The Collective Conservation of Edinburghs Theatres by Helen Beresford

CONTENTS Introduction _______________________________________________________ 7 Setting the scene ____________________________________________________ 8 A brief history of Scottish theatre architecture _______________________________________ 8 The significance of theatre in Edinburgh ___________________________________________ 12 Methodology ______________________________________________________13 Ten Edinburgh Theatres _______________________________________________14 Case Study 1: Bedlam Theatre – The Student Theatre __________________________________ 15 Case Study 2: The Royal Lyceum – The Royal Theatre __________________________________ 17 Case Study 3: Church Hill Theatre – The Amateur Theatre _______________________________ 19 Case Study 4: King’s Theatre – The People’s Theatre ___________________________________ 21 Case Study 5: Rose Theatre – The Theatre School ____________________________________ 25 Case Study 6: Assembly Roxy – The Adaptable Theatre _________________________________27 Case Study 7: Edinburgh Playhouse – The Cinema-Theatre _____________________________ 29 Case Study 8: Edinburgh Festival Theatre – The Longest Theatre Site _______________________ 31 Case Study 9: Leith Theatre – The Community Theatre _________________________________35 Case Study 10: Traverse Theatre – The Writing Theatre _________________________________37 Statement of Significance _____________________________________________ 39 Identify issues _____________________________________________________ 40 A Note on Covid-19 ________________________________________________________ 40 Obligations ______________________________________________________________ 42 Resources _______________________________________________________________ 45 Condition _______________________________________________________________ 54 Constraints _______________________________________________________________57 Opportunities ____________________________________________________________ 62 SWOT Analysis ____________________________________________________ 68 Conservation Strategy _______________________________________________ 69 General Practice __________________________________________________________ 69 Conservation Plan _________________________________________________________ 69 Key Recommendations: ____________________________________________________72 Conclusion _______________________________________________________ 74 Bibliography ______________________________________________________ 75 Appendixes ______________________________________________________ 81 Appendix 1: Extract from the Burra Charter _________________________________________ 81 Appendix 2: Personal Communications ___________________________________________ 82

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ACKNOWLEDGEMENTS The following research would not have been possible without the generous help of the following people; Audrey Dakin George Manchester (Bedlam Theatre) Claire Appleby (Theatres Trust) Lynn Morrison (Leith Theatre) Callum Jones (Leith Theatre) Hazel Johnson (Hidden Door) Fiona Harvey (The Royal Lyceum) Iain Ramponi (The Royal Lyceum) Brian Loudon (Capital Theatres) Graham Simpson (Capital Theatres – Festival Theatre) Mark Pringle (Capital Theatres – Festival Theatre) Colin Marr (Edinburgh Playhouse) Líam Rudden (Edinburgh Evening News) Colin & Laura Beresford (Eternally joyous and generous)

Cover Image Fly Tower at the Royal Lyceum Theatre Edinburgh, by Helen Beresford (2021)

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ACRONYMS ATG - Ambassador Theatre Group AWC - Accessible Water Closet EIF - Edinburgh International Festival EUTC - Edinburgh University Theatre Company HES - Historic Environment Scotland ICOMOS - International Council on Monuments and Sites LBC - Listed Building Consent UNESCO - The United Nations Educational, Scientific and Cultural Organization

LIST OF FIGURES Figure 1 - Location of Case Studies ..................................................................................................................... 14 Figure 2 - Bedlam Theatre (© 2021 Fete Photography LLC)............................................................................. 15 Figure 3 - Bedlam Theatre stage (George Manchester)...................................................................................... 16 Figure 4 - Royal Lyceum Auditorium ................................................................................................................. 17 Figure 5 - Exterior circa 1930 ............................................................................................................................. 18 Figure 6 - Exterior 2021, showing 1987 extension ............................................................................................. 18 Figure 7 - Lyceum ceiling details ........................................................................................................................ 18 Figure 8 - Church Hill Theatre............................................................................................................................ 19 Figure 9 - Interior of Morningside High Church ............................................................................................... 20 Figure 10 - Auditorium of Church Hill Theatre ................................................................................................. 20 Figure 11 – King’s Theatre................................................................................................................................... 21 Figure 12 - Opening of the theatre in December 1906 with the pantomime Cinderella, courtesy Capital Theatres .............................................................................................................................................................. 22 Figure 13 - The new canopy 3rd March 1959, 'The Scotsman' newspaper........................................................ 22 Figure 14 - 1920s or 1930s undated Harry Lauder matinee showing the three original balconies, plus Bioscope Box at the rear of the Grand Circle ..................................................................................................... 23 Figure 15 - December 1956 photo of the “new” auditorium after removal of the topmost balcony ................. 23 Figure 16 –Pullman style seating installed in 1985 ........................................................................................... 23 Figure 17 –New seating in 2012 ......................................................................................................................... 23 Figure 18 - Trompe l’oeil dome painting from 1985 .......................................................................................... 24 Figure 19 - John Byrne Dome from 2013 .......................................................................................................... 24

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5 Figure 20 - Rose Theatre.................................................................................................................................... 25 Figure 21 - Level street entrance ........................................................................................................................ 25 Figure 22 - Main House base configuration ...................................................................................................... 26 Figure 23 - Main house thrust configuration .................................................................................................... 26 Figure 24 - Assembly Roxy, from Drummond Street .........................................................................................27 Figure 25 - Roxy Central as flexible open space with loose seating .................................................................. 28 Figure 26 - Roxy central with masking and raked seating ................................................................................ 28 Figure 27 - Ariel view of the Edinburgh Playhouse with Carlton Hill behind .................................................. 29 Figure 28 - Edinburgh Playhouse front ............................................................................................................. 30 Figure 29 - Edinburgh Playhouse Auditorium .................................................................................................. 30 Figure 30 - A long section (west to east) through the Studio and Festival Theatre, showing phasing ............. 31 Figure 31 - Illustration of the theatre’s exterior (note the separate Pit entrance to the left of the main entrance) as printed on the front cover of a theatre programme dated 8th May 1911 ..................................... 32 Figure 32 - Exterior of the Empire Theatre in late September 1928, following the major remodelling by W. and T.R. Milburn ................................................................................................................................................ 32 Figure 33 - The Empire Palace Theatre auditorium designed by Frank Matcham, ......................................... 33 Figure 34 – The Empire Theatre auditorium designed by W and T R Milburn ............................................... 33 Figure 35 – The Festival Theatre Auditorium following the 1994 redevelopment ........................................... 33 Figure 36 - Empire Theatre as Mecca Bingo Hall (Capital Theatres, n.d.) ....................................................... 33 Figure 37 – Milburn facade 18th July 1957 ....................................................................................................... 34 Figure 38 - New façade 1994 .............................................................................................................................. 34 Figure 39 - Leith Theatre ................................................................................................................................... 35 Figure 40 - Traverse Theatre ..............................................................................................................................37 Figure 41 - Floor plans from Saltire Court Brochure..........................................................................................37 Figure 42 - Traverse at James Court (1963-1969) ............................................................................................. 38 Figure 43 - Traverse at West Bow (1969-1992) ................................................................................................. 38 Figure 44 - Traverse at Cambridge Street (1992-present) ................................................................................ 38 Figure 45 - Stage dimensions written behind the proscenium at Kings Theatre .............................................. 41 Figure 46 - Theatre occupancy numbers ............................................................................................................47 Figure 47 - Theatre occupancy per Receiving (pink) and Producing (green) house .........................................47 Figure 48 – Diagrammatic representations of the auditoriums ....................................................................... 48 Figure 49 – Stage Theatre .................................................................................................................................. 49 Figure 50 - Chairs over orchestra out at Festival Theatre ................................................................................. 49 Figure 51 - Front row seats viewed from orchestra pit under forestage at King's ............................................ 49 Figure 52 - Section through Festival Theatre auditorium, showing lowered orchestra pit & fly tower (1001478-FUL) ........................................................................................................................................................ 50 Figure 53 – View of the stage from the fly tower at the Lyceum ....................................................................... 50 Figure 54 – Counterweight fly system at the Lyceum ....................................................................................... 50 Figure 55 – ‘Ladies bar’ backstage at Leith Theatre ........................................................................................... 51 Figure 56 – Wig and laundry room at Festival Theatre ..................................................................................... 51 Figure 57 – The Studio, Festival Theatre http://investigatecreate.co.uk/venue/the-studio-the-festivaltheatre/ ............................................................................................................................................................... 53

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6 Figure 58 - Roseburn Paint Floor (Dibdin, Roseburn: the workshop that sets the Edinburgh Lyceum apart, 2017) ................................................................................................................................................................... 53 Figure 59 - Bedlam stone repairs (12/01155/LBC)............................................................................................ 54 Figure 60 – 1930s paint peeling at Leith Theatre ..............................................................................................55 Figure 61 – The existing herringbone floor ........................................................................................................55 Figure 62 - Ceiling backstage at Leith Theatre ...................................................................................................55 Figure 63 - Roof lights at Leith Theatre..............................................................................................................55 Figure 64 - Transformation drums at King's Theatre ....................................................................................... 56 Figure 65 - Hemp ropes at the Lyceum ............................................................................................................. 56 Figure 66 - Centralised vacuum system at the King's ....................................................................................... 56 Figure 67 - Original lighting switch room.......................................................................................................... 56 Figure 68 - Figure-ground diagrams showing urban grain around each theatre ............................................. 58 Figure 69 - There is level access to the ground floor of the Rose Theatre, but to none of the other levels ...... 60 Figure 70 - The level access route into the Bedlam leads through the auditorium .......................................... 60 Figure 71 - Accessible lift at King's Theatre ....................................................................................................... 60 Figure 72 - Accessible lift to all floors at Lyceum .............................................................................................. 60 Figure 73 - Extension to Church Hill to include accessible lift and AWC (05/00335/LBC) ............................. 61 Figure 74 – The Upper Circle Bar at King’s, only opened during the larger shows.......................................... 62 Figure 75 - Rose Theatre Café, home of Edinburgh’s best vegan cinnamon rolls, open 10-12am ................... 62 Figure 76 - Map showing distribution of case studies ....................................................................................... 63 Figure 77 - Access and pedestrian spaces .......................................................................................................... 64 Figure 78 - Kings Theatre Proposals by Bennetts Associates............................................................................ 65 Figure 79 - Playhouse proposed scene dock by Hoskins Architects (21-00721-FUL) ...................................... 65

LIST OF TABLES Table 1 - Management ........................................................................................................................................ 43 Table 2 – Charity finances ................................................................................................................................. 44 Table 3 - Technical specifications of Primary performance space93 ................................................................. 45 Table 4 – Performance Styles available .............................................................................................................. 51 Table 5 - Technical specifications of secondary spaces ..................................................................................... 52 Table 6 - Age ....................................................................................................................................................... 54 Table 7 – Conservation areas .............................................................................................................................. 57 Table 8 - Accessibility........................................................................................................................................ 59 Table 9 - Ancillary Spaces .................................................................................................................................. 62 Table 10 - Connections (walking time in minutes) ............................................................................................ 63 Table 11 –Ticket price offers .............................................................................................................................. 66

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INTRODUCTION Edinburgh is the home of Scottish theatre, producing some of the finest performances and hosting the most famous arts festival in the world. It is home to the largest all-seated auditorium in the UK, the oldest student-run theatre in Britain, leading writing and producing houses and receives the best touring productions on offer. The youth groups have supported young actors and writers, and the main stages have hosted the best of British talent. This study examines ten theatre venues in Edinburgh with a view to produce a collective conservation management plan. This study focuses on ten Edinburgh theatres. Some were built as theatres; others are converted churches. Some receive touring shows, others foster and create their own. From 29 to 175 years old, the theatres have withstood social, economic, and theatrical developments over the years, some are a little more bruised than others. Each year Edinburgh becomes a festival city during August and every corner becomes a stage, but this research is focused on those venues open all year around. The following work seeks to understand the cultural significance of them individually and collectively. Taking a holistic view of Edinburgh’s theatres allows them to be viewed as resources for the benefit of Scottish theatre, as opposed to isolated companies. Addressing issues of admin and maintenance collectively may highlight resolutions enabling venues to proceed from a more secure position so they can act regather than react to common problems. This will then enable healthy competition to drive producing and receiving theatres to thrive, confirming Edinburgh’s primacy as the home of Scottish theatre.

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SETTING THE SCENE A brief history of Scottish theatre architecture 1 Depending on the liberality of description, the history of theatre can be traced back far beyond Shakespeare and the Greeks to forest clearings. The oral tradition of storytelling was necessary for illiterate audiences for thousands of years, and indeed well into the 18th century. During the medieval period, folk and religious performances served to entertain or inform and Edinburgh has successfully continued these informal traditions into the 21st century with the ad hoc nature of the Edinburgh Fringe. However, this research is concerned with the conservation of theatre architecture and as such will focus on the history of the built theatre. Formal western theatre history typically begins with the Greek performances in theatres called Cavea. These open-air semi-circular structures were built outside of the city, often into hillsides, of timber or later stone. The tiered seating surrounded over 180 degrees of a central circular orchestral pit, in which the chorus sang, and faced the stage behind. The Roman amphitheatres were developed directly from the Greek design but were relocated within the cities and included a larger stage. However, the Roman occupation was not as successful in Scotland as in rest of the Europe and the UK, and as such few amphitheatres existed. There are suspected sites at Inveresk 2 and Newstead 3, but the direct influence in theatre architecture is less than that to the south. As is reflected throughout Europe, the medieval theatres of Scotland were often timber framed, temporary constructions installed into halls, adjacent to churches or in fields. Modern theatre dates to the folk, religious and courtly activities of the time. Travelling companies would be set up on boards in inn courtyards performing to an audience surrounding them. By the 16th Century, these temporary scaffolds begin to formalise into specialist timber framed buildings, and it is during the reign of Queen Elizabeth I that the first theatres were built in London (1576 London Playhouse). These open-air theatres were circular, with covered galleries surrounding an open courtyard and facing a raised, covered stage against the wall, such as Shakespeare’s Globe Theatre in London (1599). However, formal theatre architecture would not reach Scotland for another 200 years. Instead, they continued to perform in adapted halls, schools, churches, and private houses. Following the Reformation in the 16th century all religious drama in England was suppressed. The civil and religious wars of the 17th century halted theatre development in the UK, but ultimately resulted in distinct new theatre styles. Between the execution of Charles I and the coronation of Charles II, theatre had been outlawed by the Puritans to avoid any threat of civil unrest. 4 During the 18 years they were outlawed many theatre artists faced significant hardship and many theatres were demolished. In 1660, the new monarch brought new patronage and theatre development began again. London theatre companies

(Historic Scotland; The Theatres Trust , 2015); (Theatres Trust, 2021); (Hildy, n.d.) (Neighbour, Clarke, & Thomas, 2007) 3 (Clarke & Wise, 2000) 4 (Maguire, 1989) 1

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9 Davenant and Killigrew were awarded patronage for their allegiance to the monarchy and theatres such as Drury Lane (1663) were built in London. Theatre design had been influenced by developments in Europe. French and Italian theatre design was rectangular, with horseshoe balconies (to reflect the social tiers) facing an end on stage framed by a proscenium arch. They also included a roof and elaborate set mechanics requiring more generous backstage spaces. Between the 1660s and 1710s restoration dramas and comedies were written, celebrating the Stuart Restoration. In 1736, Scotland’s first public theatre was opened by Playwright and Poet Allan Ramsey Carrubber Close. 56 However, it is unclear whether the venue ever opened, as legislation imposed the following year resulted in mass theatre closings. The 1737 Theatres Licensing Act thwarted the boom and reversed theatre growth. The Act required all scripts to be approved by the Lord Chamberlain before the licence to perform would be granted to stage drama. Patents were generally only issued in London and this strict censorship resulted in exiting theatres throughout the UK sitting vacant. To circumvent the restrictions of ‘legitimate theatre’ or drama, ‘illegitimate theatre’ emerged which would include music either as part of the performance or as an interlude; This makes tracing these early venues more difficult. The Canongate Concert Hall was built in Edinburgh for this purpose and opened in 1747. It is here Rev John Home’s play Douglas was first performed in 1756, to the famed audience response ‘Whaur's Yer Wullie Shakespeare Noo?’. 7 Written by a member of the church, the play caused scandal and became a milestone in Scottish theatre writing, and the Scottish Enlightenment. However, the Canongate theatre was eventually closed due to stipulation that it required, but did not possess, a Royal Patent. Eventually, patents began to be issued beyond London, giving rise to a wave of Theatre Royals around Britain. The Canongate Concert Hall reopened as Edinburgh’s Theatre Royal in 1767. The Theatre Royals that followed include a second in Edinburgh and two more in Glasgow and Aberdeen before the end of the century. These theatres followed the classical architectural style of the time, which also helped present a sense of legitimacy to the ill-reputed pastime. The Royal Theatre in Dumfries, built in 1792, still survives today, but many of its predecessors have been lost. Very few early theatres existing today, due both to the systematic suppression of theatre in the 17th and 18th centuries, and the fact that these timber framed buildings lit by candles, gas or limelight were at high risk of serious fire damage. By the end of the 18th century, fire safety measures began to be introduced into theatre architecture. Drury Lane Theatre in London introduced the first iron safety curtain in 1794, and a water tank to extinguish any stage area fires. These standards were adopted by other theatres around the country and so many more late-Victorian and Edwardian theatres remain today. The latter half of the 18th century saw the introduction of Playhouses. Theatre companies began to travel between market towns on regular circuits and as such built more standardised venues that their shows could be easily transferred between. They were smaller, often a rectangular hall with a projecting stage and benched audience seating. However, by the turn of the century, theatre attendance had begun to decline; the Industrial Revolution had transformed society. As people moved into the cities, rural theatres declined but

(Rock, 2013) (Historic Scotland; The Theatres Trust , 2015) 7 (Herald Scotland Staff, 2007) 5

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10 the city centre theatres began to expand, benefitting from the advances made in the revolution. The introduction of gas (1803) and later electricity into theatres allowed for more control of lighting during shows. Railway expansions also enabled those living in the cities to travel to coastal towns, where theatres were being built to entertain the holiday-goers. Both in the coastal towns and city centres, Hippodromes were also built to host circuses and the newly popular equestrian entertainment. Following the abolition of Royal Patents and the London theatre monopolies, the 1843 Theatres Act was extended allowing a more liberal issuing of theatre licences, but still required every stage play to be approved by the Lord Chamberlain ‘for the preservation of good manners, decorum and the public peace’. 8 The legislation forbade alcohol consumption in legitimate theatres, forcing the closure of smaller saloon theatres who relied on the revenue, but simultaneously enabled public houses to offer entertainment, giving way to the music hall. Aimed towards the working class, the events were more casual than the formal Theatre Royals, with food and drink served and no restricted performance times. Glasgow’s Britannia Panopticon (1857) music hall still survives today, in use and well preserved. 9 The success of the music hall era is often attributed to the commercialisations of music-hall ownership by groups such as Moss Empires who were able to run the venues as successful businesses. The technical requirements of theatres had become increasingly stringent, necessitating a generation of specialist Theatre Architects. J. T. Robinson, Bertie Crewe, Frank Matcham, C.J. Phipps, W. G. R. Sprague and T. Verity designed theatres throughout the late 1800s and early 1900s. This period is often revered as the greatest era of theatre architecture in the UK. Matcham, arguably the most prominent of these architects, built over 90 theatres during his career. Health and safety regulations were introduced, included fire escape plans. Occupancy numbers were hugely increased to the thousands, sightlines were prioritised, and horseshoe cantilevered balconies were introduced. Hydraulic stage machinery necessitated a larger back of house, and centralised vacuuming systems were available. More attention was also given to the front of house and social areas, with the layouts and ticket prices both designed to separate the middle and working classes. The interiors also became more sumptuously decorated, often gilded with highly decorated mouldings, upholstered seats and chandeliers. A great disrupter to theatre came in the final years of the 19th century. Early kinematographs or travelling ‘bioscope booths’ began as touring attractions embraced by the Scottish fairground and music hall circuits. On 13th April 1896, in the Empire Palace Theatre in Edinburgh, the first public screening of Lumière’s Cinematograph was shown in Scotland. The success of cinema in Scotland was extraordinary; by 1939 there were more cinema seats per head in Glasgow than any other city in the world. 10 From here onwards the cine-variety form of music hall developed, and those theatres without appropriate projection facilities fell out of favour. The World Wars gave pause to theatre development, but the time between them saw a social yearning for increased education and accessibility to theatre. Club theatres were introduced as exclusive groups

(Stage Beauty, n.d.) (Historic Scotland; The Theatres Trust , 2015) 10 (Caughie, Griffiths, & Vélez-Serna, 2018) 8 9

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11 showcasing experimental or political theatre not suitable for the conservative censorship of the Lord Chamberlain, and Repertory theatres were subsidised by wealthy benefactors to make theatre accessible for a wider audience. Post war theatre development is fruitful and well documented. 11 The Arts Council was formed in 1946 which supported local theatres with public money. Theatre was declining following the introduction of the television and the destruction of the wars, and development in the 1960s and 70s was largely undertaken by councils as civic theatres, supporting a more flexible programme, and often including libraries or museums. Theatre censorship eventually ended in 1968, resulting in an eruption of alternative theatre across the UK. This allowed producers to make use of spaces not intended as theatres, a trend which made good use of many redundant churches. Meanwhile, cinema, abstract art, light, and other non-picturesque art forms were influencing theatre. No longer were performances representing reality and the Italian Proscenium theatre model was beginning to restrict the creative output. Theatre design became increasingly varied, pushing the architectural and technical limits to create flexibility that could adapt to compliment the on-stage action. Whether returning to the forest clearing or producing high-tech spaces, performance had become the centre of design.

‘A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged’ Peter Brook 12 The theatres in Scotland showcase some of the greatest designs in British history. The styles could be categorised as: an Italian model or amphitheatre facing and end on stage with proscenium; Elizabethan model integrated in the round; Studio model with flexibility and convertibility; and a divergent space not designed for theatre at all. 13

(Elsom, 1979) (Brook, The Empty Space, 1968) 13 (Breton, 1989) 11

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12 The significance of theatre in Edinburgh Edinburgh’s connection to theatre is deep and longstanding. The first regular theatre in Scotland is said to have been in Edinburgh on Carrubber Close in 1736, as well as the first purpose-built theatre, The Canongate Concert Hall (1747). 14 Edinburgh was also the founding place of Moss Empires. In 1899, Edward Moss, Richard Thornton, and Oswald Stoll merged their theatre companies to form the largest chain of variety theatres in Britain; an Empire Theatre could be found in most cities. The first of these was on Nicholson Street, the Empire Palace theatre designed by Frank Matcham. This theatre was the first collaboration between Matcham and Moss, who would go on to design and construct another 20 under the Moss Empire company. Edinburgh’s oldest surviving theatre, the Royal Lyceum, was built in 1883 by famed Theatre Royal architect CJ Phipps and remains in superb condition. The Lyceum, Kings, Festival and Playhouse auditoriums are all fine examples of late Victorian and Edwardian auditoriums. Today, Edinburgh’s Playhouse still holds the title of largest theatre in Scotland, at 3059 seats, and the largest working nonsporting theatre by capacity in the UK. Scotland’s leading producing theatre, and Scotland's new writing theatre are both in Edinburgh at the Lyceum and Traverse respectively. 15 Edinburgh has also fostered many young theatre-makers. The Bedlam is the oldest student-run theatre in Britain and home of Edinburgh's longest-running improvised comedy troupe, the Improverts. 16 The Lyceum Youth Theatre is one of the largest in Scotland, and enables and supports 5-18 year olds interested in theatre, and includes a Discover program that visits schools. As well as the year-round theatre, Edinburgh is an internationally famed Festival City. The Edinburgh International Festival and the Edinburgh Fringe take place during August attract hundreds of thousands of attendees to Edinburgh each year. In 2019 434,500 attendees at the former, and 856,500 tickets sold at the latter. 1718 Without the year-round support of theatres such as the Bedlam, Traverse and Lyceum, new material from Edinburgh may not be produced.

(Historic Scotland; The Theatres Trust , 2015) (The Royal Lyceum Theatre Company, n.d.) 16 (Bedlam Theatre, n.d.) 17 (Edinburgh International Festival, 2019) 18 (Ed Fringe, 2019) 14 15

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METHODOLOGY This research aims to identify the cultural significance of ten Edinburgh theatres individually and collectively and suggest some strategies to protect and enhance these. The format of this research is influenced by the Burra Charter process (see appendix 1) . 19 Ten case studies were selected, each of which comply with the following: -

The building is within Edinburgh (EH postcode)

The building’s primary function is theatre o

This excludes venues where theatre takes place but is not the primary offering The exception is Leith Theatre, which is in a state of redevelopment

The building is in use year-round o

This excludes venues where the theatrical offering is limited to festivals

The case studies will be introduced individually as each is unique. The introductions will provide an understanding of the place by description of the location, fabric, history, current use and known associations (Burra Charter Articles 5-7, 12, 26). A short statement of cultural significance will present an overview of the aesthetic, historic, scientific, practical, social, and spiritual significance of each (Burra Charter Article 26). Then the collective factors and issues will be reviewed and compared (Burra Charter articles 6, 12). The obligations: Reputations; allegiances; moral responsibilities; and any other relevant information. The resources: Stage sizes and technical specifications; occupancy; and any other relevant information. The condition: Building age, listing; state of the fabric; recent works; and any other relevant information. The constraints: Accessibility; funding and management; and any other relevant information. The opportunities: Additional income; future developments; location; and any other relevant information. The data collected here is a combination of interviews and tours (see appendix 2), first-hand experience, and information provided online and in books. Due to the density of data, references will be collated at the end where it is not possible to reference within tables. From the collected information a Conservation Management Plan will be presented following the guidance set out by the Heritage Lottery Fund 20, with key policies and actions suggested.

19 20

(The Australia ICOMOS, 2013) (Heritage Fund, 2021)

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TEN EDINBURGH THEATRES This research focuses on ten theatres in Edinburgh. They are all dedicated theatres, used year around not limited to the festival seasons. The theatres are: 1. Bedlam Theatre 2. The Royal Lyceum 3. Church Hill Theatre 4. The King’s Theatre 5. Rose Theatre 6. Assembly Roxy 7. Edinburgh Playhouse 8. The Festival Theatre 9. Leith Theatre 10. Traverse Theatre

The following descriptions serve as a brief introduction to each theatre.

Figure 1 - Location of Case Studies

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15 Case Study 1: Bedlam Theatre – The Student Theatre

Bedlam Theatre is a former church located at the intersection of George IV Bridge, Forest Road and Bristo Place and is the oldest student-run theatre in Britain. Understanding the Place The New North Free Church was built in 1846 by prominent Edinburgh Architect Thomas Hamilton. 21 It is two storeys tall, built in a gothic style of polished grey ashlar, with pitched gable roof and rectangular in plan. The main façade is a symmetrical gable end, with a central door in gothic arch stone architrave, flanked by octagonal stone staircase towers with blind arcading and a gothic window in the gable. The gable has a niche and pinnacle at the apex with octagonal turrets at the four corners. It is a Category B listed building. Internally the foyer is flanked by stairs winding upwards leading to the galley. Beyond the foyer is a café and bathroom facilities. The performance space is the nave of the former church with seating at ground level and the balcony reserved for technical access and storage (fig. 3). Hood moulded gothic windows are blacked out but readable. The U plan balcony, cast iron columns and walls at ground floor level are painted black. The stage is a plywood construction that is replaced every year. 22

21 22

(HES (LB30020), n.d.) (EUTC, 2021)

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16 The church, built on the site of a charity workhouse and lunatic asylum, remained in use as such until 1937 when it was sold to the University of Edinburgh and used as its chaplaincy centre. At the 1977 Fringe, Faynia Williams constructed a temporary theatre in the Chaplaincy Centre on behalf of the Bradford University Drama Group’s 23 performance of Satan’s Ball, which won the Fringe First award. The success proved the functionality of the space as a theatre, and it officially converted in 1979. The venue is now a 90-seat black box theatre and the home of the Edinburgh University Theatre Company (EUTC). 24 The company put on over 40 shows a year, approximately 14 of which are during the August Fringe Festival. 25 Conservation work was undertaken in 2012, which has maintained the fabric of the building well. 26 There is a vast record of the history of the Bedlam as recorded by the EUTC which can be found on their Wiki.

Figure 3 - Bedlam Theatre stage (George Manchester)

(Moffat, 1978)

(Bedlam Theatre, n.d.) (Bedlam Theatre, n.d.)

25 26

12/01155/LBC

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17 Case Study 2: The Royal Lyceum – The Royal Theatre

Figure 4 - Royal Lyceum Auditorium

The Royal Lyceum is a purpose-built theatre in the West End of Edinburgh, neighbouring Usher Hall. Built in 1883, it is a well maintained and high-quality producing theatre.

Understanding the Place It is a three storey French classical style building, with a 4th attic storey in mansard roof (fig. 6). 27 It is built of giant Corinthian pilasters wrap around the corner onto Cornwall Street, extending across the first and second storeys. Fenestration to the primary, south facing, Grindlay street façade is symmetrical, with a central bay of three windows projecting and crowned with a pediment. At ground level, a glazed foyer extends the south facade. Located away from major roads, its imposing pink stucco presence on the street is even more impactful surrounded by beige sandstone Georgian tenements. It is a Category A building. The Victorian auditorium is a 658 seat, three-tiered horseshoe, with ornate arches, decorative proscenium arch and projecting end stage (fig. 4). The ceiling is highly decorated plasterwork, with a large crystal chandelier (fig 7). The Lyceum was built in 1883 for £17,000 designed by famous theatre designer CJ Phipps for John B Howard and Frederick W P Wyndham who had managed the old Theatre Royal. 28 Howard & Wyndham Ltd was later formed and went on to become the largest theatre owning, production and management company in Britain. It was the first Scottish theatre to use electricity for their house lighting and is credited with being the first theatre in Britain with an iron safety curtain. 29 Following the acquisition of Kings Theatre, the

https://portal.historicenvironment.scot/designation/LB30031 (Peter, 1999, pp. 31-36) 29 (Hume, Royal Lyceum Theatre Edinburgh, 2021) 27

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18 Lyceum became the producing theatre, presenting drama, opera, and more serious performances, while the Kings focused on musicals and pantomimes. The Lyceum’s new objective was to showcase ‘the best works of modern writers, together with classics of the past’. 30 The theatre faced threat of demolition in the 1960s and refurbishment in 1977 when air conditioning was instated, although the building has remained largely unchanged since 1883. A refurbishment by Simpson and Brown in 1986 included the addition of the glazed entrance, improving access to the building.

Figure 5 - Exterior circa 1930 (Canmore)

Figure 6 - Exterior 2021, showing 1987 extension

The Lyceum has remained in use as a theatre since opening in 1883 and has hosted many famous performers and directors. Designed as a receiving theatre, today is it one of Scotland’s leading producing theatres, and the home of Artistic Director David Greig, one of Scotland’s most celebrated contemporary Playwrights. 31

Figure 7 - Lyceum ceiling details

30 31

(Peter, 1999, p. 33) (Get Into Theatre, n.d.)

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19 Case Study 3: Church Hill Theatre – The Amateur Theatre

Figure 8 - Church Hill Theatre

Church Hill Theatre was originally built in 1982 as the Morningside High Free Church it underwent conversion and opened as the Church Hill Theatre in 1965.

Understanding the Place Morningside High Free Church was built in 1892 by Hippolyte J Blac, a well-known Edinburgh architect. It is a bold renaissance style pink Corsehill sandstone church, with ashlar primary façade facing onto Church Hill (fig. 8). Its position on the road, set back and slightly raised, makes it a significant impact on the streetscape. The central bay projects slightly, crowned by an open pediment with cartouche. At ground level, rusticated walls project either side of a recessed doorway. Two engaged columns separate the three entrance doors, the central of which has a fanlight, all of which sit beneath an entablature filled with a sign reading Church Hill Theatre. Above a string course is a significant Palladian window flanked by coupled pilasters supporting the pediment above. The bays either side of this are mirrored, each with a single high level ground floor window beneath the string course, and a window with segmental pediment and decorative panel above at first floor level, with a pilaster to each corner. A stone balustrade surrounds the roof of this central area. To the north, a two-storey wing with quoined corners and gable end roof, level entrance to the Church Hull Studio (with associated signage above) at ground level, the continued string course, and tripartite window with cornice. The southern wing mirrors the north but extends higher (intended as the base of an unrealized campanile), beyond the central pediment, and at ground floor there is a single window. The secondary facades are four bays in sandstone with segmental-arched windows and associated bulls eye windows to auditorium.

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20 The auditorium is a former church hall with segmental-arched windows along each wall, below a significant frieze. Each bay above the frieze is divided by moulded transverse beams to depressed-arch barrel vault with plaster rosettes.’ 32 The building is listed Category B. The church began as Morningside High Free Church (fig. 9) in 1892 as a result of the Disruption of 1843 in which hundreds of evangelical ministers broke away from the Church of Scotland (or Kirk), to form the Free Church. It was one of many new churches built across the country; the first of two in Morningside alone. It opened in 1894 and continued to serve as such until 1960 when Morningside High relocated to join Morningside Parish Church. 33

Figure 9 - Interior of Morningside High Church (Canmore)

Figure 10 - Auditorium of Church Hill Theatre (Canmore)

The vacant building was bought by Edinburgh City Council and conversion began turning it into a theatre in 1962, following the demand for small-scale theatrical venue brought about by the closure of the Little Theatre in the Pleasance. 34 After a period of renovation, the new Church Hill Theatre opened 25 September 1965 with a production of Oscar Wilde’s The Importance of Being Earnest, and it has remained in use as a theatre ever since. 35 A successful 2004 lottery bid enabled the council to refurbish the building to improve its accessibility and functionality. A small extension was added to the northern façade comprising of a disabled toilet to each floor and passenger lift to access to the auditorium level. Access improvements were implemented throughout, including in the auditorium, the ground floor foyer and café area were reconfigured and redecorated, and the heating systems were upgraded. 36 Minor upgrades were made in 2014 to improve fire doors and the changing rooms. 37 There are two performance spaces within the venue; the old church hall is now a 353-seat auditorium and a 100-seat studio in the hall to the rear of the building. The theatre is focuses on providing a space for local and amateur theatre groups. It is the primary venue for the American High School Theatre Festival transfer program which allows students from the USA to experience and perform at the Fringe.

(HES (LB27546), 2010) (Morningside Parish Church, 2006) 34 (About us, n.d.) 35 (Our history, 2021) 36 Listed Building Consent 05/00335/LBC 37 Listed Building Consent 14/03064/LBC 32 33

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21 Case Study 4: King’s Theatre – The People’s Theatre

Figure 11 – King’s Theatre

The King’s theatre is a purpose-built theatre on Leven Street in the Edinburgh’s Tollcross area. It has been running since it opened in 1906 and remains one of Scotland’s principal touring theatre and pantomime venues.

Understanding the Place King’s Theatre is an Edwardian Baroque style theatre built in Dumfries Red sandstone to the principal facades and brick to the secondary. Built in 1905 by JD Swanston (Kirkcaldy) and J. Davidson (Coatbridge), the building is four storeys tall, with a highly decorative west façade and art nouveau stained glass windows. Davidson was responsible for the design of the exterior, described as his typical ‘Lanarkshire municipal’ style. 38 Its height and prominent location on Leven Street makes it a dominant feature in the streetscape. The rusticated stone ground floor level includes several shop-front windows, and smaller pedimented windows. The main entrance sits within the central bay, with a large timber soffit marquee extending over two double doors recessed between engaged columns. Further double doors sit on each corner of the façade. Above this is a diocletian window in the projecting rusticated central bay. Coupled ionic columns on plinths

(Peter, 1999, pp. 46-51)

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22 extend across second and third storey, flanking a decorative oriel window with domed top, supporting a frieze and open segmental pediment. A stone balustrade runs around the edge of the roof above. Regular coupled windows with mullion are laid at each level, either side of the central bay. At first floor level these have cornices, at second they have scrolled pediments, and at third they have no hood, but are separated with carved corbels depicting comedy and tragedy. It is a Category A listed building. 39 The interior is the design of J D Swanston. The interiors are Viennese Baroque style with ornate ceilings, timber panelling and marble floors, stairs, and piers throughout. There is a small bar adjacent to the grand circle, with Edwardian stain glass detailed doors throughout. The auditorium is a horseshoe shape, with extraordinarily ornate details by Swanson, described as ‘An Aladdin’s cave of Viennese Baroque, swathed in all the plush and gilt of la belle epoque at its fruitiest’. 40 Three tiers of seating face a proscenium stage with nine boxes either side. Divided into Stalls, Dress Circle and Upper Circle, the balconies unusually do not align with the boxes which are said to have poor sightlines. The boxes are glamorously decorated with plaster work and several nude statues holding theatrical masks to their face. The central ceiling dome was painted in 2013 by Scottish artist John Byrne. King’s Theatre, fondly known as The Old Lady of Leven Street, was designed on the site of an old brewery as a venue for touring performances and has remained in consistent use as such since 1905. It is known for being a Howard & Wyndham Ltd building. Although it was initially built to rival their flagship Edinburgh venue, The Royal Lyceum, King’s joined the Howard & Wyndham empire in 1928. 41 The theatre opened with four tiers seating 2500 'built on the cantilever principle' with 'not a single pillar. 42 In 1950 the theatre underwent a refurbishment, including replacing the ornate iron-pillared, stained-glass canopy with the cantilevered design that survives today. Major structural work was undertaken, removing the fourth and uppermost balcony and reconstructing the upper circle with a steeper rake to improve sightlines and thus reducing capacity to 1530 (fig. 14, 15). During this time the theatre was closed, opening temporarily for the 1951 Edinburgh Festival, and finally reopening in December that year with a pantomime production of Puss in Boots. 43

Figure 12 - Opening of the theatre in December 1906 with the pantomime Cinderella, courtesy Capital Theatres(Canmore)

Figure 13 - The new canopy 3rd March 1959, 'The Scotsman' newspaper (Canmore)

(HES (LB27656), 2013) (Glassstone, 1975) 41 (Peter, 1999) 42 (The Builder, 1906) 43 (Peter, 1999, p. 50) 39

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Figure 14 - 1920s or 1930s undated Harry Lauder matinee showing the three original balconies, plus Bioscope Box at the rear of the Grand Circle

Figure 15 - December 1956 photo of the “new” auditorium after removal of the topmost balcony

Following national economic inflation and the rise of the television theatre attendance dropped and Howard & Wyndham sold the theatre to Edinburgh City Council, who continued its use as a theatre. The theatre closed in 1985 for the second time to allow for another major refurbishment scheme. The £1.2m works focused on cleaning the sandstone façade and restoring the ornate internal decorations, whilst also modernising to suit current needs. The aisles were widened and seats replaced with more comfortable ‘Pullman’ alternatives, reducing the capacity to 1330.

Figure 16 –Pullman style seating installed in 1985

Figure 17 –New seating in 2012

Festival City Theatres Trust later undertook the running of the theatre and tens of thousands of visitors attended shows in the decades that followed but extensive patronage wore on the building, leading to another refurbishment from 2010. Each summer, the theatre would close for a ‘dark period’ to allow the £2m project to undertake essential maintenance and improve visitor experience. During the 2012 dark period the roof was replaced, as were 400 Dumfries stones with alternatives from Corsehill quarry. 44 Amongst other repairs in the auditorium, the seats were again replaced with more compatible and suitable options, and a platform lift was inserted to improve wheelchair access. The replaced roof necessitated the repainting of the 1985 Trompe l’oeil dome and a new and appropriately dynamic painting by Scottish playwright and artist John Byrne took its place (fig. 18, 19).

(Simmonds, 2013)

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Figure 18 - Trompe l’oeil dome painting from 1985

Figure 19 - John Byrne Dome from 2013

In 2018, Festival City Theatres Trust renamed as Capital Theatres and launched the King’s Theatre Edinburgh Redevelopment Campaign, presenting a design from Bennetts Associates aimed to ‘preserve and revitalise’ the building. 45 An application to the Heritage Lottery Fund for £4.9m was rejected in 2018, however fundraising has continued, and the project is anticipated to break ground in 2022. King’s has always been a ‘House of Variety’ and has remained a receiving venue since its opening. Travelling companies including Carl Rosa Opera and Richard D’Oyly Carte’s Company were amongst the early visitors, and previous performers include Noel Coward, Gertrude Lawrence, Lawrence Olivier, Maggie Smith, and Sean Connery. 116 years since its opening, King’s Theatre remains one of the major theatres in Scotland and a principal Edinburgh International Festival venue. It received 212,000 visitors in 2017-18, 90,000 of which attended the theatre’s famous Christmas pantomime; the most successful in Scotland. 46 Kings Theatre have taken great strides to improve diversity and accessibility in theatre, leading the way with Scotland’s first relaxed performance in 2012 47

(Bennetts Associates, 2018) https://www.capitaltheatres.com/kings-future/heritage 47 (Capital Theatres, 2019) 45

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25 Case Study 5: Rose Theatre – The Theatre School

Figure 20 - Rose Theatre

Figure 21 - Level street entrance

The Rose Theatre is located at the west end of Rose Street in the first New Town. Originally built as a church opening in 1912, it was transformed into a theatre in 2017.

Understanding the Place The design for the Charlotte Street Church was won in 1908 by J A Arnott and J Inch Morrison, a four storey Wrennaissance style church with a thousand-seat chapel and two large halls. 48 The principal Rose Street façade is a four storey, five bay blonde ashlar sandstone with slightly projecting central three bays and up to three storeys. Within this projecting bay, the ground floor level stone is rusticated and two stepped entrance doorways with voussoired architraves and fan lights. Flanking the central bay at ground floor level is a halfheight arched doorway beneath a Georgian casement window, mirrored on each side. A projecting banding course separates the ground and first floor. Flanking the projecting central bays are a six-over-six Georgian sash windows at both first and second level. Centrally, three extended depressed arch windows with keystones sit at first floor level beneath associated bullseye windows above. Another block course wraps around the façade, separating the second and third floors and with entablature and cornice to central bay. Five six-over-six Georgian sash windows are spread across the bays aligned with the windows beneath. The side elevations are harled in white, with some stone detailing, such as architraves and cills exposed in the northern most bays and a single bay return. The east elevation onto Rose Street South Lane has five regularly fenestrated bays. The ground floor includes a level doorway in the first (southmost) bay, three irregular windows to the second, a six-over-six sash bipartite window with mullion to the third and fourth, and level doorway to the Rose Theatre basement in the fifth with associated signage to exposed stone architrave. The windows central to the façade on the first and second floor are decorative multi-pane windows, surrounded by sash windows. The windows to the end bays are at different levels to the others, suggesting these are stair cores. The west facade mirrors the east at upper levels, and the ground floor is obscured behind a metal garage door. It is a Category B listed building

(HES (LB43329), 1996)

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26 The church was built to serve a growing Baptist congregation, on the site of its predecessor. It boasted ‘accommodation for 1000 persons in the main auditorium, 520 in the lower hall and 250 in the upper hall, together with various retiring-rooms, class-rooms, vestries, etc., and caretaker’s flat.’ 49 The first prayer meeting was held in the building in 1912, and the congregation remained there until 2012 when the church relocated to a larger premise at Shandwick Place. 50 Proposals for the vacant Rose Street site began and, following a number of unsuccessful planning applications to reuse the space, a 2015 application to repurpose the space into a Centre for Dance and the Performing Arts was accepted. The building was bought by ballet star and director Peter Schaufuss. The design strategy described as a ‘light touch’ promised significant accessibility improvements, including a wheelchair accessible lift to all floors, new accessible WCs and alternations to allow for wheelchairs into the auditorium at balcony level. 51 Thanks to the flexibility of the redesign, it now boasts five performance spaces; a 140-seat basement studio theatre; a 82-seat cabaret bar; a 50-seat attic black box; 110 seat studio; and 340 seat main hall. The original features of the hall, such as the altar and organ, have been retained preserving the character of the previous uses.

Figure 22 - Main House base configuration

Figure 23 - Main house thrust configuration

Today the building is rented out during term time by The MGA Academy of Performing Arts for their BA (Hons) Acting courses. 52 During August it serves as Festival Venue 76. The café space (and cabaret bar) at the ground level has been well received by visitors and won local awards. 53

49 50

(Balfour, 2007) (History, n.d.)

David Hughes Architects. (2015). 15-05261-FUL Rose Theatre Edinburgh. Design Statement.

(BA (Hons) Acting., 2013) (The Skinny Food and Drink Survey 2019: The Winners, 2019)

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27 Case Study 6: Assembly Roxy – The Adaptable Theatre

Figure 24 - Assembly Roxy, from Drummond Street

The Assembly Roxy is a gothic church turned venue in Edinburgh Old Town and home of Assembly.

Understanding the Place The former church and halls are built of coursed tooled rubble with ashlar margins. 54 The primary façade to Roxburgh Place begins with a square plan unfinished tower, including recessed single door with pointed hood moulding and string course at ground level, flanked by two rectangular windows at first floor, and central rectangular window above and topped with a flat roof. The following four bays are set back, broken by buttresses, with coupled round arched windows in the first three, followed by a double round arched doorway with highly decorative hoodmould in the final entrance bay. Above these doors is a distinctive first floor oriel window beneath a crow stepped gable. Above the earlier window coupled of the recessed bay is a small string course, followed by another pair of pointed arch windows at first floor level in the first bay below a dormer window. The following two bays include a single, double height pointed arch window. The following five bays beyond the entrance bay project out to meet the line of the tower bay. These are that of the original church, each with a large pointed geometrically traced window with hoodmould and head stop. A base course, cill course, cornice and slightly crenelated parapet wrap around these bays, and a small turret sits atop the chamfered projection against the crow stepped gable of the entrance bay. A single-story bay finishing the façade includes a round arched single door and two small windows. Above and behind this, the

(HES (LB30012), n.d.)

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28 walls turn away from the street, and include tall, slender arched windows with hood mounding. It is a Category B listed building. Internally, the primary performance space is the nave of the former church, a full height space with ribbed timber barrel vaulted ceiling, flanked by octagonal piers with round arched arcades. There is no fixed seating, but during theatre productions raked seating for 250 people is erected, and the arcade is masked with black legs. 55 An imposing stone staircase leads to the upper level where there is a 169 seat performance space.

Figure 25 - Roxy Central as flexible open space with loose seating

Figure 26 - Roxy central with masking and raked seating

Assembly Roxy was originally built in 1909 by Thomas Ross as a church hall and extended in 1913 to include an adjoining church by MacGregor Chalmers. The church was named the Lady Glenorchy Parish Church after a prominent Edinburgh patron. After many years as a very successful church, it was sold to Edinburgh University in 1969. In 2003 it became an art centre but closed in 2010 before eventually reopening as the Assembly Roxy in 2012 56. The building was the first permanent Assembly venue and allowed the company to present theatre year-round, having previously been limited to the festival months. 57 It a popular Fringe venue: venue 139.

(Assembly Festival Ltd., 2000) (Dibdin, Roxy Art House Closes, 2010) 57 (Cornwell, 2012) 55

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29 Case Study 7: Edinburgh Playhouse – The Cinema-Theatre

Figure 27 - Ariel view of the Edinburgh Playhouse with Carlton Hill behind

The Edinburgh Playhouse is a 3000+ seat theatre in Greenside Place that was built as a Super Cinema.

Understanding the Place 58 The Playhouse Theatre is a polished Blaxter Stone ashlar and brick structure on a 1:4.5 sloped site. Along the south elevation is an external staircase leading to Greenside Row, 36 meters lower than Greenside Place. The Greenside Place façade is symmetrical with regular fenestration. A central three bay entrance flanked by pilasters, with three bays either side and another pilaster before a final bay. The first and final bays are slightly advanced. At ground level there are shop fronts in the flaking sections with fanlights and signage cornices. Four double doors providing the entrance to the theatre sit in the central section below a proscenium arch with signage. The remaining bays have a single window in each bay, a nine-light window except those in the pavilions which are six and aediculed. A frieze with dentils divides the first and attic levels, with a large signage reading PLAYHOUSE extending across the central three bays. The attic is slightly set back with a single window sits centrally in each bay. Atop the attic storey is a cornice and parapet with balustrades to the central nine bays. It was upgraded to Category A listed building in 2008. The entrance vestibule leads to a grand foyer with coffered ceiling and art deco ceiling lights. Many of the existing features remain: wood and glass doors with brass fittings, light fittings, and signage. Two bars flank the foyer, with another two at stalls level and the finest at balcony level. The auditorium is a 3059 seat threetiered horseshoe with cantilevered circle and balcony. Due it its position on a steeply sloping site, the

58 (Theatres Trust, 2021); (Smith, The Playhouse Theatre, 18 - 22, Greenside Place, Edinburgh, n.d.); (Michael Jackson Consulting Engineers Limited, 2012)

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30 auditorium is entered from street level straight to the circle. There are 40 steps down to the stalls, and further steps leading up to the balcony. The ceiling is coffered and some holes have been made in the plasterwork from which to hang lighting. The ornamental plasterwork, a sea flora and fauna theme, is focused around the rectangular proscenium arch, draped with wine-coloured curtains. An orchestra pit extends below the stage. Flanking the stage is a balcony with a large decorative piece above. Blind venetian windows line the walls at balcony level.

Figure 28 - Edinburgh Playhouse front

Figure 29 - Edinburgh Playhouse Auditorium

Built in 1927 by John Fairweather, its original purpose was as a cinema with theatre capabilities: stage and fly tower. The scale of the building was modelled on the Roxy Cinema Theatre in New York. The playhouse was closed in 1973 and, after threat of redevelopment and demolition, the Edinburgh Playhouse Society was formed and championed the reopening of the Playhouse for live entertainment. Following a hugely successful public campaign, the theatre reopened in 1980. The building underwent a £2m refurbishment of the front of house areas in 1993 and was eventually bought by ATG in 2009. 5960 Today, the Playhouse is the largest receiving theatre in Edinburgh, putting on up to 320 performances and welcoming 700,000 visitors each year. 61 They welcome some of the best West End shows, British comedians, national and international ballet, and other large scale touring performances.

(Cusick, 1993) (Smith, The Playhouse Theatre, 18 - 22, Greenside Place, Edinburgh, n.d.) 61 (Marr, 2021) 59

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31 Case Study 8: Edinburgh Festival Theatre – The Longest Theatre Site

Figure 30 - A long section (west to east) through the Studio and Festival Theatre, showing phasing

The Festival Theatre is a 1,915-seat theatre on Nicholson street with a 1920s auditorium surrounded by a contemporary extension and prominent curtain wall façade.

Understanding the Place Edinburgh Festival Theatre faces Nicolson Street with a projecting, concaved, façade, angled and set back from the building line. The façade is a 3 double height storey high curtain wall stepped back from the street, 18 panels across and five high. Five pairs of double doors at ground floor level face the street, with another on the south elevation providing direct access to the café. At the main entrance the curve inverts, extending outwards to include the doors at ground floor, and extends to first floor. Glazed canopies overhang above the ground floor and the internal concrete structural columns can be seen from outside: six to mirror the orders of the Surgeons Hall’s temple front opposite. At roof level, a glazed canopy overhangs with lights shining on the façade below. The remaining structure is unfenestrated, red ashlar masonry, and extends above the glass front to five standard storeys. The glazed façade provides an intimate connection between the interior and the surrounding city. A large central split stair extends from the entrance to the stalls level where it splits to become two flights extending upwards between the front facing bar levels and the auditorium levels. Large circular concrete columns support the structures, and the curved structure of the curtain wall is exposed. The carpet is red with laurels to match the Matcham design and the handrails and doorhandles are all brass. At the fifth level four large stone medallions, salvaged in 1946 from the Theatre Royal, are exhibited depicting Molière, Shakespeare, Dante, and Sir Walter Scott. 62 The auditorium is the surviving Milburn auditorium, a wide, three storey space with beau-arts and classical detailing. 63 The wide proscenium arch is flanked by two round arch boxes.

62 63

(Simpson, 2021) (Smith, The Theatre Royal, Broughton Street, Top of Leith Walk, Edinburgh, Scotland, n.d.) (HES (LB30023), n.d.)

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32 The ceiling is a decorative coffered with a central dome, with many of the panels being removable to allow lighting to be hung without destroying the decoration. The stage was once the largest in Europe. The timber floor provides good acoustics making it popular with singers. The back of house is exposed painted concrete blocks, with wide hallways and a wide central staircase that connects the full height of the building. This open, practical design makes the building popular with back of house staff.

Figure 31 - Illustration of the theatre’s exterior (note the separate Pit entrance to the left of the main entrance) as printed on the front cover of a theatre programme dated 8th May 1911

Figure 32 - Exterior of the Empire Theatre in late September 1928, following the major remodelling by W. and T.R. Milburn

The building that occupies the site today is the result of a tempestuous history. Since the 1820s the site has been occupied by a selection of theatres, including Newsome’s circus, awarding it the title of ‘longest continuous theatre site in Edinburgh’. 64 Many of these theatres fell victim to fires, a common fate of theatres of the time. Edward Moss, founder, and chairman of the self-titled Moss Emprise Ltd, commissioned Frank Matcham to design a ‘the largest, best-looking best equipped theatre in the country’ on the site, and in 1892 the Empire Palace Theatre opened. 65 Moss Empires grew to become the largest chain of theatres and music halls is in the UK and Matcham, who regularly designed theatres for the group, had become appreciated as Britain’s greatest theatre architect. The building (fig. 31), ‘elaborate Indian-Oriental’ in style, included an indoor waterfall and palm trees, as well as technological feats such as a sliding, openable roof, and an expandable proscenium, and showed the first moving pictures in Scotland. In May 1911, the Empire succumbed to the same fate that had ended many of its predecessors: a devastating fire during a magic show. Matcham returned from retirement to restore the theatre later that year, but it eventually fell out of fashion and it was closed for demolition in 1970. 66

64 65 66

(McLean, Lost Edinburgh: The Empire Theatre, 2013) (Peter, 1999, pp. 36-43)

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Figure 33 - The Empire Palace Theatre auditorium designed by Frank Matcham,

Figure 34 – The Empire Theatre auditorium designed by W and T R Milburn

Figure 35 – The Festival Theatre Auditorium following the 1994 redevelopment

In 1928 a new ‘second’ Empire was built on the site by W and T R Milburn (fig. 32). Although the 2000 seat venue had only 2/3rds of the original capacity, it was much wider to accommodate luxurious seating and wider aisles (fig 33-35). The venues popularity was revived and remained the forefront of Edinburgh’s entertainment scene throughout the 1950s, enjoying visiting performers that included Laurel and Hardy. However, the Empire’s capacity proved hard to fill, resulting in its downfall. In 1963, it was sold to Mecca and became a bingo hall (fig 36). Mecca maintained it for thirty years, until it was sold to Edinburgh City Council in 1992, who leased it to Edinburgh Festival Theatre Company.

Figure 36 - Empire Theatre as Mecca Bingo Hall (Capital Theatres, n.d.)

The Empire Theatre was renamed and reopened in 1994 as Festival Theatre following a radical £21 million makeover. 67 The Milburn auditorium was retained, with decorative changes such as updates to the colour

(Association of British Theatre Technicians, 2021)

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34 scheme, but everything beyond the proscenium arch and walls of the auditorium was redesigned. The stage was extended to make it the largest in Europe. A more functional back of house was designed, and the front of house included a dynamic glazed façade. The Milburn Auditorium remains and is arguably their best surviving work. 68

Figure 37 – Milburn facade 18th July 1957

Figure 38 - New façade 1994

Throughout the building posters and memorabilia of the Matcham Empire, the fire, previous guests and shows and even the medallions from The Theatre Royal, Broughton Street are displayed. Tours of the theatre are open to the public allowing visitors to learn the history of the building and visit behind the scenes. In 2010 a new extension at the rear on Potterrow provided a studio building with additional rehearsal spaces and offices to support the main programme. Today, Edinburgh Festival Theatre remains one of the most popular theatre for touring shows in Edinburgh. It is managed by Capital Theatres, along with Edinburgh’s Kings Theatre. The New York Times described it as “the best theatre in Europe”. 69

68 69

(Theatres Trust, n.d.) (LDN Architects, n.d.)

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35 Case Study 9: Leith Theatre – The Community Theatre

Figure 39 - Leith Theatre

Leith Theatre is part of a complex comprising of the auditorium, Thomas Morton Hall and library, on Ferry Road in Leith. Originally built as a gift from Edinburgh City Council, it opened in 1932 and has survived despite a turbulent past.

Understanding the Place Leith Theatre was designed by Bradshaw Gass & Hope, opening in 1932. The complex is built of polished ashlar sandstone in a contemporary inter-war classical style. 70 The library and registrar’s office sit in an independent, single storey semi-circular structure facing the road, while the Thomas Murton Hall and the Auditorium (also called Citadel Theatre) occupy a combined rectangular building to the rear. A single storey curved colonnade with circular rooflights extends the full length of the southern façade. At the west end, Thomas Murton Hall is a single storey. To the east is the theatre; a three-storey sandstone structure with a strong cornice and pediments over projecting pavilions at each end. The first (western) bay contains four vertical windows, suggesting a staircase behind. Within the projecting pavilions is a large window at the first level with architraves, consoled cornice, and urns, and a smaller light above. The central five bay elevation contains the auditorium, with oculi in sunken round-headed panels. The eastern pavilion mirrors its partner but extends another attic storey (above the stage).

(HES (LB27009), n.d.)

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The auditorium is flat floored with horseshoe balcony, and proscenium arch, with a capacity of 1500. The barrel-vaulted, coffered ceiling springs from the oculi, with five glazed rooflights. The plasterwork detailing dates to the 1930s. The entrance is a grand art deco foyer with dark timber box offices and marble features. The adjoining Thomas Morton Hall is a single-story rectangular hall with barrel vaulted ceiling and roof lights. The back of house includes lots of original 1960s features including timber panelling and a ladies bar room. Upon the incorporation of the borough of Leith into the larger City of Edinburgh on 10th October 1920, the council announced plans to gift the people of Leith with a theatre and library complex. Works began in 1929 and the complex opened in 1932. Following WWII bomb damage the theatre closed, reopening again in the 1960s. The venue hosted schools, rallies, sporting events, the Edinburgh International Festival and some iconic musicians, before closing again in the 1980s. 71 The Leith Theatre Trust was established in 2004 in reaction to the approved sale of the site to a developer. 72 The venue has hosted hundreds of events since they were granted a lease on the building in 2016. From pop up vintage sales, festivals, photoshoots and films to intimate weddings and workshops. In 2017, the Hidden Door festival leased the theatre as their newest regeneration project. 73 Almost 13,000 visitors attended, and the outcome was such an award-winning success that they retuned the following two years. 7475 The venue has been on the Theatres Trust’s Theatres at Risk Register since 2016, a collaboration through which the Theatres Trust are able to support with grants and advice. 76 During the closures of Covid-19 the theatre has undertaken 23 surveys of the building to assess the state and requirements of the building. It currently suffers from insufficient heating and plumbing infrastructure, the former restricting practical operation to the summer months. The aspiration for Leith Theatre is no longer primarily theatre, but a diary celebrating many art forms.

(Leith Theatre, n.d.) (Mission Statement and Concept, n.d.) 73 (Hidden Door, 2016) 74 (Hidden Door, 2018) 75 (Hidden Door, 2019) 76 (Theatres Trust, 2021) 71

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37 Case Study 10: Traverse Theatre – The Writing Theatre

Figure 40 - Traverse Theatre

The Traverse is a modern theatre in the heart of Edinburgh’s West End, and home to the Traverse Theatre Company, Scotland’s leading writing company. Understanding the Place Five-storey orthogonal modern office building with set-back circular entrance. Sandstone rain screen cladding with regular fenestration and a curtain wall façade. It has a central circular five bay entrance which is open at ground floor level as a portico with five openings and glazed walls above, a set back attic story and flat roof.

Figure 41 - Floor plans from Saltire Court Brochure

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38 Internally, the Traverse occupies the north-west quadrant of the building, at lower ground levels 1-3. Surrounding it are office and retail units, and a car park, although these are not accessible from within the theatre. A large cage area welcomes audience members on the lower ground floor. The venue has little decoration, with modern materials and a black box studio stage. The Traverse Theatre is in Edinburgh’s West End, neighbouring Usher Hall. It was built as part of the Saltire Court office development on the site of the Synod Hall, a cinema from in the 1920s. In 1963, the Traverse Theatre was founded as a permanent continuation of the spirit of the Fringe 77. It began in the premises of an abandoned brothel on James Court, Lawnmarket, before moving to West Bow off Grassmarket, and eventually settling in a purpose-built venue on Cambridge Street, next to Usher Hall.

Figure 42 - Traverse at James Court (1963-1969)

Figure 43 - Traverse at West Bow (19691992)

Figure 44 - Traverse at Cambridge Street (1992-present)

The Traverse Theatre Company provides a significant contribution to Edinburgh’s statue as the cultural capital of Scotland. The flagship venue is described by British theatre critic Lyn Gardner as ‘the backbone of Scottish new writing throughout the entire year’ 78. Each year, the festival performances here are critiqued and scrutinised more than many of the other venues, with good reason and good response. The theatre commissions, produces and presents performances throughout the year, including world and national premieres. In 2018/19, 55% of the annual Traverse audience numbers came during the Festival. 79

(McDonald, 2017) (Gardner, 2018) 79 (Traverse Theatre (Scotland) Limited (SC076037), 2019) 77

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STATEMENT OF SIGNIFICANCE These ten Edinburgh theatres provide a unique collection of buildings, many listed within a World Heritage site and local conservation areas. They provide key landmarks in their area, both physically and socially. They each occupy significant sites across the city, and this combined with their size offers a strong impact on the local streetscape. Lyceum and Traverse form part of a cultural centre including Usher Hall and Festival Square across the road. Rose Theatre occupies a position in Edinburgh’s first New Town and Bedlam closes the vista from Lawnmarket down George IV Bridge. All these buildings are of high architectural aesthetic value, with many examples of fine details and material choices. There is a diverse collection of architectural styles, but a strong commonality of sandstone facades. The collection includes high-quality examples of Gothic, French Classical, Renaissance Revival, Edwardian Baroque, Wrennaissance, Inter-War and post-modern architecture and presents a story of the development of theatre architecture over the last 175 years. Some of these buildings are the best surviving examples of work by significant architects, such as CJ Phipps, Fairweather and Milburn. The inception of some of the building was a result of historical events and have high evidential value. Church Hill was built in response to the Disruption of 1843, Edinburgh Playhouse to accommodate the newly emerging cinema, and Leith Theatre to commemorate the joining of Edinburgh and Leith. The Lyceum was the first theatre to be built with an iron safety curtain. There are items of technical importance within the collection, including examples of historic technologies such as old production lighting dimmers and transformation drums as well as low-tech items belonging to old companies. The buildings all hold a strong community value. As significant public buildings many people in Edinburgh and beyond have strong connections to the buildings for entertainment, education, celebration, and worship. The values of some buildings have changed. Rose Theatre was the home of a Baptist congregation for 100 years and Church Hill housed an evangelical congregation. Many people have strong memories of attending performances, weddings, or general celebrations at these venues, and their support and value is evident by levels of engagement and support during times of trouble. Together, the theatres can accommodate all forms of theatrical performance. They have received the best touring shows and brightest performers, and their variety allows them to suit a range of performance styles and sizes. Their management has historically included some of the greatest the UK has ever produced, including Howard and Wyndham and Moss Empire. Today, these buildings house significant theatre companies. Bedlam is the oldest student-run theatre, Traverse is Scotland’s best new-writing theatre, and Roxy is the home of Assembly, the longest-established of the four largest promoters of the Edinburgh Fringe Festival. ATG (Playhouse) and Capital Theatres (Festival and King’s) are among the largest theatre organisations in the UK, and many of the larger venues are Edinburgh International Festival venues. They also house the largest theatre productions, including Scotland’s most popular Christmas Pantomime. Together, these theatres provide a significant offering to Scotland and beyond that is stronger collectively than the sum of its parts.

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IDENTIFY ISSUES The ten case study theatres are unique, with their own character, history, management styles and future, however by comparing them, their collective state can be better understood.

A Note on Covid-19 In 2020, the Covid-19 pandemic forced the closure of all performance venues in Scotland, and across the world. These closures, necessary to protect lives, exposed the vulnerability of the industry. ‘COVID-19 has acted as a force multiplier on an unstable business model, exposing vulnerabilities which have existed for decades.’ 80 The resilience of the industry has been tested. During the closures some theatres were able to turn their hands to other ventures. Leith Theatre have hosted film crews, live streamed gigs (Live in Leith) and are hosting Empty Kitchens Open Hearts, who prepare and serve hot meals twice a day from the Thomas Murton Hall. The Traverse launched T03, their online performance space and the Lyceum Youth Group created an online vlog to record the period. The question of when to re-open for shows has been turbulent. Many of the interviews for this research were conducted in July whilst Midlothian was at Level 2 which permits the opening of theatres and other performance venues with a maximum of 100 seating or standing indoors. 81 At Level 1, this increases to 200 seated and 400 seated at Level 0. However, the guidance is much stricter than just a seating cap; enhanced hygiene, physical distancing and PPE all increase the difficulty of opening. 82 The 2m social distancing requirements has reduced the seating at the Lyceum from 658 to 85 (13%), and the poor ventilation at the Bedlam would allow only 6 of the 90 seats to be filled (less than 7%). 83 Currently the theatres are still closed, with some are preparing to open in August for the Edinburgh International Festival and the Edinburgh Fringe, however this is not possible for all. The Festivals provide funding for the venues to put on these shows, which is not the case for typical shows. The size and associated costs of productions at most venues means that a reduced audience isn’t financially viable, so their reopening is postponed until September. The other issue with the re-openings has been the inconsistent and unclear roadmaps. The planning and preparation costs of re-opening venues is high, and many theatres opted to remain closed for periods, due to lack of faith in the dates provided. In 2020 when venues were allowed to re-open in the summer, Leith Theatre did not. This choice not to invest in reopening protected them when the subsequent lockdowns were introduced. The Lyceum will be opening reduced shows for the Edinburgh International Festival but admitted that they have no immediate plans to return to full capacity until September. The restrictions were relaxed on 8th August 2021 and venues can now receive full capacity, but this cautious delay protects venues provided a little more certainty. The impact of Covid-19 on the Edinburgh’s theatres has been profound, and the timing of this research means it is able to include the responses of each organisation to the pandemic. However, it is still an ongoing

(Federation of Scottish Theatre, 2021) (gov.scot, 2021) 82 (Scottish Government, 2021) 83 (Manchester, 2021) 80 81

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41 crisis, and its full impact is yet to be seen. Instead, the data collected for this research will attempt to reflect a typical year. Figures from 2018-2019 have been used where possible, including ticket sales and income at full capacity.

Figure 45 - Stage dimensions written behind the proscenium at Kings Theatre

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42 Obligations The best conservation strategy is always to keep a building in use; recognising their functional obligations as significant buildings in Edinburgh that must be protected or enhanced. Socially, the buildings, some of them over one hundred years old, belong as much to the people of Edinburgh as they do their owners. Ruskin attributes the greatest glory of a building to its ‘lasting witness against men’, and as Colin Marr and Liam Rudden reflect of the Playhouse, ‘we take custody of these old buildings for future generations.’ 8485 When the Playhouse was at risk of demolition in the late 1970s they collected over 28,500 signatures on petitions to save the building. Today, Leith Theatre is facing similar struggles and they have seen great support from the community. The King’s theatre is fondly referred to as The People’s theatre, designed to entertain a wider audience than the Lyceum, and The Bedlam has produced a legacy of student actors to which is irrevocably bound. The theatre companies themselves have an obligation both to Scotland’s theatre goers, and to Scotland’s theatre scene at large. Companies like those at the Lyceum and Traverse play a huge role in the development of new theatre, both for professionals and young people. Traverse’s title as leading writing theatre is threatened by the National Theatre of Scotland, but the original commissioned work from Traverse is a significant part of Scotland’s artistic output. Both Traverse and Lyceum have the potential to be producing world class theatre. The Bedlam too is home to a legacy of student theatre that is unrivalled in the UK. Even as a receiving house, the Christmas Pantomime at King’s is the largest in Scotland, with over 90,000 visitors attending. These companies and their homes should be protected to ensure the continued contribution to Scottish Theatre. Theatre and performance also make a huge contribution to Edinburgh’s economy. The cultural venues in Scotland support over 5,000 full time equivalent jobs (64% of which are in Edinburgh) and £194 million Gross Value Added (80.4% from Edinburgh venue). 86 Edinburgh is known around the world as a festival city, drawing hundreds of thousands of people each year. 87 The gross visitor expenditure by audiences in 2010 was £31.07m

(Ruskin, (1877) 1989, p. 187) (Rudden, 2021) 86 (Biggar Economics, 2014) 87 (BOP Consulting, 2011) 84 85

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Table 1 Management

Operator

Ownership

Edinburgh University Students' Association The Royal Lyceum Theatre Company Assembly Rooms (Edinburgh City Council)

Charity No

1. Bedlam

University of Edinburgh

2. Lyceum

The City of Edinburgh Council

3. Church Hill

The City of Edinburgh Council

4. Kings

The City of Edinburgh Council

Capital Theatres

5. Rose

Peter Schaufuss

Schaufuss Entertainment

6. Roxy

Assembly

7. Playhouse

The Ambassador Theatre Group (ATG)

The Ambassador Theatre Group (ATG

8. Festival

Capital Theatres

SC018605

9. Leith

The City of Edinburgh Council

Leith Theatre Trust

SC042359

10. Traverse

The City of Edinburgh Council

Traverse Theatre (Scotland) Ltd

SC002368

SC015800 SC010509

SC018605

One opportunity afforded to the Bedlam theatre is the autonomy provided by a management team of students. Where this might look like a restriction - the ever-changing members mean no long-term vision or strategy can be pursued – some consider it to be an opportunity. The rest of these theatres are obliged to conform to the standards, procedures and red tape of their stake holders and governing bodies.

Non-professionalism is not a reduction of standards. It is in an attitude, and a freedom, which commercial theatre is denied by its mercenary and consumerist overlords. 88

There are plenty of funding opportunities for theatres, but not all of them are able to receive them. Funding is provided by Edinburgh City Council, Theatres Trust, Creative Scotland, The National Lottery, Edinburgh International Festival to name a few. The Playhouse is the only one of these case studies to receive no external funding. Bedlam has the support of the University providing a safety net to allow adventurous performances.

FebFest 1993 Workshop Programme (November, 1992). (From the Bedlam Dissertation)

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7. Playhouse

8. Festival

9. Leith

10. Traverse

14.5*

0.18

2.8

2018 Expenditure (£m)

12.8

4.0

14.1*

0.19

2.7

2019 Income (£m)

12.7

4.8

18.2*

0.81

2.9

2019 Expenditure (£m)

12.7

5.1

17.3*

0.52

2.8

2020 Income (£m)

12.2

5.1

3.9*

0.36

3.0

2020 Expenditure (£m)

12.7

5.5

4.0*

0.43

3.1

Funding

(SC002368)

6. Roxy

(SC042359)

5. Rose

14.5*

(SC010509)

4. Kings

(SC018605)

3. Church Hill

3.7

(SC010509)

12.7

finances 89

(SC015800)

2018 Income (£m)

Table 2 – Charity

1. Bedlam

2. Lyceum

Donations and legacies (£m)

1.9

0.32

1.15

Charitable activities (£m)

3.4

2.7

3.4

0.33

1.50



International Festival Venue



Edinburgh Fringe venue (no) 49 137 * These figures are combined Kings Theatre and Festival Theatre

(76)

139

 15



Collectively, the theatres also have an obligation to minimise their impact on their environment and reduce their carbon footprint. Edinburgh has a target to achieve net-zero by 2030. 90 All of these theatres are within Edinburgh, and five Council owned buildings. The University of Edinburgh’s target is 2040, so the Bedlam should fall under this. 91 The Royal Lyceum Theatre Company completed the Carbon Trust Scotland’s Carbon Management Programme in 2013 and are working on a plan that reportedly saves them £39,000 per annum. 92

Table 1 & 2 References 1. Bedlam 2. Lyceum 4. Kings 8. Festival 9. Leith Theatre 10. Traverse

https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=15800 https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=10509 https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=18605 https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=18605 https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=42359 https://www.oscr.org.uk/about-charities/search-the-register/charitydetails?number=02368

Ref SC015800 SC010509 SC018605 SC018605 SC042359 SC002368

(The City of Edinburgh Council, n.d.) (The University of Edinburgh, 2020) 92 (The Royal Lyceum Theatre Company , 2013) 90 91

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45 Resources The principal responsibility of a theatre is to present performances. The scale, dictated by the technical

10. Traverse

9. Leith

8. Festival

7. Playhouse

6. Roxy

5. Rose

4. Kings

3. Church Hill

2. Lyceum

Table 3 - Technical specifications of Primary performance space93

1. Bedlam

specifications of each primary space (table 3).

Primary Type

S+

Occupancy

658

353

1300

340

250

3059

1915

1500

214

Seating Type *

Room Size (m²) *

150

550

200

560

220

410

1060

1140

690

360

Stage size full (m²) *

296

65.5

247

23.7

310

288

127

Stage width (m)

8.5

17.2

8.5

6.4

22.8

15.1

8.45

Stage depth (m)

17.3

7.7

3.7

13.6

8.5

Proscenium width (m)

8.5

9.8

14.9

13.3

10.4

8.45

Proscenium height (m)

6.9

6.5

8.5

9.1

6.05

Raked Stage

Flat

1:24

Flat

1:24

Flat

1:24

Flat

Stage left wing (m)

4.5

4.1

3.9*

2.28

Stage right wing (m)

3.7

5.1

3.9*

2.7

2.45

Stage Height (m)

1.8

0.82

0.53

1.1*

1.1

1.2

Height of Grid (downstage) (m)

16.3

18.13

23.8

7.5

Flying depth (m)

None

11.5

None

11.7*

None

10.7

17.3

None

Fly Floor Height (m)

8.35

7.2

8.5

9.8

Counterweight

Weight (kg)

450

250

125

400

250

Hemp. (not used, but existent)

Orchestra Pitt (m²)

None

22*

None

45*

None

96*

None

Orchestra Pitt (no of musicians)

120

110

Masking (Black Box) *

Yes

Full

Yes

Get in height (m)

3.07

Std. double door*

3.8

2.3

Std. double door*

2.1

2.9

Std. double door*

4.8

Get in width (m)

Std. double door*

Dressing rooms (no)

240

100

Changing rooms (occup.)

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1.1 21

74*

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1.8

46 93

Key

Note: Where boxes are left empty, the data could not be confirmed. * Calculated or measured from drawings by author Type:

Seating

Black Box

End stage

Proscenium

Studio

Where seating is flexible, the largest capacity configuration has been noted

Fully fixed

Fixed Balcony, Adjustable below

2. Lyceum 3. Church Hill 4. Kings 5. Rose

6. Roxy 7. Playhouse 8. Festival 9. Leith Theatre 10. Traverse

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https://wiki.bedlamtheatre.co.uk/building website 12_01155_LBC Planning application Drawing provided by George Manchester The Lyceum Season 2014/2015 Technical Data https://churchhilltheatre.co.uk/about-us 05-00335-LBC planning application 14-03064-LBC planning application Kings Theatre Technical specs 2018 (Rose Theatre, n.d.) Website 15-05261-FUL planning application Assembly Festival - Roxy - Central - Technical Specifications (https://www.assemblyfestival.com/media/files/Tech%20specs/Ro xy%20Central/Assembly%20Festival%20-%20Roxy%20-%20Centr al%20-%20Technical%20Specifications(1).pdf Edinburgh Playhouse Tech Spec v7,21 Festival Theatre technical specs 2018 rev GR 07-18 Leith Theatre Technical Pack Traverse Theatre Technical Information (https://www.traverse.co.uk/technical)

n/a

Adjustable

Table 3 References 1. Bedlam

Hall

Provided by: George Manchester David Butterworth

Jim Clark

Tim Jackson Jim Clark Callum Jones

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47 The Playhouse Theatre has the largest auditorium by occupancy at 3059 seats, followed by Festival and Leith theatres (fig.46). The collective number of seats across the ten is 9,679, meaning 31% of these seats are at Playhouse. This enables Playhouse to receive the most popular, and expensive shows, but filling the auditorium is more difficult; a 70-80% sell out rate is typical. 94

Figure 46 - Theatre occupancy numbers

Figure 47 - Theatre occupancy per Receiving (pink) and Producing (green) house

The difference in size between receiving and producing audiences varies (fig.47. There is a wide range receiving audience sizes available within the case studies, but production is typically smaller. Opera, dance, and large touring performances typically require an audience of over 1,000, which leaves the smaller venues (Rose and Roxy) able to receive smaller touring or local groups.

(Marr, 2021)

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Figure 48 – Diagrammatic representations of the auditoriums

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49 It is also interesting to compare the stage sizes, as this can restrict the performances styles. Not all the receiving theatres have stage wings which will impact the way performers enter stage. With a long stage wing, dancers can be mid-movement when they enter the audiences view. The Lyceum is the producing house with the largest stage, so successful shows of theirs could easily move to the Kings, Festival or Playhouse to perform to a larger audience.

Figure 49 – Stage Theatre

Some elements of the stage itself restrict the performance types. The raking of the floor (typically 1:24) improves sightlines for audience members at the back of the auditorium, but it is unsuitable for dancers. As such, the Lyceum, Kings and Roxy are currently unable to host these types of performances. The Lyceum, Kings, Playhouse, and Festival each have orchestra pits which can be hidden or extended to receive more musicians. These floors can be raised to auditorium or (as is the case at the Festival (fig.50)) to stage level to extend the stage. Capacity may reduce when the orchestra pit is engaged.

Figure 50 - Chairs over orchestra out at Festival Theatre

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Figure 51 - Front row seats viewed from orchestra pit under forestage at King's

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Figure 52 - Section through Festival Theatre auditorium, showing lowered orchestra pit & fly tower (10-01478-FUL)

The fly tower houses the mechanism by which set pieces are ‘flown’ vertically on and off stage, as well as holding lighting rigs, and masking and allows the stage wings to remain clear. Traditionally this would be done manually with hemp ropes, but today, counterweight systems are used (fig 54). Although mechanical options existing, they suffer from being slower and less dynamic. Few theatres retain their hemp systems.

Figure 53 – View of the stage from the fly tower at the Lyceum

Figure 54 – Counterweight fly system at the Lyceum

Touring performances travelling the country may only come to the receiving venue for a single show, so the speed and ease with which they can bring all their set pieces in, and back out again, is very important. The scale of touring shows has increased in the years since many of these buildings were built. King’s theatre has difficulty as route includes 1.6m ramp and a 90° turn, whereas Festival Theatre’s 1994 rebuild aligned the Helen Beresford

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51 stage level with the rear of the lorry so set pieces can be wheeled directly in. They also benefit from multiple doors, allowing for multiple trucks to be unloaded at once. Traverse and Lyceum have loading lifts and The Playhouse Theatre uses a lift that raises the entire lorry up to stage level, three storeys above street level, and although this is certainly an impressive solution, is neither quick nor cheap. Elsewhere, the get-in is restricted to a double door.

Figure 55 – ‘Ladies bar’ backstage at Leith Theatre

Figure 56 – Wig and laundry room at Festival Theatre

All the theatres have at least one dressing room, but those with more (Kings, Playhouse and Festival can accommodate a larger cast. Other less glamorous necessities are spaces such as the laundry facilities (fig.

2. Lyceum

4. Kings

5. Rose

6. Roxy

7. Playhouse

8. Festival

9. Leith

10. Traverse

Theatre



Musical Theatre



Pantomime



Cabaret



Dance



Opera



Orchestra



Gigs



Lectures / Talks / Comedy



Film Screenings



Weddings



Table 4 – Performance Styles available

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3. Church Hill

1. Bedlam

56), a necessity for travelling shows.

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Some venues benefit from a second (third fourth and fifth) performance space which can serve as rehearsal spaces or independent venues for additional shows. Rose has the most spaces at five, each of which can be accessed independently. Church Hill and Leith both have adjoining halls, often used for social events such as weddings or dances. The Lyceum and Festival both have a space that can be used for rehearsal, which at

Stage Width (m)

1. Bedlam

(T2)

10. Traverse

Stage Area (m²)

Occupancy (if known)

(Thomas Morton )

B+

140

169

123

100

Stage Depth (m)

4.5

2.5

4.5

Stage Height (m)

5.3

3.85

Room Area (m²)

790

132

117

274

234

103

Room Width (m)

28.9

8.8

11.5

11.6

11.5

Room Length (m)

27.4

14.5

23.6

Type:

B +

Black Box

End stage

Proscenium

9. Leith

Secondary Type

8. Festival

7. Playhouse

(Upstairs)

6. Roxy 3

4. Kings

No of. Spaces

2. Lyceum

5. Rose (Basement)

(Small hall)

3. Church Hill

Table 5 Technical specifications of secondary spaces 95

(30B Grindlay St)

Festival can also be rented out as a separate performance space.

Studio

Hall

Where seating is flexible, the largest capacity configuration has been noted

2. Lyceum 3. Church Hill 5. Rose 6. Roxy 8. Festival 9. Leith Theatre 10. Traverse

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Table 5 References

Provided by

Measured from 30B Grindlay Street CAD Drawings Measured from 05-00335-LBC planning application 14-03064-LBC planning application (Rose Theatre, n.d.) Website 15-05261-FUL planning application Assembly Festival - Roxy - Central - Technical Specifications (https://www.assemblyfestival.com/media/files/Tech%20specs/Roxy%2 0Central/Assembly%20Festival%20-%20Roxy%20-%20Central%20-%2 0Technical%20Specifications(1).pdf 08. Festival Theatre technical specs 2018 rev GR 07-18 Leith Theatre Technical Pack Traverse Theatre Technical Information (https://www.traverse.co.uk/technical)

David Butterworth

Jim Clark Callum Jones

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n/a

Figure 57 – The Studio, Festival Theatre http://investigatecreate.co.uk/venue/the-studio-the-festival-theatre/

One great resource that sets the Lyceum apart is it’s Roseburn workshop space. 96 The Lyceum creates award winning set pieces, on its 270m² workshop floor with adjacent machine shop, loading dock and storage.

Figure 58 - Roseburn Paint Floor (Dibdin, Roseburn: the workshop that sets the Edinburgh Lyceum apart, 2017)

(Dibdin, Roseburn: the workshop that sets the Edinburgh Lyceum apart, 2017)

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54 Condition ‘Preservation is limited to the protection, maintenance and, where necessary, the stabilisation of the existing fabric’ 97 The buildings in this case study range between 29 and 175 years old and have undergone renovations, repairs, redevelopments, and changes of use.

Year Built

Original Use

Year Converted

Category

Listing Ref.

1. Bedlam

Edinburgh World Heritage Site (WH2)

Old Town (CA19)

Category B

LB30020

2. Lyceum

Edinburgh World Heritage Site (WH2)

West End (CA8)

Category A

LB30031

Merchiston and Greenhill (CA9)

Category B

LB27546

3. Church Hill

4. Kings

Edinburgh World Heritage Site (WH2)

Marchmont, Meadows & Bruntsfield (CA41)

Category A

LB27656

5. Rose

Edinburgh World Heritage Site (WH2)

New Town (CA24)

Category B

LB43329

6. Roxy

Edinburgh World Heritage Site (WH2)

South Side (CA18)

Category B

LB30012

7. Playhouse

Edinburgh World Heritage Site (WH2)

New Town (CA24)

Category A

LB30029

8. Festival

Edinburgh World Heritage Site (WH2)

South Side (CA18)

Category B

LB30023

Leith (CA7)

Category B

LB27009

9. Leith 10. Traverse

101

Edinburgh World Heritage Site (WH2)

West End (CA8)

(UNESCO, 1995)

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58 As developed buildings within the strong existing urban grain of Edinburgh, there is often little room for expansion (fig. 68). Some buildings (Rose, Bedlam, Traverse, Lyceum and Festival) are situated tightly within the surrounding buildings, whereas Playhouse, Roxy, Church Hill, Kings and Leith Theatres all have nearby unbuilt space.

Figure 68 - Figure-ground diagrams showing urban grain around each theatre

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59 Good accessibility is a requirement of all buildings, but this can be more difficult to achieve retrospectively in existing buildings. The existing building fabric can restrict adaptation, and Edinburgh’s topography does not

10. Traverse

9. Leith

8. Festival

7. Playhouse

6. Roxy

5. Rose

4. Kings

3. Church Hill

2. Lyceum

Table 8 - Accessibility

1. Bedlam

always lend itself to level access (table 8).

Blue badge/ designated parking Level access to building Level access to box office

Level access to Stalls / Main Level access to Circle

Level access to Balcony

Level access to secondary space

Level access to bar/café area

Level access to all levels Accessible WC

2no

1no

6no

8no

Cloakroom Wheelchair seat in Auditorium

27no

8no

(Seinheisser) Induction Loop

British Sign language

Audio Described

Captioned Performances

Relaxed Performances

Touch tour

Artlink

Assistance dogs welcome

Euan’s Guide Score:

0 102

3.9

4.5

3.5

0 103

2.6

4.6

2.5

Building Listing

Key:

Yes

Alternate

Assisted

Unknown

4.6

N/A

The Bedlam Scored 0 by reviews on the website, but was also awarded Most Accessible Small Permanent Venue in 2019 (Euan’s Guide, 2019) 103 These scores are based off a single review and thus are not representational 102

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Figure 69 - There is level access to the ground floor of the Rose Theatre, but to none of the other levels

Figure 70 - The level access route into the Bedlam leads through the auditorium

Typically, the newer the building, the higher the plausibility for adaptation. Rose theatre is the exception to this (fig. 69). The renovation was completed in 2017, however it fails to meet the very basic requirements of level access to the primary performance spaces. The company attribute this to the building’s existing and Grade B categorisation, however the surrounding case studies throughout the city undermine this. 104 Church Hill addressed their accessibility issues with a small extension to the north which provided level access, lift access to the auditorium and an accessible WC at ground and first floor level (fig 73). Bedlam Theatre can provide level access however the route directs through the auditorium (fig 70), and as such is limited around performance times. A cloakroom is also an important accessibility feature, allowing carers and those with limited mobility to leave larger objects such as prams or walking frame during the show.

Figure 71 - Accessible lift at King's Theatre

104

Figure 72 - Accessible lift to all floors at Lyceum

Where does it blame it?

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Figure 73 - Extension to Church Hill to include accessible lift and AWC (05/00335/LBC)

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62 Opportunities There are many opportunities for the theatres to develop and expand into untapped areas. This includes business opportunities, physical expansion, and reaching new audiences. The ancillary spaces in a theatre support the primary objectives and can provide additional opportunities for revenue (table 9). Bar sales provide a significant amount of a venues profit, especially receiving houses who may not receive any from ticket sales. The Theatres Trust literature on theatre renewal attributes both audience building and increased revenue to ‘audiences being encouraged to spend time in the bars, cafes and shops [stimulating] community involvement.’ 105 Festival and Rose (fig. 75) theatres currently both provide a place to come and sit when shows aren’t on in their cafes. Church Hill and Leith Theatre both include a community hall on their site which can be used for weddings, dances, and other similar ceremonies to be rented. The Lyceum offers the Henry Irving and Ellen Terry rooms for hire as rooms for meetings, standing

10. Traverse

9. Leith

8. Festival

7. Playhouse

6. Roxy

5. Rose

4. Kings

3. Church Hill

2. Lyceum

Table 9 - Ancillary Spaces

1. Bedlam

receptions and sit-down meals, and the Wyndham Bar provides an additional space for hospitality.

Bar Facilities

1†

temp

Serves food

Yes

Open beyond show hours

Yes

Key:

Café is combined in the bar

Figure 74 – The Upper Circle Bar at King’s, only opened during the larger shows

105

†

Restricted to ‘During the fringe’

Figure 75 - Rose Theatre Café, home of Edinburgh’s best vegan cinnamon rolls, open 10-12am

(Strong, 1998)

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10. Traverse

9. Leith

8. Festival

7. Playhouse

6. Roxy

5. Rose

4. Kings

3. Church Hill

2. Lyceum

1. Bedlam

Figure 76 - Map showing distribution of case studies

Waverly Railway Station

1. Bedlam

2. Lyceum

3. Church Hill

4. Kings

5. Rose

6. Roxy

7. Playhouse

8. Festival

9. Leith

Table 10 - Connections (walking time in minutes)

10. Traverse Key:

<10 mins

11-20 mins

21-30 mins

31-40 mins

Over 40 mins

One great strength of these theatres is their proximity to each other and major transport links (fig. 76, table 10). The Lyceum and Traverse benefit from sharing a plot, along with Usher Hall. The Playhouse, Roxy, Helen Beresford

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64 Festival, Rose, and Bedlam all benefit from being a short walk to Waverly Railway Station. The proximity to the railway station is particularly important during the pinch points of the year, such as Christmas and the August Festivals. The Edinburgh Festivals Impact Study reports £126.6m is spent by audiences travelling from outside of Edinburgh, compared by £1.3m spent by locals. Leith Theatre and Church Hill are the outliers, however the completion of the Newhaven Tram extension in 2023 will improve Leith Theatres connection to town. 106

Figure 77 - Access and pedestrian spaces

The public spaces around each venue also provide opportunities for street front engagement and accommodates the large audience numbers arriving at concentrated times (fig. 77). Playhouse is well located

106

(Edinburgh Trams, n.d.)

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65 for large groups, located on a wide stretch of pedestrianised pavement, while Bedlam and Kings are much nearer the roads. Bedlam benefits from exceptional visibility; its bright red door is visible from Lawnmarket, along George IV Bridge, whereas Leith Theatre is hidden behind the library.

Several development projects are already underway. Edinburgh Playhouse used the time during the 2020-21 closures to replace the scene dock that had begun to fail (fig. 79). King’s have plans for more comprehensive work, including raising the roof to increase the height of the fly tower, new and improved vertical circulation, and facilities to allow the building to be used outside of show hours. Capital Theatres projects an impact of £11m per annum for Scotland and £21.2m for Edinburgh (fig. 78). 107

Figure 78 - Kings Theatre Proposals by Bennetts Associates

Figure 79 - Playhouse proposed scene dock by Hoskins Architects (21-00721-FUL)

107

(Capital Theatres, 2019)

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66 Numerous membership and money saving opportunities are available for audiences (table 11). The larger companies (ATG and Capital) can provide discounts for a low annually commitment while others offer patronage membership options that simply offer support. ATG TheatreCard (Playhouse) membership also provides discount meals at restaurants around the city The Traverse offer a £1 ticket scheme for under 25year-old or low-income customers and pay-what-you-can for selected shows. Capital offers £10 on-the-day tickets for under 26-year-olds, while ATG offers several £13 tickets for many of their shows. All of this is

Friends Membership

Annual cost (one time)

Discount

10. Traverse

9. Leith

8. Festival

7. Playhouse

6. Roxy

5. Rose

4. Kings

2. Lyceum

1. Bedlam

Table 11 –Ticket price offers

3. Church Hill

designed to encourage theatre goers.



£120

£42

£45

£42

£180



20%



20%

Early access tickets



No fees on tickets



Dedicated phone line



Discount at bar

20%

25%

20%

Exclusive events



Students



Under * age

30s

Over * age

65+

60+

65+

Those with disabilities



Those receiving benefits



Those unemployed



NHS Workers



Family (+under 18)



Pay what you want



Limited reduced-price tickets

£10

£13

£10

£1

Concessions:

State pension

Although they are separate companies, the Edinburgh Festivals dictate the pricing of the tickets sold at the venues. Edinburgh International Festival provide a Membership scheme that gives members priority booking. 108 Fringe Friends typically includes 2for1 tickets (withheld in 2021 due to reduced venue capacities)

108

(EIF, 2021)

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67 dedicated friends booking line and 10% discount in the shop. Edinburgh International Festival also provides a £8 on-the-day ticket for customers under 26 years old. 109 Table 11 References

Accessed

8. Festival

Secret Seats: https://lyceum.org.uk/secret-seats Our Friends memberships https://www.capitaltheatres.com/support/friends ATG TheatreCard https://www.atgtickets.com/membership/ Our Friends memberships https://www.capitaltheatres.com/support/friends

16.08.21 16.08.21 16.08.21 16.08.21

10. Traverse

About £1 Tickets https://www.traverse.co.uk/traverse--1-tickets/about-1-tickets

16.08.21

2. Lyceum 4. Kings 7. Playhouse

109

(EIF, 2021)

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SWOT ANALYSIS Having taken stock of the current condition of the ten case studies, areas of strengths and weaknesses can be identified. A SWOT analysis of the collective stock is useful to summarise. Weaknesses

Strengths •

Edinburgh’s reputation as a world class theatre destination • Collection of high architectural quality well maintained buildings • Rich social history • Strong social commitment and relationship • Rich theatrical history with notable performances and performers • Acceptance of a broad range of performances, from high art to pop culture to experimental • Can accommodate a wide range of occupancy numbers, including largest in the UK • Wide range of performance requirements can be accommodated • Many venues within walking distance of each other, and the transport • The Edinburgh Festivals attract huge numbers of tourists • Lots of funding opportunities • Collectives such as the Edinburgh Cultural Venues Group already in place • Abundance of knowledge from people who have been working in and managing theatres for decades Opportunities • Large auditoriums can be a community resource, accommodating large groups for learning opportunities • Redevelop to 21st century expectations • Increase hospitality offering • Extend hospitality hours to beyond shows • Significant knowledge resource shared between venues • Collaboration and shared resources • Strength in numbers: the collective weight of ten theatres increases the voice of each • Online theatre performance / recordings • Improve physical access • More collaboration between theatres

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• • • • • • • • • • • •

• • • • • • •

Buildings are aging so require maintenance Buildings are expensive to run Confined sites, little room for development Confined sites mean difficult get in/out Small surrounding space means larger impact on neighbours Raked stages limits performance styles Insufficient flying limits performance styles Buildings not fully accessible Audience demographics are not representational of Edinburgh or Scotland Limited hospitality spaces Shows are expensive to put on Cost of shows make tickets expensive, which can be exclusive

Threats Extreme weather conditions increasing Buildings continue to age Heritage of the buildings is at risk Future lockdowns / unforeseen closures Dwindling audience numbers Audiences moving to online streaming Producers not bringing their shows to these theatres

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CONSERVATION STRATEGY General Practice The following conservation strategy has been developed in response to the issues and opportunities presented in the previous sections. It is designed to enable the ten Edinburgh theatres to work collectively to preserve their significance and enhance their development. The best forms of conservation are always preventative action and inhabitation, so this guidance aims to support the theatres to in their upkeep and maintenance as well as provide future-proofing adaptive solutions. Basic maintenance will extend the life of the building and slow deterioration of the fabric. The significance of these buildings lies in their physical fabric and their intangible value, both collectively and individually. The timescales given are guidelines, but any opportunities to undertake them sooner should be taken advantage of. Immediate: These are actions that should be implemented as soon as possible Short Term: These should be completed with 2 years. Long Term: These are actions that may require more time and planning, so longer time frames are Ongoing: These are objectives that will require ongoing action for many years - Some objectives present good practice, and as such are only necessary in specific occasions Other: Where specific time frames are recommended, these have been noted in italics

Conservation Plan Ref

Objective

Reason

Action

Timescale

Conservation Strategy

Form a collective group for Edinburgh Theatres Conserve or enhance each of the different types of heritage

Ensure the buildings are well understood

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A collective group can act as support for decisions and a location to share knowledge. Although they are separate, the theatres share many commonalities and can support each other. Each of the theatres is unique, with its own history and significance. These should be understood and managed individually to ensure their future protection. Regular surveys can assess issues at early stages, leading to great savings later. Having a professional familiar with the building will allow for a more sensitive and thorough understanding of the specifics of each theatre building.

Nominate representatives from each theatre to attend regular meetings with the collective.

Immediate

Share updates and resources where possible.

Commission a detailed condition survey of each building.

Short Term

Appoint an Architect or Surveyor of the Fabric for each building. This position could be shared across a few buildings.

Immediate

Commission quinquennial inspections and reports.

5 years

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Ref

Objective

Share maintenance knowledge

Undertake maintenance and repair works efficiently.

Reason The buildings and theatre companies span many decades. As issues occur, another theatre may have found an efficient solution in the past. Many of the buildings will share material types and issues. As such (by economy of scale) it may be possible for these to be undertaken synchronously, passing the savings onto the theatres.

Action

Timescale

Share findings and issues with the other theatres in the collective.

On-going

Combine repair contracts. Where possible arrange for works across theatres to be done together.

On-going

Commission a conservation plan for each building.

Short Term

Collate information provided by others and create digital archive of shows, flyers, and other associated materials.

On-going

Present information in a local museum or online archive.

Long Term

Any new works should comply with the conservation plan.

Any new work should serve to extend the life of the building.

Any new works should be of a high-quality and long lasting.

Any new works should be agreed in consultation with statutory and specialist advice.

Conduct regular design crits between theatre companies.

Short Term

Undertake a survey of existing access get-ins and propose minimally invasive solutions.

Long Term

Managing information about your heritage

Understand the heritage of each building

Keep an archive

Make the history of each building accessible

By understanding this, valuable heritage can be protected, and funding applications are more likely to be successful (which is necessary for HLF funding applications over £2m). By recording events as the productions go by, future generations will be able to look back and understand the development and significance of theatre in Edinburgh. The history of these buildings should be shared with the public for reasons of interest and research improving public understanding and engagement.

Making Changes – adaptation and new work M1

Protect the historic value

Extend building life

Provide state of the art offering

Consult groups before works

New work and adaptations should enhance the historic character and significance of the site and have minimal impact on the existing fabric. Changes made should enable the building to continue to function to its fullest ability. The visitor experience should be of the highest quality, including any new elements (such as toilets or accessibility features). Applications for developments are more successful with input from a wide range of specialists.

Improving the Theatre Offering T1

Improve theatre quality

Improve access for touring companies

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Edinburgh should continue to produce the highest quality and most forward-thinking theatre and compete with productions around the world. Touring theatre companies will be less inclined to come to a receiving theatre where it is difficult to put on a production.

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Ref T3 T4

Objective Improve backstage facilities Improve front of house facilities

Reason

Action

Timescale

Present the best possible venue for performers and producers.

Undertake a survey of existing back of house and propose minimally invasive solutions.

Long Term

Customers expect a high-quality experience when they visit the theatre.

Make necessary upgrades, for example toilets refurbishment.

Long Term

An access strategy should be provided for each building, including 7 Principles presented by Universal Design to provide maximum inclusion.

Short Term

Introduce an ‘ETC Card’ to offer reduced price tickets.

Long Term

Improving Access

Make theatre accessible for all body types

Make theatre more affordable

Appeal to a more diverse audience

Increase the online offering

Access for all is a priority for public use buildings. 93% of people with disabilities don’t use a wheelchair, but many disabilities hinder people from visiting the theatre. Theatre can be an expensive past time, making it inaccessible for many. Theatre comes in many forms but presenting a narrow genre will only appeal to a narrow audience. Presenting performances online allows shows to reach a global audience, as well as making it accessible for those not able to come to the theatre.

Include wider range of themes Encourage customers to visit a show they wouldn’t usually. Set up an ‘ETC Online’ channel, with both free and membership performances available. Theatres successfully doing this (Traverse, Roxy) can share their knowledge with the other members.

Long Term

Short Term Ongoing

Improving Engagement E1

Encourage local engagement

The theatres occupy a highly visible position of leisure in the city.

Increase income opportunities

The buildings all possess unique resources that could introduce new revenue streams.

Increase community connections

Theatres are community assets, and should share their large spaces wherever possible.

Increase bar/café offering & opening hours. Provide a collective catalogue of spaces and their resource to encourage rentals and engagement. Invite educational and charity groups in to support their development and relationship.

Long Term

Ongoing

Future Resilience – Climate change and Understand each building’s environmental performance Reduce each buildings’ environmental impact

Before any improvements can be made, the current condition of the buildings should be understood. Business and building management must include reducing the carbon impact of each building.

Increase funding

Protect in case of future closures

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Commission an assessment of each building’s environmental performance.

Short Term

Undertake retrofit exercise to improve fabric performance. Improve public transport links.

Short Term

Edinburgh’s theatres provide a cultural and economic.

Increase finding applications. Engage groups for support and guidance with these.

Short Term

In the case that the buildings are suddenly required to close, alternative plans should be in place to support as many jobs as possible.

Digitally record all shows for record or distribution (On Demand platforms).

Long Term

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72 Key Recommendations: C1: Form the Edinburgh Theatre Collective (ETC) The primary recommendation of this report is for these theatres to form a specialised knowledge and resource sharing platform: An Edinburgh Theatre Collective. Many of the theatres have spoken of the benefits of the Edinburgh Cultural Venues group, so a theatre specific one could provide similar benefits. The aim of this group is to provide a platform for communication between the theatres. This might look like shared energy efficient retrofitting contracts (F2), or materials bought in bulk, reducing the cost per theatre (C5). It would also include support (C4), which might look like the more established theatres providing advice for Leith Theatre’s development, or Traverse sharing their knowledge on on-line on-demand theatre. This would also enable theatres to come together and present a united front which can be useful with any large-scale legislative changes, marketing or bids.

C3: Appoint an Architect or Surveyor of the Fabric for the theatres It is common practice for cathedrals to have an appointed architect, or Surveyor of the Fabric, that is responsible for the maintenance and upkeep of the fabric and setting. This person will have an ongoing relationship with the building. The role includes undertaking regular surveys (C2), managing and repairs and maintenance (M1), and provide guidance on any development work (M2, M3, M4). There is a legal framework for the care of Church of England buildings (The Care of Cathedrals Measure 1990, 1999, 2005) which would not apply here but may provide good practice. The benefit of this commitment is a familiarity with the building (H1) and consistency of approach. These buildings should survive many more decades if well maintained.

E1: Increase hospitality opening hours One of the key revenue streams for all the theatres are bar sales. One key strategy for theatre renewal is to encourage audiences to spend time in the bars, cafes and shops [stimulating] community involvement’ 110. A successful example of this is Storyhouse Chester which offers a library, café, and restaurant (open 8am-11pm most days). On a smaller scale, The Old Market Assembly in Bristol opens for pizzas and drinks from 4pm most days. Regardless of scale, opening the venues where possible beyond performance times will encourage locals to spend more time and money.

A2: Introduce an ETC Card (One collective aim of the theatres is to increase audience attendance and diversity. One way of doing this may be to introduce a membership card. Some venues already provide this service, but providing a single, united card will be more attractive. Membership cards increase customer loyalty and engagement and may encourage them to attend a venue they had previously not. Whether it meant 2 for 1 tickets, discounts, early access or invitations to special events, the card would provide incentive for repeat custom and more adventurous booking. There are many examples of similar discount cards; Tastecard for restaurants,

110

(Strong, 1998)

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73 Unidays for Students. These cards could be set at different price levels for different concessions. For example, free or reduced membership for school-goers, family rates, and higher options for the more philanthropic.

A4: Introduce an ETC On Demand channel As the world moves increasingly online and international, providing an On Demand offering will make the shows produced in Edinburgh more accessible for those unable to get to an Edinburgh theatre. It would also provide additional income for shows that have ended their run or were sold out. Similar models exist. Soho Theatre provides an on-demand service were shows can be rented individually (prices range from £4 for 24hour rental) and the National Theatre Online offers access to a selection of shows for £9.99 per month. Traverse and Roxy have online platforms in place, but a combined system could allow for the costs to be shared and appeal to a wider audience base.

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CONCLUSION Edinburgh benefits from a well-established reputation for great theatre. This study aimed to understand the collective cultural significance of ten of Edinburgh’s theatre venues and provide some policy ideas for the conservation of them, both physically and socially. By comparing the obligations, resources, conditions, constraints, and opportunities of the venues, we can see that Edinburgh’s theatre offering is strong and varied, with a great history and future. Each of these theatres is unique and provide an individual offering, however a collective approach would provide opportunity for growth. The conservation strategies suggested here aim to combine their resources to minimise expenditure and maximise theatrical output. By supporting and encouraging each other, the competition can be focused to the on-stage output. It is also important to ensure these buildings are as accessible as possible for the audience they serve. A lot more could be said about each of the theatres and their significance. The comparative nature of this research sought to present an introduction to each and capture their essence. This research was also undertaken whilst none of the theatres were open to the public. The guided tours of some of the venues means they are the ones most accurately represented here. If access to all ten were possible, more strength and weaknesses may have presented themselves. Additionally, the tours were provided by back of house and managerial staff, so the full customer experience was not had. Theatres outside of performances present a different environment. Further investigations are needed for more accurate and detailed conservation strategies. This is where an architect/surveyor of the fabric would provide insight. Many of the theatres have been spending the closure time undertaking these, the results of which would help each company protect their building. The results of these and the necessary works that emerge are where joined contracts may provide knowledge and cost sharing opportunities. The goal is for this conservation strategy is to protect the legacy of these buildings for future generations and so ensure Edinburgh’s title as an internationally renowned centre of theatre excellence.

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78 Hidden Door. (2019, 03 21). Hidden Door reveals diverse music line-up for 2019 weekender. Retrieved 08 06, 2021, from Hidden Door: https://hiddendoorblog.org/hidden-door-reveals-diverse-music-lineup-for-2019-weekender/ Hildy, F. J. (n.d.). Theatre design. Retrieved 08 06, 2021, from Britanicca: https://www.britannica.com/art/theatre-design Historic Environment Scotland. (2016, June 23). Guide for Practitioners 6 - Conversion of Traditional Bulidings - Part 2 . Retrieved 12 04, 2020, from https://issuu.com/hspubs/docs/conversion-oftraditional-bulidings Historic Scotland; The Theatres Trust . (2015). Acting with Confidence. Scotland's Theatre Architecture. Edinburgh : Historic Environment Scotland. History. (n.d.). Retrieved June 19, 2021, from Charlotte Chapel.: https://www.charlottechapel.org/aboutus/history/ Hume, M. (2021). Festival Theatre, Edinburgh. Retrieved from Historic Theatre Photos: https://www.historictheatrephotos.com/Theatre/Festival-Edinburgh.aspx Hume, M. (2021). King’s Theatre, Edinburgh. Retrieved from Historic Theatre Photos: https://www.historictheatrephotos.com/Theatre/Kings-Edinburgh.aspx Hume, M. (2021). Royal Lyceum Theatre Edinburgh. Retrieved 07 25, 2021, from Historic Theatre Photos: https://www.historictheatrephotos.com/Theatre/Royal-Lyceum-Edinburgh.aspx ICOMOS. (1964). The Venice Charter. ICOMOS. (1999). New construction, demolition, intrusions or other changes which would adversely affect the setting or relationships are not appropriate. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance, (p. 4). Australia. Retrieved November 2020, from Burwood, Australia: Australia ICOMOS Secretariat: https://australia.icomos.org/wpcontent/uploads/BURRA_CHARTER.pdf ICOMOS. (1999). The Burra Charter. LDN Architects. (n.d.). Edinburgh Festival Theatre. Retrieved 08 07, 2021, from LDN Architects: https://www.ldn.co.uk/architecture-projects/edinburgh-festival-theatre/ Leith Theatre. (n.d.). Our Story: A Brief History. Retrieved 08 06, 2021, from Leith Theatre: https://www.leiththeatre.co.uk/about Maguire, N. K. (1989). The Theatrical Mask/Masque of Politics: The Case of Charles I. Journal of British Studies, 28(1), 1-22. Manchester, G. (2021, 02 06). Cafe. Retrieved 08 02, 2021, from EUTC Wiki: https://wiki.bedlamtheatre.co.uk/building/cafe Marr, C. (2021, 07 29). Playhouse Theatre. (H. Beresford, Interviewer) McDonald, G. (2017). The intriguing stories behind Edinburgh’s famous Fringe venues. Retrieved November 2020, from i News: https://inews.co.uk/inews-lifestyle/travel/edinburgh-famous-fringevenues-stories-history-73009/ McLean, D. (2013, July 15). Lost Edinburgh: The Empire Theatre. The Scotsman. Retrieved from https://www.scotsman.com/arts-and-culture/theatre-and-stage/lost-edinburgh-empire-theatre1567731

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79 McLean, D. (2013, July 15). Lost Edinburgh: The Empire Theatre. The Scotsman. Retrieved 07 22, 2021, from https://www.scotsman.com/arts-and-culture/theatre-and-stage/lost-edinburgh-empiretheatre-1567731 Meraz, F. (2019, June 7). Cesare Brandi (1906 to 1988): his concept of restoration and the dilemma of architecture. Conversaciones con Cesare Brandi y Guilio Carlo Argan, pp. 160-174. Michael Jackson Consulting Engineers Limited. (2012). Historic Building Impacy Assessment. Edinburgh Council: 12/03983/LBC. Mission Statement and Concept. (n.d.). Retrieved 08 06, 2021, from Leith Theatre (archive): https://web.archive.org/web/20151201033752/http://www.leiththeatretrust.org/about/missionstat ement Moffat, A. (1978). The Edinburgh Fringe. London: Johnson & Bacon. Morningside Parish Church. (2006, March 26th). The Story of Morningside Parish Church. Retrieved from Morningside Parish Church: http://morningsideparishchurch.org.uk/about/history/ Neighbour, T., Clarke, C., & Thomas, G. (2007). A Semi-Elliptical, Timber-Framed Structure at Inveresk (The Most Northerly Amphitheatre in the Empire?). Britannia, 38, 125-140. Our history. (2021). Retrieved 07 22, 2021, from Church Hill Theatre: https://churchhilltheatre.co.uk/about-us/our-history Peter, B. (1999). Scotlands Splendid Theatres. Edinburgh: Polygon. Playhouse (2305). (n.d.). Retrieved 08 06, 2021, from Theatres Trust: https://database.theatrestrust.org.uk/resources/theatres/show/2305-playhouse-edinburgh Rock, D. J. (2013). VI Theatre. Retrieved from Richard Cooper Engraver: https://sites.google.com/site/richardcooperengraver/vi-theatre Rose Theatre. (n.d.). Venue Hire. Retrieved from Rose Theatre: https://www.rosetheatreedinburgh.com/venues#cabaret_theatre Rudden, L. (2021, April 01). We take a first look inside the Edinburgh Playhouse after a year of lockdown. Edinburgh Evening News. Retrieved from https://www.edinburghnews.scotsman.com/news/people/we-take-a-first-look-inside-theedinburgh-playhouse-after-a-year-of-lockdown-3184888 Ruskin, J. ((1877) 1989). The Seven lamps of Architecture . New York: Dover Publications, Inc. Scottish Government. (2021, 07 19). Coronavirus (COVID-19) protection levels: what you can do. Retrieved from Scottish Government: https://www.gov.scot/publications/coronavirus-covid-19-protectionlevels Scottish Government. (2021, 07 28). Coronavirus (COVID-19): events sector guidance. Retrieved from Scottish Government: https://www.gov.scot/publications/coronavirus-covid-19-events-sectorguidance/pages/operational-guide-and-checklist/ Simmonds, R. (2013). The King's Theatre Edinburgh. The Magazine of the Architectural Heritage Society of Scotland(34), 24-27. Simpson, G. (2021, 07 23). Front Of House Usher. (H. B. tour), Interviewer) Smith, G. (n.d.). The Playhouse Theatre, 18 - 22, Greenside Place, Edinburgh. Retrieved 08 07, 2021, from Arthur Lloyd: http://www.arthurlloyd.co.uk/Edinburgh/Playhouse.htm Smith, G. (n.d.). The Theatre Royal, Broughton Street, Top of Leith Walk, Edinburgh, Scotland. Retrieved from Arthur Lloyd: http://www.arthurlloyd.co.uk/Edinburgh/TheatreRoyal.htm

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80 Stage Beauty. (n.d.). Theatre Censorship. Retrieved 08 06, 2021, from Stage Beauty: http://www.stagebeauty.net/th-frames.html?http&&&www.stagebeauty.net/th-censor.html Strong, J. & Association of British Theatre Technicians. (2010). Theatre buildings a design guide. Oxon [England]; New York, N.Y.: Routledge. Strong, J. (1998). Encore. Strategies for Theatre Renewal. London: The Theatres Trust Charitable Fund. The Australia ICOMOS. (2013). The Australia ICOMOS Charter for Places of Cultural Significance. Burwood, VIC 3125: ICOMOS. The Builder. (1906, December 22). The Kings Theatre, Edinburgh. The Builder, p. 733. The City of Edinburgh Council. (n.d.). Our climate target: net-zero by 2030. Retrieved 08 11, 2021, from The City of Edinburgh Council: https://www.edinburgh.gov.uk/climate-2/climate-target-net-zero2030/1 The Royal Lyceum Theatre Company . (2013, March 21). The Lyceum graduates from the Carbon Trust Scotland’s Carbon Management Programme. Retrieved from The Lyceum: https://lyceum.org.uk/press/entry/435?/news-and-press/entry/435 The Royal Lyceum Theatre Company. (n.d.). About The Lyceum. Retrieved 08 06, 2021, from The Lyceum: https://lyceum.org.uk/about-the-lyceum The Skinny Food and Drink Survey 2019: The Winners. (2019). Retrieved June 19, 2021, from The Skinny: https://www.theskinny.co.uk/food-and-drink/survey/the-skinny-food-and-drink-survey-2019-thewinners The University of Edinburgh. (2020, May 06). Climate change. Retrieved from SOCIAL RESPONSIBILITY AND SUSTAINABILITY: https://www.ed.ac.uk/sustainability/what-we-do/climate-change Theatres Trust. (2021). How has the design of theatre buildings changed over time? Retrieved 08 06, 2021, from Theatres Trust: http://www.theatrestrust.org.uk/discover-theatres/theatre-faqs/172-how-hasthe-design-of-theatre-buildings-changed-over-time Theatres Trust. (2021). Leith Theatre. Retrieved 08 06, 2021, from Theatres Trust: http://www.theatrestrust.org.uk/how-we-help/theatres-at-risk/220-leith-theatre Theatres Trust. (2021). Playhouse (2305). Retrieved 08 07, 2021, from Theatres trust: https://database.theatrestrust.org.uk/resources/theatres/show/2305-playhouse-edinburgh Theatres Trust. (n.d.). Festival. Retrieved July 21, 2021, from Theatres Trust: https://database.theatrestrust.org.uk/resources/theatres/show/2236-festival Traverse Theatre (Scotland) Limited (SC076037). (2019). Directors' Report and Consoliated Financial Statements. Edinburgh : Companies House. Under One Roof . (n.d.). Render and harling. Retrieved 12 12, 2020, from http://www.underoneroof.scot/articles/1180/Cracks_in_rendered_or_harled_walls/Render_and_ harling UNESCO. (n.d.). Old and New Towns of Edinburgh. Retrieved 08 11, 2021, from https://whc.unesco.org/en/list/728/ Wilton's. (2017). History. Retrieved 04 01, 2021, from https://www.wiltons.org.uk/heritage/history

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APPENDIXES Appendix 1: Extract from the Burra Charter

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Appendix 2: Personal Communications Interview #1. George Manchester, Theatre Manager at Bedlam Theatre 17th June 2021 – Via Zoom Interview #2. Lynn Morrison, Chief Executive of Leith Theatre 25th June 2021 – Via Zoom Interview #3. Hazel Johnson, Venue and Place Team Leader at Hidden Door Director 25th June 2021 – Via Zoom Interview #4. Claire Appleby, Architecture Adviser at Theatres Trust 2nd July 2021 – Via Zoom Interview #5. Colin Marr, Theatre Director at Edinburgh Playhouse 29th July – Via Zoom Interview #6. Líam Rudden, Entertainment Editor at Edinburgh Evening News 30th July 2021 – Via telephone Tour #1. Leith Theatre 30th June – With Callum Jones (Programme Coordinator) and Lynn Morrison (Chief Executive) Tour #2. Royal Lyceum Theatre 30th June – With Fiona Harvey (Director of Estates and Facilities) and Ian Ramponi (Technical Manager) Tour #3. Kings Theatre Wednesday 30th June – With Brian Loudon (Director of Operations, Capital Theatres) Tour #4. Festival Theatre Wednesday 30th June - With Brian Loudon (Director of Operations, Capital Theatres) Tour #5. Festival Theatre Wednesday 30th June - Graham Simpson (Front of House Usher)

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