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www.bristololdvictheatreclub.org.uk

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April 2014

The Work Starts Here! In last months Newsletter we reported the good news that on the 19th February, planning permission was unanimously granted for the second phase of redevelopment for the front of house and public areas. Work will begin in 2015 to complete in time for the Theatres 250th anniversary year. In the same week, Bristol Old Vic had confirmation of 5 million from ACE towards the capital appeal and 500,000 from Bristol City Council. This now takes the company over halfway to its fundraising target. The public-facing fundraising campaign launches with a Gala on 26th April and a major appeal to individual donors will begin on 4th May. Last month we published initial impressions of the new entrance to Bristol Old Vic before modifications to the design were made. On the following pages are up-to date images which show that the balcony overlooking King Street has been drawn back and that signage over the rooftop has gone. We use the following images by courtesy of Haworth Tompkins Architects. Below: elevation of King Street showing Coopers Ha ll faade and the new entrance to Bristol Old Vic .

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..

Top: view from King Street.

Above left: View to auditorium wall Above right: View to gallery bar.

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Bristol Old Vic: the next few weeks.

THE TINDERBOX. This April sees a triumphant return to the Bristol Old Vic Studio of the award winning Bristol Old Vic Young Company. Following the outstanding success of The Grandfathers and Pigeon English, the Young Company presents Hans Christian Andersens story of blood, magic, violence and lust in a new version by Silva Semerciyan. A power-hungry monarch fuelled by his lofty ambitions and family obligations is embroiled in a war that wont end. Stories circulate the town that his beautiful daughter is locked away for fear she will be lost to a common soldier. The only problem is no one has ever seen this mysterious Princess. A soldier returns from war with the Tinderbox, a magical gift which will grant any wish he chooses to make. Can he unlock this doomed young woman from her destiny and make his wish come true, or will greed get the better of him? Sponsored by Bristol Old Vic Theatre Club. *The Tinderbox , written by Hans Christian Andersen, adapted by Silva Semerciyan, directed by Lisa Gregan performs a limited run in the Studio from Wednesday 23 rd to Saturday, 26 th April. See also page 7.

THIS MAY HURT A BIT "It would be a great reform in politics if wisdom could be made to spread as easily and rapidly as folly": Winston Churchill A month after stating "we will stop the top-down reorganisation of the NHS that has got in the way of patient care", the government launched the biggest top-down reorganisation the service had seen in its 65-year history. With characteristic wit, tenderness, and dives into surrealism, Stella Feehilys new play explores one familys journey through the digestive system of the NHS and asks: what is the prognosis for this much-loved and fiercely debated institution? Stella Feehilys plays for Out of Joint have been produced at the Royal Court and Soho Theatre. They include Bang Bang Bang, Dreams of Violence, O go my Man and Duck.

The Cast Stephanie Cole (pictured left), Jane Wymark, Frances Ashman, Natalie Klamar, Brian Protheroe, Tris-tram Wymark, William Hope, Hywel Morgan. *This May Hurt a Bit (with discussions

after performances) directed by Max Stafford-Clark plays in the Theatre Royal from Tuesday , 29th April to Saturday, 3 rd May. OUR COUNTRYS GOOD Our Countrys Good is the powerful true story of a ragbag cast of convicts who put on a play under the guidance of an earnest young marine officer. As the barriers between captors and captives break down they start to discover each other, both onstage and behind the scenes. Twenty-five years ago, Our Countrys Good premiered at the Royal Court Theatre before transferring to the West End and Broadway, winning major awards on both sides of the Atlantic. This new production by the plays original director, Max Stafford-Clark, was hailed as a triumph and comes to the Old Vic as part of an international tour. *Our Countrys Good by Timberlake Wertenbaker, directed by Max Stafford-Clark plays in the Theatre Royal from Wednesday 7 th to Saturday, 10 th May.

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MAYFEST On Thursday, 15th May, Mayfest, Bristols annual festival of contemporary theatre, returns with a mouth-watering selection of extraordinary theatre from around the world presented in venues and sites across the city. Headlining the 2014 programme is the UK premiere of The Roof from Requardt and Rosenberg, creators of 2010s sell-out Electric Hotel. A high-octane mix of parkour and contemporary dance, this is a 360 performance that will capture imaginations under the night sky in Millennium Square. This years festival also boasts a unique strand of family shows for the first time in Mayfests history. Kicking off the May half-term is multi-award winning international company Aracaladanza with Constellations a magical dance-theatre piece that uses puppetry and digital visuals to enchant ages 4+ at Bristol Old Vic. Young Mayfesters will also be given the opportunity to experience a day time childrens version of the festivals late night cabaret bar at The Blind Tiger Cub (Bristol Old Vic). More unmissable shows include the multi-award winning international hit Smashed that brings contemporary circus to Bristol Old Vic with nine jugglers, 80 apples and four crockery sets and guarantees to smash all your preconceptions about juggling to tiny pieces. The offsite and totally free Nightwalk is an immersive experience from artists Tom Bailey and Jez Riley French. Audiences will be taken on a re-exploration of Leigh Woods using sounds that have resonated through the beloved Bristol landscape across its history. The hilarious Feel About Your Body at Tobacco Factory Theatre from New Art Club is a show about how we feel about our bodies. . . I Wish I Was Lonely at The Island explores contactability inviting the audience to leave their phones on during the show and asks how much of ourselves weve given up to the new gods in our pockets. Other highlights include an all-male version of Wuthering Heights and Opera North and The Tiger Lillies presenting LULU. *Mayfest takes over Bristol with 39 shows at 18 venues from Thursday 15 th May to Sunday, 25th May. Brochure available at BOV.

BRISTOL PROMS 2014 Following last years successful debut, Bristol Proms once again features world class musicians appearing in original performances that have been commissioned and produced especially for the event including:

- Bryn Terfel, one of the worlds greatest bass-baritones, talking about his life and passion for music, illustrated by performances of a selection of the songs that have landmarked his extraordinary career - returning from a stunning performance at last years Bristol Proms, Daniel Hope weaves a spoken and musical journey through the Baroque period, leading up to 1766, the year the unique auditorium of Bristol Old Vics Theatre was built - international virtuoso and internet pioneer pianist Valentina Lisitsa will perform songs by Schubert as arranged by Liszt together with the music of Michael Nyman - Will Gregory, from the award winning band Goldfrapp, and his Moog Ensemble will perform sublime and extraordinary music using the Moog Synthesiser, one of the iconic pieces of late 20th century music technology. The impressive and diverse Bristol Proms 2014 line-up also includes the Bristol-based chamber choir The Erebus Ensemble, directed by Tom Williams, and the Sacconi Quartet; pianist Ji Liu; violinist Lisa Batiashvili; soprano Pumeza Matshikiza; Charles Hazlewood and his improvisational All Star Collective; chamber orchestras The English Concert (conducted by Robert Howarth) and film, stage and TV composer Benji Bower appearing with singer Kathleen Fitzpatrick Milton. In a series of talks Jonathan James will provide insights into the music being performed and there is a different theme for

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each night of the series: Bach Night; Music in the Shadow of War; Pure Music, Pure Technology; Take Me To Your Chamber, 1700-2050; Musical Encounters and Theatre of Music. Technology from 250 years ago will be placed at the fore in the final concert of the 2014 Bristol Proms, which brings a semi-staging of Purcells opera Dido and Aeneas, starring South African soprano Pumeza Matshikiza as the North African Queen of Carthage and directed by John Retallack. Bristol Proms give audiences the opportunity to experience classical music in inspiring and imaginative new ways. Tom Morris, Artistic Director of the Bristol Old Vic, feels that initiatives of this kind give us a sense of what a classical concert might look and feel like in 50 years time, though he insists that our most resounding discovery at the 2013 Bristol Proms was that the most old-fashioned technology remains the most potent of all: the atmosphere, the magic that can occur if an audience is free to respond instinctively. With Dido and Aeneas for example, we are planning to evoke the ambience and style of an 18th century theatrical performance, he continues, but this wont be picturesque heritage opera. Dido and Aeneas is a highly emotional piece and the cultural heritage of the Bristol Old Vic is raw and radical. In the 1760s, when our theatre opened, it was presenting a dangerous and subversive art form: coming here was like visiting a speakeasy or attending a rave. It was hot-blooded entertainment. Once again, the primary media partner for Bristol Proms in 2014 is Classic FM. Presenters Tim Lihoreau, John Suchet, Jamie Crick, John Brunning and Jane Jones will be broadcasting programmes from the Bristol Old Vic across the week. There will be extensive online coverage at classicfm.com including video interviews with all headline performers.

Tickets for all shows featured

on pages 3, 4 & 5 Box Office: 0117 987 7877

Email: tickets@bristololdvic.org.uk www.bristololdvic.org.uk

Bristol Old Vic Audio Describer Team

*

We are recruiting! *

Bristol Old Vics friendly volunteer group of Audio Describers are

looking to recruit some new members to assist the team with

the Audio Described shows at Bristol Old Vic.

* Audio Describing provides a vital

service to our blind and partially sighted customers. The team transmit a visual

commentary describing what is happening onstage during live

performances, from facial expressions, movement

and action sequences to props, costume, set and lighting.

* We are looking for candidates who

are clear communicators, confident speakers

and theatre enthusiasts able to dedicate time to the

audio described shows. *

For more information and details of how to apply

please email Aidan Woodburn, Operations Manager at

Bristol Old Vic awoodburn@bristololdvic.org.uk

* A progressive process of

training and confidence-building will be provided and is

scheduled to take place at the end of April.

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International tour Bristol Old Vics rude and radical A Midsummer Nights Dream is currently fulfilling the ambitions of the organisation, taking the story of Bristols creativity world-wide. It is currently on the second leg of its international tour, visiting Hong Kong, Washington, Boston, Los Angeles and Seoul.

Alan Wright, BOVs Director of Development, reflects on some recent BOV productions and on Bristol Old Vics reputation.

In his own Wright

ne of the less pleasant tasks for our box-office staff is taking calls from disgruntled customers. All the

complaints are carefully recorded and, where necessary, shared with the appropriate departments. The process constantly helps us improve our customer service. Occasionally, some of those calls find their way directly to me. For instance, a couple of weeks ago a member of the Theatre Club called me, clearly at the end of her tether. She had recently been to see Part One of Jane Eyre and, for her, it was the last straw. Irritated from the outset of the production by Madeleine Worrall channelling the cry of a new born child, things went from bad to worse as the cast started to inexplicably climb up and down ladders, before having to suffer the out of key singing of Melanie Marshall. By the interval the poor lady wanted to leave but, nevertheless, gave the second half a chance. However, that only exacerbated matters and, having already purchased a ticket for Part Two, she went to the box-office and asked for her money back. In instances such as these, pointing to the unprecedented number of four and five-star reviews for Jane Eyre in all the national press makes very little difference. Appreciation of art, in whatever form, is subjective. What works for some clearly doesnt work for others. Here was a supporter of the theatre who had generously bought a seat dedication and legitimately expected a greater level of satisfaction. I was curious to know what she had liked recently. Only Kneehighs production of Steptoe and Son had come close to fulfilling her expectations in the last eighteen months. It has to be said, Jane Eyre has generated the highest level of audience appreciation we have had for a show since we re-opened the auditorium in September 2012. However, that

is no reason to discount a minority voice. It illustrates the difficulty of designing a programme that commands the support of our regular core audience but, at the same time, attracts significant numbers of new visitors to the theatre. It is only now we are beginning to accumulate enough data to analyse how many of the first time visitors are becoming returning visitors, and gaining an impression of their tastes. Tom Morris has very carefully curated the last eighteen months, often bravely experimenting with various productions and lengths of run, to help identify various audiences. We are now beginning to establish a far more accurate picture that will allow us to plan ahead more confidently. Having said that, it is difficult to find another regional theatre that in the last eighteen months has set two successive box records (Peter Pan and A Midsummer Nights Dream), received so much positive coverage in the national media, or had so many four and five star reviews. What other regional theatre has headlined four international festivals in the last twelve months or had plays transferred to the West End? We can also add to that the continuing success of our Young Company, performing in its own right at the National Theatre and at the Edinburgh Fringe, and the major impact our Educational Outreach programme is having in schools in Bristol and beyond.

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All this against a background of developing a major capital project to transform our front of house and in an environment of declining public subsidy, trying to create a resilient organisation that will have the capacity to ensure the future of the theatre for many generations to come. In the last month I was once again reminded of how our reputation goes before us. At the reception held in our honour at the British Embassy in Washington so many of the theatres represented there actively wanted to either receive Bristol Old Vic shows or explore co-production possibilities. They had all been closely following our progress and, in particular, had noted the critical praise heaped on Jane Eyre. Then, at an event to honour Lady Susie Sainsburys outstanding contribution to the arts, I met with two trustees of one of the UKs largest philanthropic Foundations. Before I could begin my much practiced sales pitch, I was overwhelmed with their praise for all that has been achieved by us at Bristol Old Vic since those dark days in 2007 when it looked like the theatre would close for good. I know you may get frustrated with us from time to time but I can assure you we do listen, we have learnt and we continue to strain every sinew to make Bristol Old Vic a success. Finally, let me once again try to persuade you to come to our Gala on April 26th and help get the fundraising campaign off to a flying start. If you really cant make it, you can now go online at www.GavelandGrand.com and bid on any of the many auction lots we have. There is something for all tastes and all budgets, whether an original drawing from Handspring of Joey the War Horse or an original 1867 Theatre Royal Bristol playbill of She Stoops to Conquer starring Henry Irving.

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+!* )* *The Tinderbox , written by Hans Christian Andersen, adapted by Silva Semerciyan, directed by Lisa Gregan is in the Studio from Wednesday 23 rd to Saturday, 26 th April.

Theatre Club member Angela Cooper attended a Directors and Designers Preview at BOV Theatre school for the first time back in February. She was impressed.

School report

t was another horrible wet evening. However, once inside the big studio downstairs, what a treat we got. Ernie and

Pauline Peck welcomed us with a well-stocked bar and lots of tasty nibbles. Behind them was an impressive display of costume and set designs for forthcoming productions. A delicious taste of what was to come. The turnout was great not a spare seat to be had. It was nice to see so many staff and students all milling around and chatting. Paul Rummer and Andrew Stocker gave us a very upbeat and informative introduction. They were followed by Christopher Scott, John Hartoch, and Jenny Stephens who each told us about their forthcoming productions of, respectively, The Comedy of Errors, The Merry Wives of Windsor (both at the Redgrave Theatre) and The Innocent Mistress (in Bristol Old Vics Studio). Their words were accompanied by scaled down, accurate and detailed models of the stage sets which helped bring things to life, made even more interesting because Designers Hannah Clarke, Alexandra Berry and Florence Pettit were there to give us a more in-depth explanation of their ideas. Descriptions of the candlelit scenes and the recreation of 18th century panelling in The Innocent Mistress and the very inventive re-thinking of the Hernes Oak in Merry Wives whetted everyones appetites. I hope you saw both these productions. Katie Harris and Tom Brazier, both students on the Directors Course, described what is to come in Directors Cuts. For the first time this programme of plays (all shorts) will be performed at The Brewery Theatre (Tobacco Factory Theatres). Information is on page 14 of this Newsletter.

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Jenny Stephens told us about what sounds like an innovative and extremely challenging adaptation of London Road, one of the shows performed by a cast of graduating actors to be presented in BOVs Studio theatre in June. More information about this and the other graduate shows - The Winters Tale and Blue Stockings will be given at the next Directors / Designers Preview (on Wednesday, 30th April see panel opposite). I can hardly wait. The evening was rounded off with news of The Link the building extension which will join the two Victorian houses together to form a much more cohesive whole. We were given booklets illustrating this exciting project and it was very good news indeed to see that this is on its way to being a reality. When it happens, the changes to the present buildings will provide a much needed large and flexible space for staff and students. For those of us who had braved the weather, a reward. There was a raffle of 10 places to see the preview at the School of the all-important Showcase when students present themselves to agents and potential employers at the Criterion Theatre in London in April. Thank you, Theatre School. This was the first such evening I have attended and will definitely be one of many.

AC

Back to the trenches

ctor Jack Holden, recently seen as Theseus in Minotaur, goes from one World War One piece to another. On

graduating from BOV Theatre School he achieved a years contract to appear in War Horse at the New London Theatre. He is soon to perform a script with a similar subject. Described as the perfect play to mark the centenary of World War One, Johnny Got His Gun is . . a brutal, intense one man show with an incredibly powerful message about the cruelty of war and the way the military treats those who suffer in its service. It can be seen from Wednesday, 21st May to Saturday, 14th June at Southwark Playhouse (running time 60 minutes). Tickets on 020 7407 0234.

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Saturday, 3rd May from 10.30 a.m.

at

Bristol Old Vic

and at 11. 15 a.m.

with

TOBY HULSE

Toby trained on BOV Theatre Schools Directors Course

and, on graduating, was the 1999 Dennis Cartledge Award

winning student.

He is a playwright and director who specialises in making theatre for family audiences and in educational contexts. He has created work for theatres and

companies across the UK, touring nationally and internationally.

He recently directed BOVs Minoatur, adapted and co-directed

The Last Days of Mankind.

Theatre Club members and under-16s free. Guests: 5

Dancing away

Last month, we were In Conversation with Gail Gordon who was retiring from the Theatre School after thirty years of teaching dance and movement. Barry Williamson enjoyed hearing about her work.

ail gave us a most thoughtful and illuminating insight to her work as a teacher of Movement and Dance. I

shall not forget her words of wisdom and her hesitancy while she took time to think before answering questions (if only a few more people were like that.) An ex-miners daughter from Nottingham, she began attending dance classes at the age of 7. She was a shy and nervous child but when she danced she lost her worries about how she might appear to other people. It was magic. There was no theatrical influence at home. When she announced she wanted a life in the theatre, her father was worried that there was no money in it. She worked in Europe and the Far East and might have spent her life as a back row chorus

G

Gail Gordon Know your body.

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girl. But marriage and good luck brought her a job at BOVTS. That was 30 years ago and now she looks forward to a sort of retirement. Those were years of incredibly hard work, never watching the clock, wonderful creativity, fun and above all great camaraderie. The School was like a good family. Some of the students became friends for life; most were great team players; only a few were insincere and prepared to stab in the back but probably no more than in any other profession (they just knew how to act better). One great bonus: dancers usually do what they are told and it can be boring; actors usually dont and that means argument, reflection, trying yet again and a marvellous creativity. Words of wisdom: "Know your body..", "Get into tights on Day One -- it doesnt matter if youre thin or fat, bulging or perfect, its the only way to become really aware of your body.", "Remember, the voice and the body work as one." Lucky, lucky students over the last 30 years. But why isnt she staying on to run classes for the over 60s and 70s? They would be oversubscribed. . .but Im not sure about the tights!

BW

Making his mark

ctor Martin Bassindale, who graduated from BOV Theatre School in 2013, is now with the Royal

Shakespeare Company. Martin was a Patrons Prize winner which guaranteed a six month contract with Bristol Old Vic. He was a cast member of The Last Days of Mankind in the Theatre Royal (co-directed by Toby Hulse and John Retallack) and joined the panel of a Theatre Club After-show Talk Back after a matinee performance. He played in BOVs Great Expectations and came to the School one Saturday morning to be an In Conversation guest. Martin is Peto in the RSCs Henry IV, parts 1 & 2.

Saturday, 24th May from 10.30 a.m.

at

The Tobacco Factory (Raleigh Road, Bedminster)

and at 11.15 a.m.

with

MILLIE AND FRIENDS?

Millie Corser is about to graduate from BOV Theatre School.

Among many roles she has played are the White Witch in

The Lion, The Witch and The Wardrobe and Arabella in The Innocent Mistress.

She was also Emily in Romeo and Juliet, the show that transferred to the Edinburgh

Fringe, and she was the leading spirit behind the fund-raising performance at

the Theatre School.

Millie may be joined by some colleagues as we look back on Theatre School careers and look forward to what the future may hold.

This event is free to all.

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More Involved

ctive participation in helping the Theatre Club work well and smoothly is on the increase. Last month

Beverly Hopkins and Angela Cooper joined us as stewards for our In Conversation events, and Barry Williamson and Angela Cooper offered to write for the Newsletter. Reports of events such as In Conversation are much appreciated by members who cant be present. The committee is currently looking for someone who has an interest in promoting our events via the press and other media. No special experience is required, just an interest in making contacts and writing brief, catchy copy which can be used to publicise what we do. With a wish to donate further to BOVs Outreach (Young Company activities particularly) and BOV Theatre School, there is also a search for somebody who might lead a team to organise events for fund-raising purposes. Our donations may be of modest amounts but they make a considerable difference to the recipients.

If you think the Press and Publicity role could be for you, or if you think you might be able to join a fund-raising team or you would like to play an active part in running the Theatre Club, even if you are not sure in what way, the contacts are Marion Breen and Fran Havard. Marion and Fran will be pleased to talk to you about how you might get involved.

Notes from Downside Road The following pages are devoted, as usual, to BOV Theatre School. They carry a very exciting programme of events. Full details of Graduation shows - Blue Stockings from Thursday 5th to Saturday, 14th June at the Tobacco Factory Theatre, London Road from Tuesday 10th to Saturday, 21st June in BOVs Studio and The Winters Tale with the International Students from Thursday 19th to Saturday, 21st June (Tobacco Factory) will be published in future Newsletters.

Saturday, 21st June

2. 30 p.m. performance.

by Ian Hislop and Nick Newman Directed by Caroline Leslie

Keen to boost his flagging career, fading Hollywood hero Jefferson Steele arrives in England to play King Lear in

Stratford, only to find that this Stratford is a sleepy Suffolk village and the cast are a

bunch of amateurs. His monstrous ego, vanity and insecurity are tested by the enthusiastic thespians who are

not averse to a spot of ego themselves. As acting worlds collide, Jefferson discovers

some truths about himself and his relationships with others . . . along with his

inner Lear.

We will break our journey for lunch at Newbury before proceeding to The Mill with time to wander by the river. From Bristol Hotel, Prince Street at 9 a.m. arriving back at 8 p.m. approx. Price, which includes theatre ticket, coach travel and drivers remuneration:- Members 29 Guests 34

Isabel is our Trips Organiser.

Then send cheque, payable to BOV Theatre Club, together with a stamped, self-addressed envelope (please include your phone number) to: Trips Organiser, Bristol Old Vic Theatre Club, Theatre Royal, King Street, BRISTOL BS1 4ED.

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Bristol Old Vic Theatre School

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