Rebuild the Theatres: How to Fund Refurbishment

 The Case for Refurbishment

While doing voluntary work for a regional drama committee, I noticed that the biggest issue facing most performers is the buildings they have to use. Again and again, it was the same story. In community after community, the theatre I visited would be tucked round a back street, far from the centre of town, in a building that was built 30-40 years ago. When they were first built of course, these theatres were at the cutting edge of the architecture, of the 1960’s and 70’s. But audience expectations have changed in the last few decades. To serve any community, its members must now have a venue for all the arts. Many of these older buildings were designed primarily to be theatres only; and they need to be adapted.

The best example of a modern multi-purpose building is The Midlands Arts Centre. Barely two years old, has it stood like a powerhouse, on the horizon. A lot of investment went into it, and in military terms, it is like a fortress that was completed just in time for the onslaught of the Recession. And it caters for many different artists, and arts enthusiast alike.

Walk inside and you can guarantee that at any one time, every square inch of the building is being used for the visual or performing arts: if not for rehearsals, then for exhibitions, galleries, cinema, crafts…the list is endless. This is how 21^st  a century arts venue should operate.

Preservation vs. Renovation

It is true that some Listed Buildings must be preserved in their original form, as pieces of history. The Barber Institute of Fine Arts is a classic example. I would say, that the older ventilation system still makes it difficult to perform on stage without getting too warm: especially when your costume is a three piece suit under full lighting (trust me, having sung at the music festival some years ago I would know)! Nevertheless, it’s bright, marble facades, and interiors are of the highest quality, and I see the argument for keeping them the way they are.

But for buildings that are not listed, and were built more than 20 years ago, at least some are in need of renovation. They need to be kept ventilated, sunlit, and attractive to visitors. And let’s not forget, that these venues are somebody’s place of work.  Paid technicians, front of house staff, and professional performers also make use of them. Would you want to work in a claustrophobic, dusty building with systems that are out of date? I think most people wouldn’t.

What’s worse: I have heard that even some venues at the West End still do not have enough seats or toilet facilities in their foyers, for all patrons. Clearly, one of the epicentres of the entertainment industry must have the latest facilities and technology if it is to deliver effectively: in all of its theatres.

One such example of refurbishment, closer to home, is Malvern Theatres’ main building.  The original theatre has now been opened out, to leave a wonderful hallway that leads to the Victorian Winter Gardens. This again, was an investment, but it is interesting, that a great many professional actors have come to use the theatre it in droves, prior to the West End.

A Solution

I say that any building that is used for the arts should be available for all forms of art: just as a stadium exists to provide a community with many different kind of sport. If a theatre was built more than 30 years ago, and is not a Listed Building, then it should be renovated, to become an arts centre: and provide rehearsal space, art galleries, halls for functions and so on. By modernising our arts venues, we can change the industry itself. You can’t do good work in a bad office. The artists, of the 21^st century and their offstage crews, should have access to the best venues, and the best equipment, to inspire them and to inspire others.

This means a lot of investment, which is the biggest deterrent, of course. So what I suggest, is a 5-10 year plan. Each community spend that length of time planning and raising money for a new venue, or the renovation of an existing one. The resident theatre company should lead the project, in collaboration with other arts groups. If one does not exist, then all existing arts societies in the area could form a lobbying group to organise this. They could agree on a design for a venue to cater for all their art forms, and who is to run it, once it has been built.

The venue should be located as close to the city/town centre as possible, or be placed strategically, at a point accessible to a wide catchment area. It should be made multi-purpose, so that all visual and performing arts can take place there. Dance studios can become rehearsal space for actors and singers; lobbies and foyers can become display areas for art galleries. Every square inch should be available for use at any one point in time: this will recoup the investment in the building, which will certainly be steep.

This seems impossible in such troubled times, where funding for the arts is all but gone. Then again, perhaps that is the point. If the government has cut arts funding, then local communities need to take action, to rebuild and maintain their arts venues, and keep the industry alive. The suggestions I have made are based in part, on the efforts of the hundreds of volunteers, to build Number 8 Community Arts Centre: 10 years of work that finally paid off, with a venue that now pioneers everything from dance workshops to digital 3D live streaming. It’s a hard job, but it can be done.

Conclusion

Every profession and industry has been hit in the past few years: and to survive, we need to rebuild. The most obvious place to start is with the buildings that we use. If the roof over your head is the best it could be, you know you can put on a great show. For all local performers reading this, I hope you will consider it.