20 C O N T E X T 1 2 8 : M A R C H 2 0 1 3 eritage of isure The heritage he heritage of leisure ge of leisure The heritage e heritage of leisure The he of leisure The heritage of heritage of leisure MARK PRICE Conserving theatres The best use for a historic theatre is the one for which it was originally intended, but theatres can be preserved by sympathetically converting them into other beneficial uses. Theatres are some of the most complex and fascinating buildings. Even the most architecturally undistinguished theatre building is likely to be cherished as a heritage asset by its local community. They are places of civic pride, and have cultural significance and individual value. Few building types attract such enthusiasm and emotion from owners, operators, users and visitors. With such passionate responses, it is no wonder that the Theatres Trust is involved with so many campaigns to protect and reuse them. There are late 18th and early 19th century country town ‘circuit’ theatres (Fisher Theatre, Bungay, 1828); music halls (Wilton’s); variety theatres (Hackney Empire); late Victorian and Edwardian theatres (Nottingham Theatre Royal); and inter-war theatres (Southampton Mayflower, 1928). There are many late 20th-century theatres (Chichester Festival), as from the 1960s almost every British town felt that it needed a theatre to demonstrate its commitment to improving the cultural life of its population. Over the years many other buildings types have been adapted or converted to theatres, such as churches, warehouses, halls and corn exchanges. Cinema found its first home in variety theatres andmany early cinemas were ‘cine-variety’ houses (Great Yarmouth Empire, 1908), with a minimal stage for the presentation of variety turns between the films,while some of the later ‘super-cinemas’ (Stockport Plaza) had a stagehouse and dressing rooms. There are two main types of larger theatres: commercial theatres and those enjoying some measure of subsidy. There is a further broad distinction which to an extent cuts across both the commercial and subsidised sectors. ‘Producing’ houses are theatres that produce their own shows ‘in house’. ‘Receiving’ houses have no resident company and only receive touring shows. One of the implications of the Theatres Trust Act 1976 (which established the Theatres Trust) was that theatres, whatever their current use(s) and regardless A panorama of the Newcastle Royal Theatre (Photo: Ian Grundy) Dernier and Hamlyn lights on the ceiling of the Newcastle Theatre Royal (Photo: Rory Gibson)
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