Theatreplan joins Glasgow Citizens Theatre redevelopment design team

We are delighted to have been appointed as the theatre consultant on the major redevelopment project at Glasgow’s historic Citizens Theatre. Built in 1878, the Grade II listed theatre has seen a number of small-scale refurbishments and extensions, but the current scheme is the most comprehensive in its history.

 

The project has been earmarked for funding from the Heritage Lottery Fund, Glasgow City Council, Creative Scotland and Historic Scotland that go a long way towards financing the transformations, which are far-reaching.

 

Mathew Smethurst-Evans, who is leading the Theatreplan team, explained: “This is a major project that incorporates significant improvements to the environment for both visitors and staff. Visitors will benefit from much improved public spaces to create a venue where they can experience much more than a theatre show. There will be purpose-built learning facilities for community activities and workshops, as well as greatly improved access throughout the building. The theatre gallery seating will be replaced to improve sightlines, increase capacity and increase the proportion of ‘good seats’. This will be a phased project to enable theatre performances to continue on the site throughout the construction period. This creates significant technical and operational challenges – our experience on the phased refurbishment of the Sheffield Crucible will prove invaluable.”

 

Roger Fox, Theatreplan’s historic buildings specialist, added, “The Citizens retains examples of wooden stage machinery and has perhaps the oldest working scenery painting shop in Britain, which has two large frames for backcloths, raised and lowered by their original Victorian winches. As a result the redevelopment project will require sensitive management.”

 

Theatre staff will also benefit from a greatly enhanced working environment as Theatreplan will be taking a fresh look at the requirements of the Citizens as a producing theatre, from get-in to construction, wardrobe and props through to lighting, sound and video. Other highlights include a new Studio Theatre to complement the existing theatre and new learning spaces. The studio will provide an environment to suit new writing and the staging of productions in more intimate surroundings and alternative seating formats.

 

“We are looking forward to the exciting challenges ahead,” continued Mathew, “and welcome the opportunity to be working with the theatre team and with Bennetts Associates Architects, with whom we had a successful collaboration designing the RIBA award-winning Hampstead Theatre in 2003.”

 

Dominic Hill, Artistic Director of the Citizens Theatre commented, “I’m delighted that we’ll be drawing on the the expertise of Theatreplan to enable us to deliver our vision for a redeveloped Citizens Theatre which honours and builds upon the remarkable history of this theatre. We are assembling a team which includes some of the leading experts in theatre construction and development and I’m looking forward to working with Theatreplan as we embark on this project to ensure that the Citizens Theatre remains a vital part of Scotland’s cultural life.”



Theatreplan strengthens practice with two new appointments

We are pleased to announce the appointment of two new partners to the practice. With appointments that took effect from 1^st October, Michael Atkinson and Paul Connolly join current partners, Roger Fox, Dave Ludlam, Clive Odom, Mathew Smethurst-Evan and John Whitaker.

 

Michael first joined Theatreplan as an Associate in April 2014 where he designed the stage and working light control systems as well as dimmer engineering for the Copenhagen Opera and a range of other venues. A renowned lighting technology expert whose career has taken him from major West End shows to New York and then back to the UK where he enjoyed a long stint at the National Theatre as Head of Resources, Atkinson’s proficiency in all things relating to lighting system design and energy management is nationally recognized.

 

Indeed, he is an important end-user advisor to the stage lighting industry and he comments, critiques and guides developers on the next generation of control, dimming and automated lighting fixtures. He is in frequent contact with all the major suppliers and has organised dimmer and luminaire comparison demonstrations (‘shoot-outs’) as part of his ongoing development regime.

 

As well as leading Theatreplan’s lighting system designs and sustainability initiatives, Atkinson is also currently managing the delivery of services for the multi-auditoria Cross District Community Cultural Centre project in Hong Kong.

 

Paul joined Theatreplan as Practice Manager in January 2013. An experienced business manager, he worked in management and finance in engineering, the food industry and in the educational sector before joining The Theatres Trust, the National Public Body for Theatres, as its Administrator in 1996. There he developed and managed internal administration and financial reportimg systems, provided support to the board of Trustees, and was instrumental in the expansion of the organisation's reach into the wider theatre indutry. He was also editor of the Trust's quarterly journal, Theatres Magazine. 

 

He is the first point of contact for enquiries at the practice. He manages the administration function, co-ordinates marketing initiatives and co-ordinates the compilation of tender documentation and project proposals, as well as providing day-to-day support to the other partners. He has also played a key role in the establishment of the company’s Hong Kong office.

 

“All of us at Theatreplan are delighted to welcome two such talented individuals to the practice as fully-fledged partners,” said Dave Ludlam. “Paul has been with us since the beginning of the year, and has quickly proved himself to be invaluable when it comes to the day-to-day management and running of the office. His business management skills combined with his extensive knowledge of the theatre world and the people in it make him an enormous asset for us. His appointment was vital to the practice as we continue to grow, and he proves to us every day that we made the right choice. As for Mike, his long experience with the National Theatre has endowed him with a unique set of skills – he is both an experienced consultant and technician in a very specialist discipline. His in-depth product knowledge in the fields of luminaires, dimmers and control systems and project management experience enables him to challenge manufacturers to ensure that products perform up to specification. Like Paul, Mike is a very worthy addition to the team.”

Theatreplan expands into Asia-Pacific with creation of Theatreplan (HK) Ltd

We are pleased to formally announce our  expansion into the Asia-Pacific region with the opening of Theatreplan (HK) Ltd. in Hong Kong.

 

The new practice, which is already operational, is being managed by our Senior Consultant, Robin Auld. The move follows our success in securing the contract with the West Kowloon Cultural District Authority (WKCDA) to provide theatre consultancy services to deliver the Freespace Black Box Theatre in the burgeoning West Kowloon area of Hong Kong.

The opportunity to expand into Hong Kong was not to be missed. It was clear that in order to deliver the best possible service to the WKCDA, we needed a base in Hong Kong. In addition to the enhanced service we can provide to the Black Box project, it also offers us the opportunity for wider expansion into the region. Hong Kong is the perfect hub for a business looking to develop into Asia-Pacific markets, and we believe that the Far East offers us an excellent opportunity to secure growth for the company.

The development of the West Kowloon Cultural District (managed by the WKCDA) is an important project in Hong Kong. Stretching across 40 hectares of a dramatic waterfront location, the project is to create one of the world’s largest cultural quarters, developing art, education and public space.

In a similar vein, we are also working with Hong Kong-based Rocco Design Architects to create the Cross District Community Cultural Centre, a new multi-auditoria venue in Hong Kong’s Kwun Tong district designed to serve as a hub for theatrical, dance performance and community events for no less than five different districts of eastern Hong Kong. The opening of a Hong Kong office is thus timely and opportune.

We are now ideally placed to service both ongoing and upcoming theatre and performing arts projects both within the immediate vicinity of the West Kowloon Cultural District and beyond. We are also extremely lucky to have Robin Auld spearheading operations for us in Hong Kong. He is a highly experienced theatre consultant with wide-ranging technical knowledge accrued from stints with The Royal Opera House in Covent Garden and Opera Australia amongst others. He is particularly gifted when it comes to managing large-scale, complex projects where partnership relations need to be handled with care in order to achieve optimal solutions. Naturally, Robin will be fully supported by all of our partners and associates here in London, but it helps that he already has extensive international experience including a certain prior knowledge of the region in addition to his considerable skills as a theatre consultant.

Robin Auld joins Theatreplan as Senior Consultant

With its recent success in securing significant new work in the Far East, Theatreplan has appointed Robin Auld as a Senior Consultant. His immediate role will be as Project Leader on the Black Box Theatre project, one of the first performing arts venues to be delivered in the West Kowloon Cultural District. Robin will be managing the project on the ground in Hong Kong and will also be driving the practice's growth strategy in the Asia/Pacific zone.

Robin graduated from the National Institute of Dramatic Arts in Sydney with a degree in theatre design, following which he worked in London for many years, as a design team member and Production Manager at the Royal Opera House Covent Garden and in the West End. He developed a strong understanding of the stage requirements for designing complex productions for reparatory venues and was also involved in developing the initial concept modelling for the Royal Opera House refurbishment project in 1997-1999.

Returning to Australia Robin was a Scenery Workshop Director for the Australian Opera (now Opera Australia). He brought many new productions on to the stage at both the Sydney Opera House and the Melbourne Arts Centre. In 2000, he designed the steel structures for the large-scale mobile scenic modules at the 2000 Olympic Games closing ceremony.

In 2009, Robin was commissioned by the Royal Opera House Covent Garden to develop a technical-theatre training curriculum for the National Centre for Performing Arts (NCPA) in Beijing. He undertook an analysis of the organisational and technical delivery systems of the NCPA and proposed a more streamlined management structure combined with a matrix of suggested skills competences aligned to technical theatre roles. This training has been delivered annually since 2012, and as an on-going programme is now being offered to technical theatre staff from many venues in mainland China.

As a theatre consultant Robin has recently completed and opened The Backstage Centre, a state-of-the-art, arena-scale facility for the rehearsal and preparation of theatre and live music productions near London. Operated by Creative & Cultural Skills this facility is the first of its kind, offering real-world training on full-scale theatre, dance and music production rehearsals.

Robin was responsible for leading the architectural and theatre consultancy teams in the design, development and delivery of the building, and managed an extensive industry consultation process with the theatre and live music sectors, which explored options for building usage, financial modelling and equipment specifications. Following the opening of the building he worked as Operations Launch Director for six months to develop and implement operational procedures. Robin also wrote the application for government funding, successfully raising £15.5 million for construction of the building, as well as winning a number of equipment sponsorship contracts.

Robin is also currently working with the soon to be built Taipei Performing Arts Centre, to establish operational procedures for this large multi-venue facility, where he can utilize his extensive management skills and understanding of back-stage environments. He is also theatre consultant for Theatro Municipal’s new theatre development in Rio de Janeiro, working with architectural practice Studio MK27. This development will see a new workshop, training school and opera stage to allow full-scale rehearsals and training, ensuring the development of the next generation of theatre practitioners.

Robin has taught at the University of Sydney, Wollongong University, and is currently a visiting professional lecturer at Central School of Speech and Drama in London.

Theatreplan welcomes Michael Atkinson

Theatreplan is pleased to announce that lighting specialist Michael Atkinson, previously an Associate with the practice, has joined the team as a Partner. He comes to us after a 25-year career at the National Theatre, where he rose through the management team to become Head of Lighting Resources.

 

Michael has unique skills, being an experienced consultant and technician in a very specialist discipline in which most expertise resides in the manufacturers. His experience as a project manager and a client with the depth of knowledge of products in the luminaire, dimmer and control system fields that can challenge manufacturers’ and suppliers’ claims and can ensure that the specified products perform as required.

 

After training in theatre electrical engineering, Michael worked in the West End of London on the lighting of major shows such as The Sound of Music and then around the UK on tours of The Muppett Show. This particular show led to his being invited to New York to work on lighting control systems and some of the first animatronics for Jim Henson. Returning to the UK to work as a production electrician he was head-hunted by the National Theatre.

 

At the National, Michael undertook the design of new dimmer systems and control networks for the three main venues and other performance spaces and managed the complete rewiring and installation works. This was done while keeping each of the main theatres in use. He was also instrumental in reducing theatre power consumption significantly, extending lamp life by changing operational procedures and in cutting the external lighting load from 70 kW to 7 kW.

 

As an Associate for Theatreplan Michael designed the stage and working light control systems and dimmer engineering for the Copenhagen Opera, Sydney Opera House and has advised on other venues; he has also developed new control and distributed dimmer systems for two upgraded MTV studios and carried out the ground-up design of a further studio for the same client.

 

Prior to  joining us in a full-time capacity, as Head of Lighting Resources at the National Theatre, his work and focused on lighting facilities, controls, infrastructures, dimmers and luminaires, long term capital budgeting and running the  department responsible for the maintenance of all lighting equipment and installed lighting systems.

 

He is frequent contact with all the major suppliers and has organised dimmer and luminaire comparison demonstrations as part of his ongoing testing regime. He implements the Theatreplan policy of only specifying tried and tested industrial equipment that is fully supported by established suppliers in theatre systems.

Richard Brett (1939-2014): A Tribute by Richard Pilbrow

Richard Brett passed away on January 9, peacefully at home at age 74, after a brave struggle with cancer. Richard was chairman and senior partner of Theatreplan LLP. 

Richard was an innovator and a brilliant engineer skilled in many disciplines. He created the role in Great Britain of the modern professional theatre consultant, and while his personal speciality was stage engineering, he was widely knowledgeable of every aspect of theatre. His influence on theatre architecture and engineering has been profound and will continue for many generations. I regarded Richard as one of the greatest theatre engineers of our time, whose unique contribution was perhaps unequaled since the work of engineer/architect Edwin O. Sachs, author of the epic volumes "Modern Opera Houses and Theatres" written over one hundred years ago.

Richard was my oldest friend. We met when I was seventeen years old. I was a new member of the Beckenham Theatre Centre and was co-opted into helping fit out the control room of the little theatre we were converting from a local church hall. A very, very young Richard seemed to have lots of opinions even then! But our lives diverged, I returned to boarding school and Richard went on to school at Dulwych College. 

In 1957 I began Theatre Projects. Richard, still at school, became TP Lighting’s first amateur theatre rental customer. My partner Bryan (Kipper) Kendall and I personally delivered four pattern 23, some cable and stands.

Years passed . . . Richard, who had graduated with honours in electrical engineering at University College London, had joined the British Broadcasting Corporation as one of their last Graduate Apprentices in radio, television, electronic and mechanical engineering. He rose rapidly through the ranks of their installations department, to become a Senior Planning and Installation Engineer. 

In his spare time Richard loved making films. He began his own company Integral Films, with a group of friends. He travelled the world making a student documentary. In London, seeking a meeting room with projection facilities, he joined forces with sound designer, David Collison, and with his gang of film buffs, helped construct the Theatre Projects sound studio in our newly acquired banana warehouse in Neal's Yard.  Thus we rediscovered each other.

In the early sixties, Theatre Projects began consulting on new theatres . . . The Birmingham Rep and the University of Hull being two examples. Initially we, as theatre people, leant over the architects' shoulder at the drawing board and tried to give theatrical advice. The demand for our services expanded. I began to realize we needed to become far more professional. I tried to tempt Richard to leave the BBC and join me. “What! Can TP offer me a pension to match that which I have from the Beeb?" I, and my fledgling company, could not. 

Having been Sir Laurence Olivier's lighting designer since the birth of the National Theatre Company in 1963, I’d become a member of the Building Committee advising on the new Denys Lasdun building. After months of deliberation, Lasdun asked Sir Laurence to appoint me theatre consultant. I replied that I needed 24 hours to consider. I ran to the call box in the NT Acquinas Street offices: "Dick, I've been offered the National Theatre. Now I can offer you a decent pension!"

The rest actually is history. Richard turned theatre consulting into a profession. As the founding managing director of Theatre Projects Consultants, he built a team of theatre technicians, architects and engineers. Early projects included the National Theatre, the Royal Shakespeare Barbican Theatre, and the master plan for the Royal Opera House Covent Garden, which we completed, urging the retention of Floral Hall and expanding the stage to the limits of the Covent Garden site. Later we would work around the world. 

The National presented unique challenges. It was to be the first British theatre to run multiple productions on each stage, with constant changeovers in repertory, yet with staging standards to match, or surpass, the highest in the West End. The unusual design of the Olivier stage demanded new thinking. Working in close harmony with the NT technical staff, but always guided by Richard Brett's brilliant analytical mind and practical experience, we devised new solutions: the now famous drum revolve, power flying with an unprecedented level of sophistication, new flexible stage and scenic handling in the Lyttelton, new approaches to lighting in rep, new lighting control systems, new communications methodology and, with David Collison, entirely new standards of sound.

The run up to the opening of the NT in 1976 was a disaster. Britain was consumed by industrial strife, and working a three-day week. The South Bank construction site was a chaotic mess. Delay followed delay. Peter Hall had replaced my idol, Sir Laurence, and grew increasingly frustrated with the hold-ups for his new company. Finally, he decided to move into the new building, ready or not. And almost nothing was ready. We had devised theatrical equipment of unprecedented sophistication. The South Bank board had let contracts to the cheapest (always English) bidder. The building was a raw shell, technical installations had only just begun, and we simply had to open. 

Richard was the unsung hero. He and I determined that we would achieve, at least: stages to stand on, and lights to see by! Richard set up his desk in the Lyttleton (the first theatre to open) and made it happen! He took charge of the building site. He ordered pairs of electricians to the next crisis point, carpenters to another. With computers moving into rooms still being plastered, Richard made stages for the actors to inhabit. The National opened. Her Majesty, The Queen spoke to me on the opening night. "Is the building ready, Mr. Pilbrow?" "No Ma'am" I replied, with a slight bow demonstrating suitable deference.

Of course we had a National scandal on our hands: "The National Theatre equipment is a disaster! Nothing works!" The myth continues even to today. It was like trying to drive a Ferrari without wheels. Machinery installations were incomplete, un-commissioned, and obviously untested. But lighting and sound were soon finished. The Lyttelton stage floor machinery operated well, while the intended power pipe flying was scrapped for counterweights. In the Olivier, the contractors continued to work night after night on the power flying and drum under Richard’s vigilant supervision. The power flying was eventually completed two years later.  John Bury announced that it fulfilled all his wildest expectations. It became one of the most sophisticated, accurate, safe and silent flying systems in the world and operated reliably for over twenty years. The drum was operational in 1982. It was in daily use as a freight elevator, but it was not until 1986 that Bill Dudley suggested it should be tried in a show. And what a triumph "The Shaughran" proved to be. The drum proved to be an amazing device to enable the Olivier theatre to live up to the dreams of its creators. 

Out of the nightmare we all learned a great deal. We set new standards in the design of stage equipment, stage lighting and stage sound that reverberate even today. Richard Brett took British theatre into a new place in terms of stage technology. He created the "professional" theatre consultant. A profession that now operates around the planet.

Innovation followed innovation. Derngate in Northampton became one of the most successful and certainly the most active arts centers in Britain, thanks to Richard’s first use of air bearings to radically change the auditorium format. This was followed by the larger multi-form venue in Cerritos, California. 

Changes at Theatre Projects led to Richard Brett and I parting professional company in 1985. Happily our friendship continued, and I've watched with pride and delight his success with Technical Planning Ltd, which developed into Theatre Planning and Technology Ltd in 1999 and ultimately Theatreplan LLP in 2004.

His major projects have included the stage planning and engineering of the Olavshallen in Trondheim and the Kulturhus in Harstad, Norway; the Kwai Tsing Theatre in Hong Kong, special rigging installations for Bridgewater Hall, Manchester, and the Symphony Hall in Birmingham. After a major fire at the Gran Teatre Del Liceu in Barcelona, Richard led the stage engineering team on the enormously complex reconstruction that included rack-and-pinion elevators with 18 meter travel to a full scenic basement; he was then part of the in-house consultancy team on the Royal Opera House development; and led the theatre planning and engineering consultants team on the new Copenhagen Opera House which opened in 2004, that surely remains one of the most innovative and brilliant opera house installations of our time. 

Other award-winning theatre consulting completed by Theatreplan include the Lyric Theatre, Belfast; Genexis, Fusionopolis, Singapore; Alleyn’s School, Dulwich; Grand Theatre, Leeds; Grove Theatre, Dunstable; Hampstead Theatre, London; The Royal Ballet School, London; Palace Theatre, Watford; and renovation of the Crucible Theatre, Sheffield.

Richard Brett was a true original. He possessed enormous experience and knowledge of theatre but also unbounded enthusiasm. He was always looking beyond today's practice to tomorrow's unexplored opportunities. While a true 'expert' and a fantastically dedicated 'workaholic,' Richard was also a richly humorous human being, who could be brilliantly amusing company, particularly over an Indian meal at his favorite Punjab Restaurant on Monmouth Street. 

Richard’s close association with and unwavering support for the ABTT was rewarded with a Fellowship in 1986. He is a past chairman of ABTT, chairman of the Society of Theatre Consultants (1979-1985), and UK representative on the Executive and Technical Committee member of the International Organization of Scenographers, Technicians and Theatre Architects.

Perhaps Richard’s most lasting contribution will have been the creation of the quadrennial conferences “Theatre Engineering and Architecture” presented in 2002, 2006, and 2010 in London, and 2008 and 2012 in New York, attended by architects, engineers, and theatre professionals from around the world. Richard created these highly successful series of events because of his frustration at seeing so many poorly designed, or wrongly equipped performance spaces still being completed. He personally ensured the publication of the proceedings with a series of illustrated volumes that are encyclopedic source books on advanced theatre technology and architecture. A parallel to his forebear Edwin O. Sachs. 

His workload and his passionate enthusiasm continued unabated until shortly before his death.  His current activities including the new engineering design study for the renovation of the Opera Theatre of the Sydney Opera House—of which he was especially proud; and the organization of the next Theatre Engineering and Architecture Conference, which is to be held in London in June 2014.

Richard is survived by his loving wife Jenny, and two children, Chris and Jacquie from his first marriage, and his younger brother Michael. The date for the private family funeral will be announced shortly, and a celebration of Richard’s enormously fruitful life will be held later in the Spring.

Richard Brett (1939 - 2014)

We are sorry to bring some very sad news.  Richard Brett, widely regarded as being one of the greatest theatre engineers of our time, has died.

He had been living with cancer for over a year. However, since the beginning of December, Richard’s condition worsened rapidly and he died peacefully at home on Thursday 9 January.

We appreciate that this news will come as a shock to you, but it had been the wish of Richard and his family that his condition should remain private for as long as possible. We were about to release news of Richard’s failing health when events sadly overtook us.

Clearly all of us at Theatreplan are shocked by the news but the Partners are determined to continue to deliver to our clients the excellence of service which Richard demanded and achieved.

We appreciate that those who knew Richard may wish to forward their condolences. We would, however, ask you to respect the family’s wishes for privacy at this time and have therefore established an email account where such messages would be welcome: rememberingrichard@theatreplan.co.uk 

The date for the private family funeral will be announced shortly, and a celebration of Richard’s enormously fruitful life will be held later in the spring.