
Funding Juggle
at £2.5 million. — Introducing dual flush toilets which are
One of the main aims of the Master Plan was
expected to reduce average flush from
to set out the strategic phasing to secure
The Ecovenue challenge 9 litres to 4.5 litres, saving £240 per year.
funding and ensure we could meet funders’
Hoxton Hall has remained relatively untouched The taps were also replaced with push tap
requirements. Hoxton Hall’s turnover (£1
since its expansion in 1910, and large scale heads saving further water.
million), limited resources and the change
repair work undertaken in the 1970s means
of government in 2010 created additional
the building consumes very little energy Green Travel Plans
obstacles, with funds from the Myplace
as it has limited electrical or mechanical — Providing bicycle parking for staff, with
scheme temporarily frozen and an increase in
infrastructure. Throughout the restoration 99% of staff travelling into work on public
VAT. As a result phase one took over three
work Hoxton Hall and Foster Wilson Architects transport, walking or riding a bicycle,
years from inception until the final go ahead,
have balanced a fine line between achieving reducing our carbon footprint. Hoxton Hall
including the receipt of funds. However,
the Hoxton Hall business plan, conservation has no car parking and is located in zone 1.
phase one has been very successful and has
and modern legislation and sustainability
left us with a great sense of pride. Fingers
measures – any upgrade to the electricity Greener Materials
are crossed for the £2 million from Heritage
supply would require a new substation costing — Purchasing materials/timber from
Lottery Fund and the go ahead in November
£80,000! sustainable sources;
2012 to save, preserve, modernise and
Key management recommendations from — Purchasing locally manufactured products /
sustain one of the oldest most intimate and
the Environmental Audit and Ecovenue advice materials and services – reducing distance
enchanting theatres and music halls for the
we implemented in phase one and to date travelled and further cutting our carbon
young people and community of Hoxton
have included: footprint.
and beyond.
Theatres Magazine AUTUMN 2012 11Hall Stage are delighted to have been chosen to supply the New Platform Theatre with our
Brickhouse System, double purchase counterweight sets, loading galleries, Skydeck front of
house catwalks, along with associated steelwork, pulleys and fixed access ladders.
As purveyors of Theatrical Engineering products since 1898, we can offer one of the longest
histories, widest ranges and largest knowledge bases of any supplier.
For all your stage and theatre engineering services, please contact us on
UK:- 0845 345 4255
International:- +44 (0) 1582 439 440
Email:- Sales@hallstage.com
It’s all in the name
From design and build services for Garsington Opera Pavilion to
stage engineering, including orchestra pit lift systems, orchestra
pit rails and lighting rails, for Newcastle Theatre Royal, our name
says it all.
Find out more about these and other projects at unusual.co.uk
Distributor for
Liftket :: Prolyte :: Doughty :: Kinesys
+44 (0)1604 830083
sales@unusual.co.uk
www.unusual.co.ukKX Platform Designed to replace the Cochrane Theatre, the KX
Platform Theatre forms an integral part of the new
Theatre, King’s Cross campus for the University of the
Arts’ Central Saint Martin’s College of Art and Design.
Central Theatre Consultant Andrew Stone of Drama by Design
Saint Martin’s discusses his involvement in the project.
College, The new King’s Cross campus for the
University of the Arts’ Central Saint Martin’s
by the fit-out contractor Overbury plc to
design and project manage all aspects of
London
College of Art and Design opened at the end the performance spaces, which incorporate
of 2011 and has become home to 5,000 staff a number of custom designed and built
and students previously located in a number elements as well ‘firsts’ for the UK market.
of disparate buildings on six separate sites This was a very unusual project for us
across London. The College forms the centre as, although some input was received from
of a new cultural quarter in London, part of theatre consultants during the early design
the regeneration of King’s Cross Central, a process of the project, no detailed design was
67 acre development that is the largest in ever completed prior to construction. At the
London for 150 years. stage we became involved with the project
The new building consists of a four- the building shell was already complete with
storey 200 metre long new build section the main theatre space consisting of a huge
(incorporating the theatre), which links to concrete box rising up through five floors
a refurbishment of the Grade II listed, six- of the building. Our role was to design and
storey Granary Building (once part of a goods construct a complete professional theatre
interchange at the height of the Victorian within this space to meet the exacting
industrial boom) and a Grade II listed transit requirements of the client.
shed. An internal street draws daylight in The main theatre space, the KX Platform
and acts as a central circulation spine with Theatre, was designed to replace the College’s
suspended walkways, cafes, film, graphic existing Cochrane Theatre in central London
and light projections. It contains a 300 seat which was utilised as a professional theatre
adaptable professional theatre space spread space as well as for College productions. The
over four floors with foyer, backstage areas, main client requirement was that the space
offices and workshop, a flexible double had to be extremely flexible to support the
height studio theatre space, two multipurpose College as a major force in one of the world’s
performance workshop spaces, two lecture cultural capitals, a resource to offer unlimited
theatres and numerous rehearsal spaces. opportunities for collaboration not only for
The building was developed by Argent students and staff but also with the wider arts
plc and constructed by BAM Construction and design community.
essentially as a concrete shell. Theatre Although essentially an end-on performance
Consultancy Drama by Design was employed space, the auditorium had to be designed
Theatres Magazine AUTUMN 2012 13© John Sturrock
to cater for any eventuality. This meant that performances when the rest of the University set of handrails to go across the front to stop
performances might take place anywhere in was closed. people falling off the front edge. The orchestra
the space, not just on the main stage area; they The main seating block consists of three pit area can also be lowered into the floor to
could be performing in the orchestra pit, on the separate electrically operated retractable provide three further rows of raked seating
main seating area or on the balcony. Seating seating units housing fully upholstered theatre which gives the effect of a 750mm high raised
was a major issue in this respect as the client style seats raked quite steeply to ensure good stage area.
requirements were for this to be extremely sight lines throughout. The two outside blocks A new balcony area, sound/lighting control
flexible, comfortable and intimate and to are set at an angle to ‘embrace’ the stage and rooms and equipment rack room were
accommodate an audience of around 300. In bring the audience as close as possible to constructed around the main seating area at
order to achieve this all of the seating in the the performance area. All three seating units first floor level. One of the main requirements
space is removable, with all the balcony seats can be retracted individually providing further for the balcony was that the area could not
being specifically designed for the project by flexibility both for performances and for when only be used for seating for performances
UK seating company Hussey Seatway. the space is used as a teaching space. To anywhere in the lower space, but also as a
performance area with the audience sitting
on the stage or as a band space – essentially
every area of the space can either be used as
a performance area or audience area.
Not only did all the seats need to be
removable, but to facilitate performances
taking place in the area immediately below
the balcony, the side balcony seats needed to
either face the stage or face straight forward.
We worked with Hussey Seatway to develop a
custom version of their fully upholstered Gallery
chair to meet these exacting requirements.
This consisted of mounting plates recessed
into the floor of the balcony with chairs that
bolted on to these, but with the ability to rotate
the chairs through 45 degrees. As the balcony
needed to be used as a performance area it
wasn’t possible to construct permanent tiering
to keep the floor as flat as possible, so two
height versions of the chairs were designed to
provide the required seating rake, the higher
version having a foot rest to aid access on to
the seat base and to ensure the seats were
comfortable.
A new corridor was designed either side facilitate this two sets of drop-in handrails are
It wasn’t only the seating that needed to
and to the rear of the main seating area to provided, a smaller set of simple hooped rails
be specially designed to provide the flexible
bring the audience through from the foyer for when all three seating units are out and
balcony area as regulation handrail heights
area to the front of the seating area. This then a set of full hand rails for when just the
vary for seated and unseated areas. The
means of access ensured that the theatre centre section is out. Additionally, as the front
regulation handrail height for seating areas is
could be used as a self-contained unit for row of seats can be removed, there is a further
14 AUTUMN 2012 Theatres Magazineleft. As with the stage lift, the stage right stair prevent sound reflecting around within the
“Designed by Stanton case incorporates a trap door over the top of pit area itself.
Williams Architects, the it to close it off when not in use. However, just The flooring throughout the stage and
in case anyone gets trapped down there, an auditorium needed to be suitable for dance
building in its entirety escape ladder is provided down stage right – and drama productions as well as rock
was named Winner of the another cost of flexibility! concerts, conferences and exhibitions. It
The front section of the under stage is a needed to be both hard wearing and good
Architects’ Journal AJ100 large orchestra pit area for up to 30 musicians. looking as well as being sprung. We worked
Building of the Year 2012.” The client requirements were to have a flexible with Harlequin flooring to come up with
arrangement to not only allow the pit size to a custom version of their Activity sprung
900mm whereas for unseated areas it has to be varied, but also allow the raked seating to floor system. This would normally have an
be 1,100mm. Having a permanent 1,100mm continue down into the pit to create a ‘virtual’ engineered board finish, but it wasn’t felt
high handrail would have obscured the view of raised stage area or for the pit area to be used that this would be durable enough for large
the stage when the seats were in place so all as an adaptable performance area. We worked quantities of people to be walking across it
the balcony handrails were custom designed with industry staging experts Steeldeck (which in outdoor shoes or dancing on it during a
and built for the project to be dual height. co-incidentally used to be based in the Kings concert scenario. Harlequin therefore devised
This was achieved by making the permanent Cross train sheds) and Harlequin Flooring to a version of Activity with a 21mm Parquet Oak
handrails 900mm high and then providing design a custom solution consisting of 21 board on the top to ensure greater durability.
some additional sections that quickly attach custom designed and built Steeldeck modules Above the stage and auditorium a series of
to the main handrail to increase the height to with Harlequin Activity flooring set into trays gantries and an auditorium bridge have been
1,100mm. on the top. This allows each platform to be installed to provide access to all the technical
To maintain the flexibility of the space set individually to any height or removed areas and lighting positions. The height above
all the handrails are standard 50mm lighting completely. The flooring on top of these the auditorium is limited so we selected
bar size to enable technical equipment to modules needed to be sprung to match the Skydeck wire mesh walkways installed by Hall
be easily suspended from them and an rest of the floor, but as each module is a Stage for the bridge which runs across the
additional lighting bar is provided on all comparatively small area this meant that the auditorium and down either side to ensure that
the balcony fronts. floor on the edge of each module dipped it wasn’t too over-bearing above the audience.
The stage area was constructed from a down much more than the rest of the floor These incorporate lighting bars, socket outlet
steel frame with concrete top finished with presenting a trip hazard. Harlequin came up boxes and audio visual facility panels as well
a timber sprung floor. The rear part of the with yet another custom solution of utilising as all the containment systems for the cabling.
understage area incorporates a large store different density foam around the perimeter of Access to these walkways is provided via a
and the stage lighting dimmer room with a each module to provide consistent springiness ladder up from the balcony or a ladder down
hydraulic platform lift up to the stage left floor across all the modules. Custom removable from the technical gallery above.
to aid access for heavier items. The lift has a handrails matching the balcony handrails are Technical gantries are provided around the
trap door over the top of it so when not in use provided across the front of the orchestra pit stage both at fly floor level and at loading
it can’t be seen and the whole stage area can area for when the pit is in the lower state. gallery level. At fly floor level the gantries go
be used for performances. Working with acoustic consultants AECOM, down either side of the stage and across the
As there is no backstage corridor at ground we created a series of custom designed back of stage and can be accessed from
floor level, a stage crossover was created in the acoustic panels for the front/back walls either side via doors into the main building
under stage area which has a staircase down and ceiling of the orchestra pit. These were at 2nd floor level. These gantries incorporate
to it from the stage right side of the stage and designed to reflect the sound from the lighting bars in the handrail design with mains
a second staircase back up from it down stage orchestra pit back up to the stage and to socket outlet boxes and audio visual facility
Theatres Magazine AUTUMN 2012 15panels along all three sides. Low level blue There is a fully professional stage is a new Danish system utilising a system of
LED lighting is provided on these gantries management system enabling the students interlocking plastic moulded nodes and rails
and around the stage and at loading gallery to learn the complexities or running a to produce almost limitless arrangements of
level. An access ladder is also provided from professional performance. A portable stage both shape and height for staging or seating.
the stage left corner up to the technical management desk can be connected down Unlike the normal systems with a steel frame,
gantry, but as this is 9m long it is fitted with stage left, down stage right or in the control as the tops rest on the plastic sides the
both an intermediate rest platform and a fall room. This contains a programmable cue system is quiet in use and most components
arrest system. light system, clocks, timers, house light can be stored in wall hung bags with the tops
Above the stage Hall Stage installed control panel, paging control panel and two on wheeled dollies. The same loose seats as
a Brickhouse 40-line double purchase video monitors, one of which is permanently specified for the main theatre are provided
counterweight flying system ensuring the connected to a low light camera mounted on in the studio theatre enabling these to be
maximum available space on the stage so the auditorium bridge providing a view of the moved around as required between all the
that this can be used for seating as well stage back to the stage manager. There is performance spaces.
as a stage area. The Brickhouse system a show relay and paging system covering all There are two multipurpose workshop
from US Company Thern Stage Equipment the backstage changing rooms, offices, green spaces consisting of a black and a white box
is a front loading arbor design that allows room and workshop as well as the front of – as the names imply one is completely white
counterweights to be loaded at the most house foyer, bar and toilet areas. and the other completely black, quite a weird
convenient location. Self-engaging spring The infrastructure installation extends experience walking from one to the other!
loaded gates fully enclose the arbor structure into the foyer and bar areas as well as the They are both equipped with an internally
to prevent the counterweights from falling out understage and backstage areas enabling the wired lighting grid, perimeter curtain tracks
of the cradles. The fly weights can be stored performances to extend into these areas. and high and low level audio visual facility
and loaded either on the high level loading As well as the main performance space panels which also link to the studio theatre
gallery or on the fly gallery. there is a studio theatre which is more of a and main theatre space.
The technical installation was carried conventional black box studio space accessed Designed by Stanton Williams Architects,
out by Stage Electrics and consists of a from the main theatre foyer with Harlequin the building in its entirety was named Winner
system of stage lighting socket outlet boxes Activity sprung floor. To ensure maximum of the Architects’ Journal AJ100 Building of
mounted on the gantries and around the flexibility a Slingco Cablenet tension wire grid the Year 2012 and described as “quite simply
stage incorporating a combination of switched is installed over the whole area which can the finest building completed by an AJ100
and dimmed outlets. Lighting positions are either be accessed from the first floor or via a practice in the past year”. We were pleased to
provided on the balcony, but as this needed vertical ladder from the studio floor. have been part of this exciting project.
to be used as a stage as well as for seating A full internally wired stage lighting grid
custom floor boxes were designed to fit with socket outlet boxes and facility panels
in-between the main structural steels and is mounted above the tension wire grid
seating mounting plates and in the very which can be used for suspending scenery
shallow depth. They consist of facility panels and curtains as well as lighting and sound
mounted on their sides under the floor with equipment.
a space in front with a lid over to allow the As with the main theatre space the
connectors to remain in the boxes under the requirement was for both staging and seating
floor with only the cables coming out through to be completely flexible with a range of
exit slots in the lids. different formats and seating layouts. We
specified an Aalborg staging system which
16 AUTUMN 2012 Theatres MagazineYou can also read
