Bristol Old Vic




This article is about Bristol Old Vic Theatre Company. For the associated Theatre School, see Bristol Old Vic Theatre School.












































Bristol Old Vic Theatre Company

Bristol Old Vic (750px).jpg
The theatre complex as it was prior to 2016

Address King Street
BS1 4ED
Bristol
United Kingdom
Coordinates
51°27′07″N 2°35′38″W / 51.452°N 2.594°W / 51.452; -2.594Coordinates: 51°27′07″N 2°35′38″W / 51.452°N 2.594°W / 51.452; -2.594
Owner Trustees of the Theatre Royal
Designation Grade I listed building
Type Repertory
Capacity 540 (Theatre Royal)
188 (Weston Studio)
Construction
Opened 1766
Rebuilt 1970–72; 2016-18
Website
Bristol Old Vic

Bristol Old Vic is a British theatre company based at the Theatre Royal, Bristol. The present company was established in 1946 as an offshoot of the Old Vic in London. It is associated with the Bristol Old Vic Theatre School, which became a financially independent organisation in the 1990s. Bristol Old Vic runs a Young Company for those aged 7–25.[1]


The Theatre Royal, the oldest continually-operating theatre in the English-speaking world, was built between 1764 and 1766 on King Street in Bristol.[2] The Coopers' Hall, built 1743–44, was incorporated as the theatre's foyer during 1970–72. Together, they are designated a Grade I listed building by Historic England.[3]Daniel Day-Lewis called it "the most beautiful theatre in England."[2]


In 2012 the theatre complex completed the first phase of a £19 million refurbishment, increasing the seating capacity and providing up to ten flexible performance spaces. Besides the main Theatre Royal auditorium, the complex includes the Studio theatre and the Side Stage, Paint Shop and Basement performance areas. Whilst the theatre was closed, the company continued to present work in the Studio and Basement spaces, as well as at other sites around Bristol. The Theatre Royal re-opened in 2012 with Wild Oats.




Contents






  • 1 History of the theatre


  • 2 Formation of the Bristol Old Vic


  • 3 Refurbishment


  • 4 Touring


  • 5 Artistic directors of the Bristol Old Vic


  • 6 Bristol Old Vic Theatre School


    • 6.1 Peter O'Toole Prize




  • 7 See also


  • 8 References


  • 9 Further reading


  • 10 External links





History of the theatre


The theatre is situated on King Street, a few yards from the Floating Harbour. From 1972 until 2016, the public entrance was through the Coopers' Hall, the earliest surviving building on the site. The Coopers' Hall was built in 1744 for the Coopers' Company, the guild of coopers in Bristol, by architect William Halfpenny.[4] It has a "debased Palladian" façade with four Corinthian columns. It only remained in the hands of the Coopers until 1785, subsequently becoming a public assembly room, a wine warehouse, a Baptist chapel and eventually a fruit and vegetable warehouse.[5]


The theatre was built between 1764 and 1766.[3] The design of the auditorium has traditionally been taken to have been based, with some variations, on that of the Theatre Royal, Drury Lane in London.[6][7] Although Bristol architect Thomas Paty supervised construction, the theatre was built to designs by James Saunders, David Garrick's carpenter at Drury Lane.[8] Saunders had provided drawings for the theatre in Richmond, Surrey, built in 1765. A long section (1790, at Harvard University Theatre Collection) and a survey plan (1842, at the Local Studies Library) of the Richmond theatre show close similarities with the Bristol theatre in the proportions and in the relationship between the actors on stage and the spectators surrounding them on three sides.[9] The site chosen was Rackhay Yard, a roughly rectangular empty site behind a row of medieval houses and to one side of the Coopers' Hall. Two (and possibly three) new passageways built through the ground floor of the houses fronting King Street gave access to Rackhay Yard and the "New Theatre" inside it.[10]


The theatre opened on 30 May 1766 with a performance which including a prologue and epilogue given by David Garrick. As the proprietors were not able to obtain a Royal Licence, productions were announced as "a concert with a specimen of rhetorick" to evade the restrictions imposed on theatres by the Licensing Act 1737.[11] This ruse was soon abandoned, but a production in the neighbouring Coopers' Hall in 1773 did fall foul of this law.[12]


Legal concerns were alleviated when the Royal Letters Patent were eventually granted in 1778, and the theatre became a patent theatre and took up the name "Theatre Royal".[11] At this time the theatre also started opening for the winter season, and a joint company was established to perform at[13] both the Bath Theatre Royal and in Bristol, featuring performers such as Sarah Siddons,[14] whose ghost, according to legend, haunts the Bristol theatre. The auditorium was rebuilt with a new sloping ceiling and gallery in 1800. After the break with Bath in 1819 the theatre was managed by William M'Cready the elder, with little success, but slowly rose again under his widow Sarah M'Cready in the 1850s.[6] Following her death in 1853 the M'Creadys' son-in-law James Chute took over,[15] but he lost interest in the Theatre Royal, which fell into decline when he opened the Prince's Theatre, originally known as the New Theatre Royal,[16] in 1867. A new, narrow entrance was constructed through an adjacent building in 1903.[6]



Formation of the Bristol Old Vic




Interior of the main theatre


Chute relinquished his lease on the Theatre Royal in 1861,[6] concentrating his business at the Prince's Theatre, which was destroyed by bombing during the Second World War.[17] In 1942 the lease owners put the building up for sale.[18] The sale was perceived as a possible loss of the building as a theatre and a public appeal was mounted to preserve its use, and as a result a new Trust was established to buy the building.[12] The Council for the Encouragement of Music and the Arts (CEMA) leased the building from the Trust[6] and in 1946 CEMA's successor, the Arts Council, arranged for a company from the London Old Vic to staff it, thus forming the Bristol Old Vic.


Early members of the company included Peter O'Toole (making his first appearance in Major Barbara in 1956), John Neville,[19]Timothy West,[20]Barbara Leigh-Hunt[21] and Dorothy Tutin.[22] The first artistic director was Hugh Hunt.[23]


An early triumph for the Bristol Old Vic occurred when the 1954 première production of Salad Days transferred to the West End and became the longest-running musical on the London stage at that time.[24] The Arts Council remained involved until 1963 when their role was taken over by the City Council. In the same year the London Old Vic was disbanded and the Bristol company became fully independent.[23] The Bristol Old Vic also put plays on in the council-owned Little Theatre from then until 1980.


A new theatre complex, designed by Peter Moro, was completed in 1972.[6] The 1903 entrance building was demolished, as were a number of surrounding buildings and, more controversially, the stage area of the 1766 theatre. A new stage and fly tower were built along with technical facilities and offices. The 150-seat New Vic studio theatre (later known as the Studio) was built in place of the old entrance, and the Coopers' Hall provided the theatre with the grand façade and foyer area it had previously lacked.[5]


Throughout the 1970s and 80s Bristol Old Vic productions were well received both locally and on tour, but by the late 80s faced chronic underfunding. A revival under the leadership of Andrew (Andy) Hay brought an increase in audience numbers;[25] there followed a new Arts Council funding package, and in 2003 the appointment of joint artistic directors David Farr and Simon Reade.[26] They briefly branded the organisation the "new bristol old vic".


In 2005 Reade became the sole artistic director.[27] Artistic highlights during these times included the production of A. C. H. Smith’s Up The Feeder, Down the Mouth and Back Again[28] during Andy Hay’s tenure, and some well-received Shakespeare productions[29] under David Farr and Simon Reade.



Refurbishment


In July 2007, the board of trustees took the controversial decision to close the theatre for refurbishment.[30] Many members of the theatre profession feared for the future of the Old Vic.[31][32][33] Following several public meetings in the winter of 2007/2008 a newly formed board of trustees appointed Dick Penny, the director of the Watershed Media Centre as executive chairman.[34]


In February 2009 the company announced that Tom Morris, at that time an associate director at the Royal National Theatre and formerly artistic director at Battersea Arts Centre, had been appointed as artistic director.[35][36][37]Emma Stenning, who had previously worked with Tom Morris at BAC, became executive director.


In October 2010 there was a merger of the Old Vic and the Theatre Royal Bristol Trust, into a combined charity to be chaired by Laura Marshall, the managing director of Icon Films.[38]




The Coopers' Hall served as the theatre's entrance from 1972 to 2016


A fundraising campaign for the £19 million planned refurbishment was assisted by appearances from, among others, Richard Briers, Stephanie Cole, Judi Dench, Prunella Scales, Timothy West and Patrick Stewart. £5.3 million was provided by the Arts Council.[39] During the closure the company staged productions in the Studio theatre, the Basement and in other locations around Bristol, including Sally Cookson's adaptation of Treasure Island on King Street in summer 2011 and Melly Still’s revival of Coram Boy at the Colston Hall at Christmas 2011.[40]


The plan was for a flexible theatre complex, where up to ten areas are available for performance. Tom Morris has cited as inspiration the Théâtre des Bouffes du Nord in Paris. The main auditorium gained an optional thrust stage,[41] and an increase in seating to 540.[42] The Side Stage area was redeveloped, with additional capacity of 250, creating the option of a separate second auditorium. Other spaces redeveloped as performance areas included the Paint Shop and the rehearsal room.[41] The Theatre Royal re-opened in September 2012, with Wild Oats.


A further round of redevelopment was undertaken between June 2016 and September 2018. The street side of the 1970s Peter Moro building, containing the Studio theatre (originally the New Vic), was demolished and replaced by a new foyer with bar and box office, which makes a feature of the previously hidden theatre walls. The Coopers' Hall was adapted to house new performance and event spaces, including a studio theatre in the barrel vaults in its basement.[43][44]



Touring


The Bristol Old Vic has a long history of taking productions on tour both within the United Kingdom and overseas. Notable production toured include Hamlet, Arms and the Man and A Man for all Seasons to Ceylon and Pakistan in 1962–63;[45]Hamlet and Measure for Measure to America, Holland and Belgium in 1966–67[45] and Man and Superman to the June
Schauspielhaus Festival in Zurich, 1958.[46]
The company has also made frequent visits to the Edinburgh Festival and productions have toured to the Theatre Royal Bath, Oxford Playhouse, Royal Court Theatre, London and the Young Vic, London amongst others.[47] Co-productions have taken Bristol Old Vic plays to most of Britain's major theatres.[48] Bristol Old Vic has co-produced with companies such as Kneehigh Theatre, the Royal National Theatre, West Yorkshire Playhouse and other regional theatres and companies across the UK.


Tom Morris’ production of Swallows and Amazons transferred to the Vaudeville Theatre in London’s West End followed by a major UK tour. Simon Godwin's production of Brian Friel’s Faith Healer is playing in the 2012 Hong Kong Arts Festival. Other recent touring productions include the Bristol Old Vic/Shakespeare at the Tobacco Factory co-production of Uncle Vanya.


Bristol Old Vic's Ferment artist development strand also sees work developed at the theatre touring across the UK and internationally.



Artistic directors of the Bristol Old Vic















































































Name
 Period
 Notable productions
Hugh Hunt[49]
 1946–1949
The Beaux' Stratagem, The Playboy of the Western World, An Inspector Calls, Romeo and Juliet
Allan Davis[50]
 1950
Arms and the Man, Julius Caesar
Denis Carey[51]
 1950–1954
The Merry Wives of Windsor, Macbeth, An Italian Straw Hat, The Alchemist
John Moody[52]
 1954–1959
The Crucible, The Cherry Orchard, Uncle Vanya, The Recruiting Officer, As You Like It
John Hale[53]
 1959–1962
The Clandestine Marriage, A Taste of Honey, Rhinoceros, Richard II

Val May [54]
 1962–1975
Brand, The Killing of Sister George, Hamlet, The Italian Girl, Uncle Vanya

Richard Cottrell[55]
 1975–1980
The National Health, Hedda Gabler, As You Like It, A Doll's House, A Midsummer Night's Dream
John David
 1980–1986
 Judy, King Lear, Wild Oats, Arturo Ui, The Tempest
Leon Rubin[56]
 1986–1987
The Doctor's Dilemma

Paul Unwin[57]
 1987–1991
The Man Who Had All the Luck, Hamlet, The Master Builder
Andy Hay[25]
 1991–2002
Blue Remembered Hills, The Duchess of Malfi, The Hairy Ape, The Rise and Fall of Little Voice, Marat/Sade, A Streetcar Named Desire

David Farr and Simon Reade[26]
 2003–2005
Loot (Farr), The Odyssey (Farr), Private Peaceful (Reade)
Simon Reade[27]
 2005–2007
The Birthday Party

Tom Morris
 2009–present
 Juliet and her Romeo, Swallows and Amazons, and The Crucible

[58]



Bristol Old Vic Theatre School


Main article: Bristol Old Vic Theatre School

The Bristol Old Vic Theatre School, opened by Laurence Olivier in 1946, is an affiliate of the Conservatoire for Dance and Drama,[59] an organisation securing the highest standards of training in the performing arts, and is an associate school of the University of the West of England.[60] The School began life in October 1946, only eight months after the founding of its parent Bristol Old Vic Theatre Company, in a room above a fruit merchant's warehouse in the Rackhay near the stage door of the Theatre Royal. (The yard of the derelict St Nicholas School adjacent to the warehouse was still used by the Company for rehearsals of crowd scenes and stage fights as late as the early 1960s, notably for John Hale's productions of Romeo and Juliet starring the Canadian actor Paul Massie and Annette Crosbie, a former student of the School, and Rostand's Cyrano de Bergerac with Peter Wyngarde. Students from the Theatre School frequently played in these crowd scenes and fights.)[61]


The School continued in these premises until 1954 when royalties from the musical, Salad Days by Julian Slade and Dorothy Reynolds were given to the School towards the purchase and conversion of two large adjoining Victorian villas in Clifton, which remain their base today.[62]


In 1995, that donation was formally recognised when a new custom-built dance and movement studio in the School's back garden was named the Slade/Reynolds Studio.[63] The School provides comprehensive training courses for theatre, radio, film, and television professionals and its graduates are to be found in key positions as actors, directors, set designers, costumer designers, lighting designers and stage and company managers throughout the world.[64]


Among the most notable of the many distinguished actors on the School's list of alumni are the Academy Award winners Daniel Day-Lewis and Jeremy Irons.[65]


See Alumni of Bristol Old Vic Theatre School.



Peter O'Toole Prize


To coincide with their re-opening in 2012, the theatre launched an award called the Patron’s Prize, which was later renamed the Peter O’Toole prize following the actors death.[66] The award is a six-month contract at the Bristol Old Vic offered to two graduating actors from the Bristol Old Vic Theatre School.[67] The inaugural winners were Emily May Smith and Isaac Stanmore.[68]






























Award Recipients and Productions Involved In
Year
 Recipients
 Productions
2012
 Emily May Smith and Isaac Stanmore[69]
Wild Oats, Does My Society Look Big In This? and Peter Pan
2013
 Martin Bassindale and Lindsay Dukes[70]
 Great Expectations and The Little Mermaid
2014
 Jonathan Charles[71]
 Juno and the Paycock
Bethan Nash and Millie Corser[71]
 Swallows and Amazons


See also







  • Bristol Old Vic Theatre School


  • Culture in Bristol



  • iconTheatre portal


References





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  22. ^
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  27. ^ ab Arendt, Paul (21 October 2004). "Farr says bye to Bristol". London: The Guardian. Archived from the original on 17 September 2014. Retrieved 7 April 2009.


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  37. ^ Shenton, Mark (25 February 2009). "Mamma Mia!'s Johnson Pens New Play for Bristol Old Vic; New Artistic and Executive Directors Appointed". Playbill. Archived from the original on 31 January 2013. Retrieved 28 February 2009.


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  52. ^ Williamson, Audrey; Landstone, Charles (1957). The Bristol Old Vic – The First Ten Years. London: J Garnet Miller. pp. 136, 171.


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  54. ^ "Picator Adapts Tolstoy". The Times. The Times Digital Archive 1785–1985 [subscription required]. 10 January 1962. p. 13. Retrieved 23 April 2009.


  55. ^ "Latest appointments". The Times. The Times Digital Archive 1785–1985 [subscription required]. 21 May 1975. p. 17. Retrieved 23 April 2009.


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Further reading



  • Barker, Kathleen. The Theatre Royal Bristol 1766–1966: Two Centuries of Stage History, The Society for Theatre Research, 1974
    ISBN 0-85430-022-8

  • Barker, Kathleen. The Theatre Royal Bristol: The First Seventy Years, Bristol Branch of the Historical Association, 1961

  • Gomme, A., M. Jenner & B. Little, Bristol: an Architectural History, Lund Humphries, 1979

  • Howell, M. A. "Acting Space and Carpenters Tools," Around the Globe 47 (Dec. 2009), 34–35.

  • Howell, M. A. "Planning Theatres Under the Stage Licensing Act, 1737" Theatre Notebook 43.3 (1989) with publisher's errata in Theatre Notebook 44.1 (1990).

  • Ison, Walter. The Georgian Buildings of Bristol, Kingsmead Press, 1952

  • B. Little &, P. Moro, The Story of the Theatre Royal Bristol, Trustees of the Theatre Royal, 1981

  • Williams, Audrey and Charles Landstone, Bristol Old Vic—the First Ten Years, J. Garnet Miller Limited, 1957



External links



  • Official website

  • Read a detailed historical record about Bristol Old Vic


  • Bristol Old Vic archive at the University of Bristol Theatre Collection, University of Bristol


  • Kathleen Barker archive at the University of Bristol Theatre Collection, University of Bristol


  • Bristol theatre archives at the University of Bristol Theatre Collection, University of Bristol


  • John Elvery archive at the University of Bristol Theatre Collection, University of Bristol


  • The Theatre Royal at Looking at Buildings

  • Behind the scenes at Bristol Old Vic – video report from BBC Bristol










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Bressuire

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Subprefecture and commune in Nouvelle-Aquitaine, France Bressuire Subprefecture and commune Chateau de Bressuire and the Eglise Notre-Dame Coat of arms Location of Bressuire Bressuire Show map of France Bressuire Show map of Nouvelle-Aquitaine Coordinates: 46°50′27″N 0°29′14″W  /  46.8408°N 0.4872°W  / 46.8408; -0.4872 Coordinates: 46°50′27″N 0°29′14″W  /  46.8408°N 0.4872°W  / 46.8408; -0.4872 Country France Region Nouvelle-Aquitaine Department Deux-Sèvres Arrondissement Bressuire Canton Bressuire Government  • Mayor .mw-parser-output .nobold{font-weight:normal} (2014–20) Jean Michel Bernier Area 1 180.59 km 2 (69.73 sq mi) Population (2014) 2 19,300  • Density 110/km 2 (280/sq mi) Time zone UTC+01:00 (CET)  • Summer (DST) UTC+02:00 (CEST) INSEE/Postal code 79049 /79300 Elevation 98–236 m (322–774 ft) (avg. 173 m or 568 ft) 1 French Land Register data, which exclude
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Vorschmack

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Vorschmack Ukrainian Jewish-style vorschmack served on rye bread Course Hors d'oeuvre Region or state Eastern Europe Associated national cuisine Ashkenazi Jewish, Finnish, German, Ukrainian, Polish, Russian Main ingredients Ground meat and/or fish Cookbook: Vorschmack   Media: Vorschmack Vorschmack or forshmak (Yiddish: פֿאָרשמאַק ‎, from archaic German Vorschmack , "foretaste" [1] or "appetizer" [2] ) is an originally East European dish made of salty minced fish or meat. Different variants of this dish are especially common in Ashkenazi Jewish and Finnish cuisine. Some varieties are also known in Russian and Polish cuisine. Contents 1 In Jewish cuisine 2 In Russian cuisine 3 In Polish cuisine 4 In Finnish cuisine 5 See also 6 References In Jewish cuisine According to Gil Marks, the German name points to the possible Germanic origin of this dish. [1] William Pokhlyobkin descr
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Quarantine

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For other uses, see Quarantine (disambiguation). Signal flag "Lima" called the "Yellow Jack" which when flown in harbor means ship is under quarantine. A simple yellow flag (also called the "Yellow Jack") had historically been used to signal quarantine (it stands for Q among signal flags), but now indicates the opposite, as a signal of a ship free of disease that requests boarding and inspection. A quarantine is used to separate and restrict the movement of people; it is 'a restraint upon the activities or communication of persons or the transport of goods designed to prevent the spread of disease or pests', for a certain period of time. [1] This is often used in connection to disease and illness, such as those who may possibly have been exposed to a communicable disease. [2] The term is often erroneously used to mean medical isolation, which is "to separate ill persons who have a communicable disease from those who are healthy
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