Wikipedia

Birmingham Repertory Theatre

Birmingham Repertory Theatre,commonly calledBirmingham Repor justThe Rep,is aproducing theatrebased onCentenary SquareinBirmingham,England.Founded byBarry Jackson,it is the longest-established of Britain's building-based theatre companies[1]and one of its most consistently innovative.[2]

Birmingham Rep
  • Birmingham Rep
  • The Rep
Birmingham Rep in 2022
Map
AddressCentenary Square,Broad Street
Birmingham
England
Coordinates52°28′46″N1°54′34″W/ 52.479417°N 1.909414°W/52.479417; -1.909414
Type
Capacity
  • 825 (The House)
  • 300 (The Studio)
  • 140 (The Door)
Construction
Opened1913(1913)
Rebuilt2013
ArchitectGraham Winteringham
Website
birmingham-rep.co.uk

Today The Rep produces a wide range of drama in its three auditoria (825 seats, 300 seats, and 140 seats), much of which goes on to tour nationally and internationally.[3]The company retains its commitment to new writing and in the five years to 2013 commissioned and produced 130 new plays.[3]

The company's former home, now known as "Old Rep",is still in use as a theatre.

History

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Foundation and early years

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Barry Jackson,The Rep's founder, pictured in 1922.

The origins of The Rep lie with the 'Pilgrim Players', an initially amateurtheatre companyfounded byBarry Jacksonin 1907 to reclaim and stage Englishpoetic drama,performing a repertoire that ranged from the 16th century morality playInterlude of Youthto contemporary works byW. B. Yeats.[4]Over the next five years the company staged a total of 28 different productions, aiming to "put before the Birmingham public such plays as cannot be seen in the ordinary way at theatres", but also performing as far afield asLondonandLiverpool.[5]Their success and reputation led them to turn professional and rename themselves the 'Birmingham Repertory Company' in 1911.[4]By September 1912 Jackson had bought a site in Station Street inBirmingham City Centreand appointed an architect to design what would become Britain's first purpose-built repertory theatre.[6]Construction started the following month and the building – now theOld Rep– opened with a production ofTwelfth Nightonly four months later, on 15 February 1913.[7]

TheOld Rep– The Rep's home from 1913 until 1971.

The Rep's stated mission was "to enlarge and increase the aesthetic sense of the public... to give living authors an opportunity of seeing their works performed, and to learn something from the revival of the classics; in short to serve an art instead of making that art serve a commercial purpose".[8]There had been earlier repertory theatres inManchester,GlasgowandLiverpool,but the Birmingham project was unique.[6]Previous companies had taken over large commercial theatres and been governed by Boards of Directors; the Birmingham Rep occupied a small-scale auditorium that seated only 464 and was under the sole control of Jackson, whose combination of the roles of patron and artistic director was unique in British theatrical history, allowing the development of a far more imaginative and eclectic programme.[6]Instead of focusing on established star names and popular plays, Jackson's Rep was built around anensemble castof young emerging acting talent, performing a repertoire that mixed classics, new writing, experimental productions and the revival of rarely performed works.[9]This was a pivotal development in the establishment of the modern British theatrical landscape, setting the pattern that would later be followed by post-war companies such as theNational Theatreand theRoyal Shakespeare Company.[9]

The Rep developed its reputation with a series of artistic achievements whose effects would be felt far beyond Birmingham. Thirty-six plays were given their world premieres at The Rep during its first decade, with eight more, including major works by European writers such asChekhovandTolstoy,being given their British premieres.[10]John Drinkwaterhad been one of the original members of the Pilgrim Players and was employed as the Rep's first manager when it opened in 1913.[11]Jackson encouraged his development into a dramatist, presenting a series of his one-act plays and culminating in the 1918 premiere of his first full-length workAbraham Lincoln,whose triumphant success marked a turning point both for playwright and theatre.[12]The Rep's 1923 production ofGeorge Bernard Shaw's epic five play cycleBack to Methuselahgave the company "a profile and stature that set it apart from other repertory theatres in Britain, as well as according it an artistic credibility that no London theatre of the time could match."[13]Of longest-lasting influence however was the production ofCymbelinethat opened in Birmingham in April 1923.[14]This was the first performance ofShakespeareto take place inmodern dress[15]and it "bewildered" critics, leading to what Jackson happily called "a national and worldwide controversy".[16]The Rep's modern dress production ofHamlet,opening at the Kingsway in August 1925, was the first modern dress staging of a Shakespeare play in London and "was to be the real test" of the technique.[17]

The company also came to be recognised as the country's leading training ground for actors and actresses who would later establish themselves as stars in London, New York orHollywood.[18]John Gielgud's performance asRomeowith the company in 1924 was his first major role.[19]Peggy Ashcroftmade her professional debut with Birmingham seasons in 1926 and 1927.[20]Laurence Olivier's recruitment by The Rep in March 1926 marked his theatrical breakthrough; The Rep was, he later commented, "where I had dreamt of being, where I knew would be found the absolute foundation of any good that I could ever be in my profession".[21]

By the late 1920s Jackson occupied a "central and commanding" role in high-brow British theatre[22]with Birmingham the nerve-centre of his activities.[18]At least one production was presented in London every year from 1919 to 1935.[22]In 1932, in addition to the programme in Birmingham, there were seven productions in London, a season atMalvernand national tours of Britain and Canada – in the 1980s it was commented that "it is difficult to conceive how even an organisation as well-endowed today as the National Theatre or Royal Shakespeare Company could achieve such miracles within twelve months".[22]

Public ownership

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Jackson single-handedly financed the theatre for over two decades, personally losing over £100,000.[23]The scale of Jackson's financial commitment to The Rep was revealed by the recollections ofGeorge Bernard Shawof his first meeting with Jackson in 1923:

'How much a year are you out of pocket by this culture theatre of yours?' I said. He named an annual sum that would have sufficed to support fifty labourers and their families. I remarked that this was not more than it would cost him to keep a thousand-ton steam yacht. He said a theatre was better fun than a steam yacht, but said it in the tone of a man who could afford a steam yacht.

— George Bernard Shaw[24]

Jackson threatened to close the theatre at the end of the 1923–24 season after audiences at a production ofGeorg Kaiser'sGasin November 1923 averaged only 109 per night, but relented after commitments were made by 4,000 subscribers for the following season.[25]A fundraising appeal in 1934 raised only £3,000 of its £20,000 target, however, leading Jackson to hand over ownership to aboard of trusteesin January 1935.[26]Although this relieved Jackson of financial responsibility for the company, he would retain full artistic control until his death in 1961.[26]

The Rep's radical reputation attracted young talent. Actors who first rose to prominence at the pre-war Rep includedLaurence Olivier,Cedric Hardwicke,Gwen Ffrangcon-Davies,Edith Evans,Stewart GrangerandRalph Richardson.

By the outbreak of the Second World War the Rep was, alongside theLiverpool Playhouse,one of only two British theatres presenting programmes of quality drama outside London in accordance with the original aims of the repertory movement.[27]An indication of the Rep's status in British theatre at this time was given by the Scottish playwrightJames Bridie,who wrote in 1938: "If we are to be bombed, a thorough razing from Piccadilly Circus to Drury Lane and down to The Strand would do less harm to the theatre than one bomb on Station Street, Birmingham."[28]

All British theatres were closed for the first month of the war, and when the Rep reopened ticket sales were poor and staff had to take pay cuts.[29]

During WW2

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The directorPeter Brooklaunched his career at the Rep in 1945 and directed three plays withPaul Scofieldin 1945. Other post war actors includedStanley Baker,Albert Finney,Ian Richardson,Julie Christie,Derek Jacobi,Colin JeavonsandTimothy Spall(Cochrane 2003).

Sir Barry Jacksonremained managing director of the theatre until his death in 1961.

Broad Street

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In 1971 the company moved from Station Street to a new 901-seat theatre designed byGraham Winteringhamand Keith Williams Architects onBroad Street,in the area that would later be developed as Centenary Square. The theatre was opened byPrincess Margaretand the first production to be shown in the theatre was an adaptation ofJane Austen'sPride and PrejudicecalledFirst Impressionswhich starredPatricia Routledge.The building itself won aRoyal Institute of British Architectsaward in 1972.[30]

Blue plaquetoSampson Gamgee
The Rep in 2007, before rebuilding as part of the Library of Birmingham project removed the 1991 extension, which can be seen to the right.

In 1972, the Studio opened; it became an example of innovative theatre nationwide. It targeted young audiences and showcased new writing, including the world premiere ofDeath StorybyDavid Edgar.In 1974, David Edgar was made resident playwright. Despite the success ofOh Fair Jerusalem,the Rep board decided against stagingDestinybecause of its strong theme of racial tension,[31]puttingThe Importance of Being Earneston instead.

The escalating maintenance costs of the new building in the inflationary 1970s put pressure on the Rep's funding: in 1974–75 maintenance accounted for 66% of the theatre's budget.[32]The theatre began to make losses during the mid-1970s and the Board of Directors was restructured in an attempt to secure funding.

The Studio became popular during the 1980s and in 1988,Kenneth Branaghtemporarily relocated hisRenaissance Theatre Companyto the Rep which gave Birmingham the opportunity to showcase plays by guest directors such asJudi DenchandDerek Jacobi.

During the 1970s and 1980s the Studio was a regular home to theBirmingham Youth Theatre,a company which launched the careers of actors such asAndrew TiernanandAdrian Lester.

The theatre was refurbished and extended in 1991 after the completion of theInternational Convention Centre.However, the Rep began to stop making profits[citation needed]as the country was hit by recession.

In 1998 the company opened "The Door" as a second auditorium specialising in new writing, replacing the Studio.

In 2004 the company controversially cancelled a series of performances ofGurpreet Kaur Bhatti's playBehztiafter protests from Birmingham's largeSikhcommunity.[33]

One of the theatre's most notable productions is the stage version ofRaymond Briggs'The Snowmanwhich first premiered in 1993. It has since been presented at the Rep regularly at Christmas, as well atSadler's Wells(Peacock Theatre) and across the UK and the world.

Between 2011 and 2013, the theatre was closed for rebuilding, as part of theLibrary of Birminghamcomplex. The company continued to perform from other local theatres during that time.

There are twoblue plaqueson the exterior of the building, one commemorating the pioneer of aseptic surgery,Sampson Gamgee,who once lived on the site.

The Rep also has a youth theatre called "The Young Rep" which attend Saturday classes and produce and perform their own drama. Recently, the Young Rep have put on productions on the Main House Stage such as "The Rotters Club"andE. R. Braithwaite's "To Sir With Love".Dennis Kelly's "DNA" was also performed by the Young Rep in the Studio Theatre in early 2018.

In the autumn of 2020, The Rep revealed that they would hire spaces to operate a Nightingale Court from December that year to until the summer of 2021 to secure its future in the face of closure due to the Covid-19 pandemic.[34]This move divided opinion and was not received well by some artists, creatives and community leaders.[35][36][37][38][39]

Notable productions

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Bibliography

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  • Cochrane, Claire (2003).The Birmingham Rep - A city's theatre 1962-2002.Sir Barry Jackson Trust.ISBN0954571908.
  • Conolly, Leonard W. (2002)."Introduction".In Conolly, Leonard W. (ed.).Bernard Shaw and Barry Jackson.Selected Correspondence of Bernard Shaw. Toronto: University of Toronto Press. pp. xi–xxxvi.ISBN0802035728.Retrieved18 May2014.
  • Rowell, George; Jackson, Tony (1984).The Repertory Movement: A History of Regional Theatre in Britain.Cambridge: Cambridge University Press.ISBN0521319196.Retrieved11 May2014.
  • Trewin, J. C.(1963).The Birmingham Repertory Theatre 1913-1963.London: Barrie and Rockliff.OCLC469519557.
  • Turnbull, Olivia (2008).Bringing Down the House: The Crisis in Britain's Regional Theatres.Bristol: Intellect Books.ISBN978-1841502083.Retrieved11 May2014.

References

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  1. ^Cochrane 2003,p. 1.
  2. ^Cochrane 2003,cover.
  3. ^ab"Birmingham Repertory Theatre Company".Arts Council England. Archived fromthe originalon 4 February 2014.Retrieved21 April2014.
  4. ^abGardner, Viv (2004)."Provincial stages 1900-1934: touring and early repertory theatre".In Kershaw, Baz (ed.).The Cambridge History of British Theatre.Vol. 3. Cambridge: Cambridge University Press. p. 74.ISBN0521651328.Retrieved18 May2014.
  5. ^Conolly 2002,pp. xiv–xv.
  6. ^abcRowell & Jackson 1984,p. 50.
  7. ^Conolly 2002,p. xv.
  8. ^Troyan, Michael (2010).A Rose for Mrs. Miniver: The Life of Greer Garson.Le xing ton, KY: University Press of Kentucky. p. 20.ISBN978-0813137346.Retrieved18 May2014.
  9. ^abHampton-Reeves, Stuart (2008)."Shakespeare, Henry VI and the Festival of Britain".In Hodgdon, Barbara; Worthen, W. B. (eds.).A Companion to Shakespeare and Performance.London: John Wiley & Sons. p. 289.ISBN978-1405150231.Retrieved18 May2014.
  10. ^Conolly 2002,p. xvii.
  11. ^Rowell & Jackson 1984,pp. 49–50.
  12. ^Rowell & Jackson 1984,pp. 50–51.
  13. ^Conolly 2002,pp. xx–xxi.
  14. ^Conolly 2002,p. xxi.
  15. ^Holland, Peter (2001)."Shakespeare in the twentieth-century theatre".In De Grazia, Margreta; Wells, Stanley W. (eds.).The Cambridge Companion to Shakespeare.Cambridge: Cambridge University Press. p. 202.ISBN0521658810.Retrieved18 May2014.
  16. ^Bevington, David; Kasten, David Scott (2009)."Cymbeline on Stage".In Bevington, David; Kasten, David Scott (eds.).The Late Romances.New York: Random House. p. 204.ISBN978-0307421838.Retrieved18 May2014.
  17. ^Styan, J.L. (1977).The Shakespeare Revolution.Cambridge University Press. pp. 143–149.ISBN052121193X.
  18. ^abRowell & Jackson 1984,p. 56.
  19. ^Cochrane, Claire (2011).Twentieth-Century British Theatre: Industry, Art and Empire.Cambridge: Cambridge University Press. p. 96.ISBN978-1139502139.Retrieved18 May2014.
  20. ^Rowell & Jackson 1984,pp. 56–57.
  21. ^Rokison, Abigail (2013)."Laurence Olivier".In Jackson, Russell (ed.).Gielgud, Olivier, Ashcroft, Dench: Great Shakespeareans.London: Bloomsbury Arden Shakespeare. p. 67.ISBN978-1472515445.Retrieved18 May2014.
  22. ^abcRowell & Jackson 1984,p. 55.
  23. ^Turnbull 2008,p. 19.
  24. ^Conolly 2002,pp. xix–xx.
  25. ^Conolly 2002,pp. xxii–xxiii.
  26. ^abConolly 2002,p. xxiii.
  27. ^Turnbull 2008,p. 20.
  28. ^Conolly 2002,p. xxiv.
  29. ^Trewin 1963,p. 124.
  30. ^"Shaping the 1970s: 1970s Architecture in Birmingham".Archived fromthe originalon 30 September 2007.Retrieved7 October2021.
  31. ^"The Birmingham Repertory Theatre Archive 1971 - present".Birmingham City Council.Retrieved5 March2013.
  32. ^Turnbull 2008,p. 50.
  33. ^"Theatre stormed in Sikh protest".News.bbc.co.uk.19 December 2004.Retrieved7 October2021.
  34. ^"Nightingale Court at the Rep - Birmingham Rep".Archived fromthe originalon 14 December 2020.Retrieved23 December2020.
  35. ^David Sanderson."Black artists rebel against turning theatre into Nightingale court".Thetimes.co.uk.Retrieved7 October2021.
  36. ^"Theatre company pulls out of 'Black Joy' season over venue's court deal".Bbc.co.uk.22 December 2020.Retrieved7 October2021.
  37. ^"Black company pulls out of Birmingham theatre over Nightingale court".The Guardian.24 December 2020.Retrieved7 October2021.
  38. ^"Talawa calls off Birmingham Rep partnership after venue becomes temporary court".The Stage.Retrieved7 October2021.
  39. ^"Black Joy Update".Talawa.Retrieved7 October2021.
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