I am really starting to regret choosing to stage my play in a 'non-theatre' venue.
It has taken me so long, and so much searching, yet every perfect venue I find is in another country. Although as this is a hypothetical piece, I could stage it in one of these places abroad, because I want to create a working pitch as part of my hand-in, I would really like this to be a realistic project that I could potentially pitch to a company upon graduation.
Tonight I was in for the long-haul, and spent over 5 hours trawling the internet for perfect venues, but every venue type posed its own problems.... the ones with a nice high ceiling were too ornate, but the plainer venues were often very low, perhaps even crypts, the venues with the most character were venues that are derelict, out of bounds, and would be impossible to get to to measure let alone create a realistic pitch for. However, I have really enjoyed this search, and it has really opened my eyes to how many amazing venues and architectural feats there are right on our doorstep, and how when I lived in London, I definitely didn't make the most of it. It would take me all night to list every venue I've looked at, so I will instead compile short-list of venues that might require further investigation or have sparked my interest.....
In no particular order:
1. Beelitz Sanatorium
2. The crypt of St Paul's Cathedral
3. The Central hall of the Natural History Museum
4. The Freemason's Hall, London,
5. Vinopolis, London, 'The Cellar'
6. Vinopolis, London, 'The Great Halls'
7. Somerset House: Seaman's Hall
8. Bibendum
9. The Old Vic Tunnels
10. The Hoover Building, London
11. Eltham Palace
12. Battersea Arts Centre: 'Council Chamber'
13. Battersea Arts Centre: 'Grand Hall'
14. Troxy
15. London Film Museum, Southbank: 'Debating Chamber'
16. London Film Museum, Southbank: 'Rotunde'
17. One Moorgate Place: Main Reception
18. Old Billingsgate: The Vault
19. Battersea Arts Centre: 'Grand Foyer'
20. The Wapping Project/Wapping Hydraulic Power Station
21. Tower Bridge: The Bascule Chamber
22. A 'normal' purpose-built theatre
I will now explore the pros and cons of each venue on the list, hopefully narrowing it down in my head to a 'top 5', which I can then actually do a site visit to before I make my final decision. I hope to visit London next week.
1. Beelitz Sanatorium
Ohhhhhh, Beelitz Sanatorium, my one, my only, my first love. You should recognise the name from the one picture that stole my heart from the word go- the picture that set my standards so high for finding a 'perfect' venue that it has made my search infinitely more difficult.
In my initial narrow search, I found this image of the old abandoned bath house in Beelitz Sanatorium, when I was searching for old Swimming Pools that might be appropriate venues. It immediately stole my heart- the bizarre pool in the middle, the tiled floor, the arches, the glow of the bricks... this really epitomized for me the sort of venue I was looking for; something structural and atmospheric, without the surroundings stealing focus too much from the potential set. When I first found this image, I thought this was maybe one 'cool' building, on broadening my search tonight, I have discovered that it is in fact part of a dizzying complex, a massive abandoned Sanatorium that stretched-out for miles. I found tonnes of photos, of tonnes of different sites within the Sanatorium, each as bewitching as the last. I am absolutely gutted that I didn't try to visit here on my trip to Berlin last August, however, I have been reliably informed that they've stepped-up the security, and if I did an 'educational visit here' I would probably get in lots of trouble, if not with the police, then definitely with the Exam Board. Here are some of my favourite photos:
Pros:
Absolutely Stunning. Large variety of venues within the one complex. Has very high ceilings. Has exactly the right balance of decay and grandeur. I have just fallen in love with it. It has exactly the right 'feel' for my production of Salome; the architecture feels archaic and palatial, yet the surfaces show all the decay and disuse- conveying the same sort of feel as I was trying to create with my metal experiments, a sense of corrupted beauty. Lots of the rooms are large enough to fit a good amount of auditorium-style seating.
Cons:It is in Germany. It is derelict and dangerous to the public and therefore would 'in real life' cost a lot of money to make into a workable venue. It is unrealistic that I would be able to go to Germany in order to measure and get a feel for the venue, as it is expensive, and moreover it is illegal and counts trespassing. There a huge health and safety issues that I would need to address.
Further to Beelitz Sanatorium, there are plenty of other beautiful venues around continental Europe which would have been perfect for this production, but all with the same issues listed above for the Sanatorium. This lead me to stop looking at 'Urbex' locations (ie. 'Urban Explorer' spots that are under restricted access' and start to look at places that I would definitely have access to in order to measure etc. an moreover, that would realistically be a workable venue for the show to actually be staged there one day. However, below are a few more pictures from European Urbex locations that have taken my fancy:
2. The Crypt of St. Paul's Cathedral
A venue with interesting connotations. I quite like the fact that this venue is steeped in symbolism of both death and religion, as this seems very fitting for the play- however, as I will go on to mention, this brings its own problems. On another positive note, it also seems to have unusually high ceilings for a crypt.
Beautiful venue. Timeless Architecture but with a slightly deco twist in the form of the gates and the stunning floor tiles. Has the highest ceiling out of any of the crypts that I have looked at. Has strong connotations of both religion and death. Is open to the public and in London, so I would be able to go and look around and measure. Plus I think it is available for hire, so the thought of being able to stage a performance event there is not impossible.
Cons:
Although it is available for hire and Salome is technically a biblical story, this does not change the fact that the church might have something to say about a play so rich in blasphemy, sex, and evil, being performed in one of the most holy resting places in the UK, but then again, everyone loves a bit of controversy! It could be great! The greater issue lies in the nature of the space; although the ceiling is high FOR A CRYPT, it does not look high enough to have any sort of tiered seating. This is not the end of the world, we could have the audience standing in the round perhaps, it is not a long piece after all. The bigger issue, is that of sight-lines, what with all the pillars and erm... coffins. I also don't like how clean and white all the walls etc are, in theory though, I could just rough them up and then just paint them white again after the show.
3. The Central Hall of the Natural History Museum
It never once occurred to me that this could be a viable venue for anything other than housing Dinosaur bones, what with the huge skeletal structure traditionally taking up a large portion of the space. But it has just been revealed to me that you can actually hire out the main hall of the Natural History Museum for private functions!!! They 'just' move the dinosaur skeleton and that's that.
It has a huge amount of floor space and very very very high ceilings, which would mean that traditional raked seating tiers could be used. There are stairs and entrances already there, set pieces that are fairly essential in order for the play to work. I love the juxtaposition between the ancient stone and the deco-style metal support struts: it seems to epitomize the type of visuals I am going for. This venue also has the grand feeling of a palace, something that the crypt was lacking. I can go there for as long as I want to get a feel for the place, and I would imagine that blueprints would not be too difficult to get my hands on. As it is available for hire, one would assume that the idea of putting a performance on here is not impossible. It might work beautifully if I chose to stage the opera rather than the play....
Cons:
If I were to stage it as I first imagine, which would be to have the performance space encompassing the areas you see in the picture above, and the have the rest of the space dedicated to seating, the 'stage' itself is very restrictive and very narrow, not only that, but it would be difficult and inappropriate to add any large set pieces to the area, and I feel like I'd like to have more creative control than that. I'm sure there are ways of staging it that would get round this issue. Also, the space is so expansive that I imagine there would be lots of problems with acoustics, sound and lighting. The costumes would need to make a very very bold statement in order to stand-out against such an expansive setting. Making the set model might prove really difficult.
4. The Freemasons' Hall
Maybe I had a slightly old-fashioned view of the Freemasons.... but I thought I wouldn't be allowed in to have a look around their HQ, let alone hire it out as a venue. But yet again, my preconceptions have been proved wrong. I looked into the Freemason's Hall because I was always intrigued by the building, as I used to work next door to it at the New London Theatre, it never seemed to be open, so I never got a peak-in. Masonic architecture and patterns initially struck me as something to look into because it encompasses the same sort of aesthetics as my intended union between art deco and ancient imagery.
Pros:
It is in London, open for tours, and available to hire for a variety of events. The decor (on the most part) is both deco and decadent. The temple-like feel of the building, especially the exterior, has exactly the right feel for Herod's palace.
Cons:
It is too ornate- I don't like how overbearing some of the decor is, I want a very stark set to contrast with the more ornate costumes, and the interiors here are often too fussy. Having looked at the video-tour above, there actually only seems to be one room featured that would be vaguely appropriate (the one 1:30 in) and even then, I think there are sight-line issues and the ceiling is probably too low. I think it will be difficult to find a venue that is stark and timeless but still feels like a palace, however, I think we can do better than this.
5. Vinopolis, London, 'The Cellar'
I had never heard of Vinopolis, and I have to admit that I was slightly put-off by the fact that this was some trendy winery with no real background or character. I stumbled across it when it occurred to me to search for old breweries etc, as these could be buildings that own large old chambers but without all the distracting embellishments of finery that come with a 'rich' building.
Pros:
It
is in London, open for tours, and available to hire for a variety of
events. The decor is minimal and quite timeless, would certainly not distract from the set or costumes. There is ample space for both a stage and seating. Good floors.
Cons:
I imagine it does feel very 'underground'- in the play they are meant to be somewhere that is near outdoors (the air being 'sweeter' etc.) and are meant to be in a palace, whereas I'm sure when you are in this venue, there is no escaping that you are in a cellar. The brickwork is quite modern, and has a very british feel about it, I don't know if it's special enough or timeless enough. I don't think it is an astounding enough venue to justify not staging it in a real theatre. The venue has no characterful links to the themes of the play- its history is irrelevant.
6. Vinopolis, London, 'The Great Halls'
Even though I was a bit wary of the reputation of this trendy winery, and its lack of relevant character, I did find another room there that had a bit of potential.
Pros:
It
is in London, open for tours, and available to hire for a variety of
events. The decor is minimal and quite timeless, would certainly not
distract from the set or costumes. There is ample space for both a stage
and seating. Good floors. Pretty high ceilings. Although narrow, it does have a lot of floor space.
It just doesn't have the right feel, it's not ancient, and it's not palatial. The brickwork is
quite modern, and has a very British feel about it, I don't know if it's
special enough or timeless enough. I don't think it is an astounding
enough venue to justify not staging it in a real theatre. The venue has
no characterful links to the themes of the play- its history is
irrelevant.
7. Somerset House: Seaman's Hall
Mainly because of its exterior facade, Somerset House has been a venue that I thought might have some potential for some time. However, I was actually quite disappointed by the variety of venues that it had to offer once inside, and actually too much of it looks like an English Stately home. Below you will see the best of a so-so bunch.
Pros:
It is in London, and is available for hire; measuring of getting the dimensions of the room shouldn't be difficult. It has good floors. It is in a central location, and Somerset House has been used as a theatre venue many times. It does feel a little bit like a palace... sort of.
Cons:
Too low ceiling. Potentially too small a space. The venue's character and history has no relevance to the context of the play. The decors is too much like that of an English Stately home. It's all a bit 'safe' and 'dull', I'd like a venue that befittingly has a bit more edge, rather than one perfect for a wedding reception.
8. Bibendum
I have always been fascinated by this building, but have never had the opportunity to venture inside, therefore, the exterior sprung to mind almost immediately when I was trying to think of a venue, as the style is just perfect- a sort of bizarre deco temple.
But sadly, alas, alack, I just don't think the inside spaces that I can see photos of look like appropriate theatre spaces. Which is such a shame because it would be really immersive having the audience entering an external facade such as this, they could really believe they were in some sort of other worldly palace. The venue itself might still be worth a snoop around, there might be areas that haven't been photographed.
Pros:
Beautiful exterior with a perfect sense of the style of the play. The venue is accessible and in London, although measuring might be a bit awkward due to its function as a restaurant. The interior also has the right sort of style... to an extent. Very unique venue, in an accessible location.
Cons:
The interior is not suited for a theatrical performance. The decor is too ornate. The ceilings are too low. There are loads of depictions of the Michelin Man everywhere, which could be distracting- although they could be disguised if needs be.
9. The Old Vic Tunnels
Whether this venue turns out to be appropriate for my production or not (probably not), I am so glad to have discovered this exciting new performance space which I really had no idea existed! I'd really like to go and see something here asap.
Pros: It is a up-and-coming edgy performance venue, out of all the venues I've found , this one seems the most likely to actually be willing and able to stage my production. It has quite a decaying timeless quality. I can't really tell what the dimensions of the space is like, but in the photo below there seems to be more than enough space to create a theatrical piece. It is in London and I'm hoping I could get some ground plans or a tour easily.
Cons:
Again, like the crypts and cellars, I would imagine that you definitely get a sense of being underground. It doesn't feel palatial, and like the rooms in Vinopolis, it does feel very 'british'. However, I'm sure there are a variety of spaces on offer, and I can't really tell from the photos what the spaces are actually like. But either way, it might have a bit too much of a rustic-look to work well for Salome.
10. The Hoover Building, London
I had never heard of or seen this mysterious building until today, and I am shocked to discover that it is now a TESCO and offices. Like Bibendum, it was the exterior that attracted me to this venue, whilst the interior remains relatively elusive. I imagine it could be a perfect theatre venue, with all the open space inside, if it wasn't for the fact that it is inhabited by the thousands of shelves of a Tesco superstore!
Pros:
Has a beautiful Art Deco facade, with the potential for a lot of space inside. It is in London, and therefore convenient, but measuring might be a little tricky. It has a bit of a futuristic palace feel about it. It is certainly grand, just maybe not the right type of grand.
Cons:
The space that is most likely to be able to house a performance is now a supermarket, whereas the rest of the building has been split up into small offices and therefore would not have the right feel or the right space for the production. Measuring could be difficult. It is very unlikely that I would actually be able to stage a play here. It is difficult to fins images of the interior. It feels too modern.
11. Eltham Palace
Eltham Palace is situated just outside central London. It only just made it onto my top 20 list, and I don't think it's a very likely choice for me.
Pros:
It is a venue available for hire and would be easy to get measurements for. The main reception room has a very deco but ancient feel to it- the right sort of feel for Salome.
Cons:
None of the areas that have the right 'look' are suitable for a performance like this. Where as the chapel (pictured on the far right) would be great for a performance but looks far too Christian and far too British. It is not very easy to get to without a car. It is not in a very central location. It lacks any sort of relevant character. It seems very much a 'wedding venue' not cutting-edge enough, too safe.
12. Battersea Arts Centre: 'Council Chamber'
I have always wanted to see a production at the BAC, but have never got round to it, and I had no idea the venue was so versatile and extensive. First up, is the room that I initially fell in love with, but am now having doubts about, the Council Chamber.
Pros:
Weathered, aging, beautiful with really interesting architecture. The venue is in London, very accessible, and is used as a theatre venue- so, like the Old Vic Tunnels, I think this venue would hypothetically be likely to agree to stage my production. Good capacity for audience seating.
Cons:
Quite small in size, the ceiling is quite low so would mean that I couldn't do a multi-tiered set, something that lends itself to the play. I think the things I like about it are quite cosmetic, and the patina and aging on the walls could easily be replicated in a more suitable venue. I don't like the abundance of wooden paneling- makes it all more twee and modern and 'British'.
13. Battersea Arts Centre: 'Grand Hall'
The Grand Hall of the Battersea Arts Centre is very much a traditional 'theatre venue' in that it despite its very unique nuances, it is still based round a proscenium arch structure. I guess it's more like a music hall than anything else. This is another entry that only JUST made it onto the list, but I thought that the charm of the venue, including the entrance and foyer area, meant that it would be a good all-inclusive experience for the theatre-goer, even if it is not at all a site-specific space.
Pros:
As a purpose-built venue, things like auditorium seating, health and safety, and all that technical jazz, will not be a problem. It is in London, in a central location, would be easy to measure or find ground plans for. It is not unlikely that the venue would actually agree to stage this production if it ever came to fruition in real life.
Cons:
Although I like the arches, I am not very keen on the rest of the decor, I don't like the wooden paneling, I don't like the wooden stag and floor, and I don't like the ceiling. It is not a very tall stage area, in that again, with a lot of the venues I have found, I would be unable to do a good multi-tiered set. It is not site-specific, and its location or history adds nothing to the interpretation of the play.
14. Troxy
In a similar vein to the BAC: looking at more traditional theatre venues, I came across the Troxy. Decked-out in full deco decadence, the Troxy has all the grandeur to match that of a palace. However, I have to admit that the execution of the decor is Art Deco at its worst- primarily down to poor colour choices, lighting choices, and carpet choice, the Troxy now looks tacky and naff- not classic or timeless, in fact it makes me feel a bit sick. It really cheapens the sort of aesthetic I'm looking at by going way over the top. There were so many music halls, cinemas and theatres built in the 1920s and 1930s, its a shame that not more of the original architecture has survived. In an ideal world, if I were to chose a theatre of this ilk, the old Rex Theatre in Stratford would have suited me much better. However, as it is, the Troxy has been lovingly kept open, if not misguidedly restored to appeal to the bingo demographic. And actually, the architecture and decor could be made the most of with careful lighting and a new floor.
Pros: I like the 2 domes in the ceiling and the use of balconies.
Cons: It only seats 60. It feels like a wedding venue. It is too rococo. It is too 'classical' not edgy enough. The staging area is too small.
20. The Wapping Project/Wapping Hydraulic Power Station
One of the last venues I discovered in my search, I am so surprised and a little annoyed that I didn't come across this earlier on. The mysterious Wapping Project (with equally mysterious website) seems to be some sort of Arts Collective and Restaurant situated in the old Wapping Hydraulic Power Station. I can find so little information about it, but it seems like an interesting building and a very interesting project- definitely worth an investigate I reckon!
Pros: It is in London, in a trendy location, and is part of a movement and venue that might be likely to encourage such a production. It seems to have very very high ceilings and interesting architecture. It is weather-beaten and old.
Cons: It is industrial-looking and quintessentially 'british'. The sight-lines may be difficult with all the struts and supports. Not sure about the brickwork. Might be harder to go and look around than I think. Difficult to get information on.
21. Tower Bridge: The Bascule Chamber
As soon as I saw a picture of this chamber, it struck me what an amazing space it is. I love the multiple levels, the giant, expansive walls, the structures in the ceiling, and the fact that it almost has an accidental built-in auditorium. However, despite my love, this venue is a real tricky one, given that it serves an important purpose as the hollow-space into which the counterweight falls when the bridge is being raised...... this could certainly quash any dreams of staging a production here......
Pros: There is sort of already seating there. It is in London. It has a pretty high ceiling. It is incredibly unique and atmospheric. Definitely won't have been done before.
Cons: Venue has strictly limited access to those on the special tour only. Thus making it hard to go and check-out without paying £30 for a tour ticket, and also making it unlikely that the pitch I'm creating will ever be worth-while. In a space like this, there are probably excessive Health and Safety issues to do with how many people can be in there etc. Would need to build the stage put into the seating. Has a British-industrial feel about it. Is probably unfeasible to serve as a theatre venue when the space is still needed under its original purpose of housing the counterweight when the bridge is raised. Also, it could seem a bit tacky, not in practice, but in concept- people would think 'why on earth are they staging Salome in Tower Bridge? What's one got to do with the other?' and to be honest... not a lot.
22. A 'normal' purpose-built theatre
AHHHHH! I have spent weeks. WEEKS. searching and compiling and analysing potential venues, yet every venue I fall in love with is out of reach. At this point now, I'm still uncertain as to whether the perfect venue has been mentioned in this blog post, and therefore am aware that I will probably need to make a comprimise somewhere.
Compromise option 1: Use a location that I like but can't get to (like the Sanatorium) and make-up the dimensions.
Not really happy doing this, I'd like to do somewhere I can visit and get a feel for the space, aslso for the sake of the pitch, I'd like somewhere legal and real.
Compromise option 2: After all this hard work, maybe I should consider just staging it in a 'proper' theatre.....
After all, the whole point of site-specific performances is that the location of the play is meant to add something to the text, a new interpretation, a greater feeling of realism, and immersive nature... but if a venue that is not a purpose-built theatre fails to offer these things, why stray from the path? Why not use a theatre? After all, there is a lot to be said for proper seating, clear sight-lines, a deep and high stage, and most of all a blank canvas on which to work on. I want to make this set much more figurative and minimalist than some of my previous work, therefore, as I'm not striving for realism, maybe choosing to present the work in a site-specific way was a poor choice?
But then again, from an academic perspective, I chose to make the production in a non-traditional venue in order to challenge myself, in order to have to work round building-nuances and aesthetic obstructions. I don't want to have just another boring model-box, I want to design something that feels a bit more special. But if it's not right.... it's not right.
I am upset that after a huge amount of time dedicated to this search, and indeed, this blog post, I feel I am not that much nearer to making a decision, yet this is something that is really blocking me creatively and is causing my whole project to grind to an unsatisfactory halt.
BoOO!
More to come on this later.... I should hope!!!
Cons:
7. Somerset House: Seaman's Hall
Mainly because of its exterior facade, Somerset House has been a venue that I thought might have some potential for some time. However, I was actually quite disappointed by the variety of venues that it had to offer once inside, and actually too much of it looks like an English Stately home. Below you will see the best of a so-so bunch.
Pros:
It is in London, and is available for hire; measuring of getting the dimensions of the room shouldn't be difficult. It has good floors. It is in a central location, and Somerset House has been used as a theatre venue many times. It does feel a little bit like a palace... sort of.
Cons:
Too low ceiling. Potentially too small a space. The venue's character and history has no relevance to the context of the play. The decors is too much like that of an English Stately home. It's all a bit 'safe' and 'dull', I'd like a venue that befittingly has a bit more edge, rather than one perfect for a wedding reception.
8. Bibendum
I have always been fascinated by this building, but have never had the opportunity to venture inside, therefore, the exterior sprung to mind almost immediately when I was trying to think of a venue, as the style is just perfect- a sort of bizarre deco temple.
Pros:
Beautiful exterior with a perfect sense of the style of the play. The venue is accessible and in London, although measuring might be a bit awkward due to its function as a restaurant. The interior also has the right sort of style... to an extent. Very unique venue, in an accessible location.
Cons:
The interior is not suited for a theatrical performance. The decor is too ornate. The ceilings are too low. There are loads of depictions of the Michelin Man everywhere, which could be distracting- although they could be disguised if needs be.
9. The Old Vic Tunnels
Whether this venue turns out to be appropriate for my production or not (probably not), I am so glad to have discovered this exciting new performance space which I really had no idea existed! I'd really like to go and see something here asap.
Pros: It is a up-and-coming edgy performance venue, out of all the venues I've found , this one seems the most likely to actually be willing and able to stage my production. It has quite a decaying timeless quality. I can't really tell what the dimensions of the space is like, but in the photo below there seems to be more than enough space to create a theatrical piece. It is in London and I'm hoping I could get some ground plans or a tour easily.
Cons:
Again, like the crypts and cellars, I would imagine that you definitely get a sense of being underground. It doesn't feel palatial, and like the rooms in Vinopolis, it does feel very 'british'. However, I'm sure there are a variety of spaces on offer, and I can't really tell from the photos what the spaces are actually like. But either way, it might have a bit too much of a rustic-look to work well for Salome.
10. The Hoover Building, London
I had never heard of or seen this mysterious building until today, and I am shocked to discover that it is now a TESCO and offices. Like Bibendum, it was the exterior that attracted me to this venue, whilst the interior remains relatively elusive. I imagine it could be a perfect theatre venue, with all the open space inside, if it wasn't for the fact that it is inhabited by the thousands of shelves of a Tesco superstore!
Pros:
Has a beautiful Art Deco facade, with the potential for a lot of space inside. It is in London, and therefore convenient, but measuring might be a little tricky. It has a bit of a futuristic palace feel about it. It is certainly grand, just maybe not the right type of grand.
Cons:
The space that is most likely to be able to house a performance is now a supermarket, whereas the rest of the building has been split up into small offices and therefore would not have the right feel or the right space for the production. Measuring could be difficult. It is very unlikely that I would actually be able to stage a play here. It is difficult to fins images of the interior. It feels too modern.
11. Eltham Palace
Eltham Palace is situated just outside central London. It only just made it onto my top 20 list, and I don't think it's a very likely choice for me.
It is a venue available for hire and would be easy to get measurements for. The main reception room has a very deco but ancient feel to it- the right sort of feel for Salome.
Cons:
None of the areas that have the right 'look' are suitable for a performance like this. Where as the chapel (pictured on the far right) would be great for a performance but looks far too Christian and far too British. It is not very easy to get to without a car. It is not in a very central location. It lacks any sort of relevant character. It seems very much a 'wedding venue' not cutting-edge enough, too safe.
12. Battersea Arts Centre: 'Council Chamber'
I have always wanted to see a production at the BAC, but have never got round to it, and I had no idea the venue was so versatile and extensive. First up, is the room that I initially fell in love with, but am now having doubts about, the Council Chamber.
Weathered, aging, beautiful with really interesting architecture. The venue is in London, very accessible, and is used as a theatre venue- so, like the Old Vic Tunnels, I think this venue would hypothetically be likely to agree to stage my production. Good capacity for audience seating.
Cons:
Quite small in size, the ceiling is quite low so would mean that I couldn't do a multi-tiered set, something that lends itself to the play. I think the things I like about it are quite cosmetic, and the patina and aging on the walls could easily be replicated in a more suitable venue. I don't like the abundance of wooden paneling- makes it all more twee and modern and 'British'.
13. Battersea Arts Centre: 'Grand Hall'
The Grand Hall of the Battersea Arts Centre is very much a traditional 'theatre venue' in that it despite its very unique nuances, it is still based round a proscenium arch structure. I guess it's more like a music hall than anything else. This is another entry that only JUST made it onto the list, but I thought that the charm of the venue, including the entrance and foyer area, meant that it would be a good all-inclusive experience for the theatre-goer, even if it is not at all a site-specific space.
Pros:
As a purpose-built venue, things like auditorium seating, health and safety, and all that technical jazz, will not be a problem. It is in London, in a central location, would be easy to measure or find ground plans for. It is not unlikely that the venue would actually agree to stage this production if it ever came to fruition in real life.
Cons:
Although I like the arches, I am not very keen on the rest of the decor, I don't like the wooden paneling, I don't like the wooden stag and floor, and I don't like the ceiling. It is not a very tall stage area, in that again, with a lot of the venues I have found, I would be unable to do a good multi-tiered set. It is not site-specific, and its location or history adds nothing to the interpretation of the play.
14. Troxy
In a similar vein to the BAC: looking at more traditional theatre venues, I came across the Troxy. Decked-out in full deco decadence, the Troxy has all the grandeur to match that of a palace. However, I have to admit that the execution of the decor is Art Deco at its worst- primarily down to poor colour choices, lighting choices, and carpet choice, the Troxy now looks tacky and naff- not classic or timeless, in fact it makes me feel a bit sick. It really cheapens the sort of aesthetic I'm looking at by going way over the top. There were so many music halls, cinemas and theatres built in the 1920s and 1930s, its a shame that not more of the original architecture has survived. In an ideal world, if I were to chose a theatre of this ilk, the old Rex Theatre in Stratford would have suited me much better. However, as it is, the Troxy has been lovingly kept open, if not misguidedly restored to appeal to the bingo demographic. And actually, the architecture and decor could be made the most of with careful lighting and a new floor.
Pros:
Built for performance purposes, ground plans are most likely available. In a trendy East London location. Attempts to whole-heartedly embody the spirit of deco. Has ample seating. The feel of the venue runs through out the building.
Cons:
Really really naff. Terrible carpets. Has a sort of 'cruise-ship' vibe. Way too ornate for my production of Salome. Is not site-specific. Would need to build a new, higher, deeper stage area. Would make trick the audience into thinking I'm actually setting it in the 1920s, which I am not.
15. London Film Museum, Southbank: 'Debating Chamber'
I have often thought upon visiting, that the London Film Museum does not fit its grand venue very well- the exhibitions are a bit dodgily laid-out and there's a lot of space between things, then suddenly everything is crammed together, so it comes as no surprise to me that you can hire out most of teh museum, and like the Natural History Museum, it will remove the museum items from your room of choice, so you don't have the exhibits to contend with.
Pros:
If the seating etc. can be removed then there is space for a really interesting stage-area, with a lot of height. Interesting decor, maybe a bit naff in places. It is a venue that can be hired-out for a variety of purposes- easy to get to, hopefully easy to measure.
Cons:
I hate all the seating. Even with different seating, it wouldn't seat many. I also hate the carpet and the weird green wallpaper- although all this is cosmetic. The venue choice has no relation to the text and adds nothing to the interpretation of the production. NAFF.
16. London Film Museum, Southbank: 'Rotunde'
I have always really liked this room, and felt that it was a very strange location in which to house rather mediocre costume examples. Maybe I could put it to better use.... it is often hired-out for events after all.
Pros:
It could work nicely in the round but would limit the playing space dramatically and would really reduce the amount I could do with additional set pieces. The deco ceiling is great. Really nice architecture that befits the feeling of the piece. Again, it is in London, it is easily accessible, and it is available for Private Hire.
Cons:
Being forced to stage it in the round could be limiting. There isn't a huge amount of space to fit both the stage area and spectators into. Why bother to not have it at a theatre, if the venue you choose instead is something as soulless as the Film Museum- whose character and history has nothing to do with the play, and adds nothing to the interpretation of the text.
17. One Moorgate Place: Main Reception
Not much to say about this one really.... It's boring, it's rococo and it's just not right.
Pros: I like the 2 domes in the ceiling and the use of balconies.
Cons: It only seats 60. It feels like a wedding venue. It is too rococo. It is too 'classical' not edgy enough. The staging area is too small.
18. Old Billingsgate: The Vault or Main Room
Pros: It is in London, and available for hire as an event space. The Vault is quite atmospheric. The main room has high ceilings. The ground plans are available to download online.
Cons: It is pretty soulless- it doesn't have the right feel or connotations for Salome- the Vault does more than the main room, but the main room is far better equipped for a theatrical spectacle. Ceilings too low in the Vault- sight lines limited. Don't like the ceiling in the main room. It's too twee, it's too mainstream, it's too 'british'.
19. Battersea Arts Centre: 'The Grand Foyer'
Pros: It is in London, would be easy to go and measure and get a feel for the space, available for hire. Beautiful glass dome- could make interesting for lighting. Befitting neo-classical architecture.
Cons: The area of the space is very small- both the performance space and audience space would be tiny, even if it were done in the round. It's all a bit clean-cut, everything is pristine and beautiful. Don't really think the space is appropriate for anything more than a monologue- Salome need's 26 people on stage at one point in the play.... not going to happen.
One of the last venues I discovered in my search, I am so surprised and a little annoyed that I didn't come across this earlier on. The mysterious Wapping Project (with equally mysterious website) seems to be some sort of Arts Collective and Restaurant situated in the old Wapping Hydraulic Power Station. I can find so little information about it, but it seems like an interesting building and a very interesting project- definitely worth an investigate I reckon!
Pros: It is in London, in a trendy location, and is part of a movement and venue that might be likely to encourage such a production. It seems to have very very high ceilings and interesting architecture. It is weather-beaten and old.
Cons: It is industrial-looking and quintessentially 'british'. The sight-lines may be difficult with all the struts and supports. Not sure about the brickwork. Might be harder to go and look around than I think. Difficult to get information on.
21. Tower Bridge: The Bascule Chamber
As soon as I saw a picture of this chamber, it struck me what an amazing space it is. I love the multiple levels, the giant, expansive walls, the structures in the ceiling, and the fact that it almost has an accidental built-in auditorium. However, despite my love, this venue is a real tricky one, given that it serves an important purpose as the hollow-space into which the counterweight falls when the bridge is being raised...... this could certainly quash any dreams of staging a production here......
Cons: Venue has strictly limited access to those on the special tour only. Thus making it hard to go and check-out without paying £30 for a tour ticket, and also making it unlikely that the pitch I'm creating will ever be worth-while. In a space like this, there are probably excessive Health and Safety issues to do with how many people can be in there etc. Would need to build the stage put into the seating. Has a British-industrial feel about it. Is probably unfeasible to serve as a theatre venue when the space is still needed under its original purpose of housing the counterweight when the bridge is raised. Also, it could seem a bit tacky, not in practice, but in concept- people would think 'why on earth are they staging Salome in Tower Bridge? What's one got to do with the other?' and to be honest... not a lot.
22. A 'normal' purpose-built theatre
AHHHHH! I have spent weeks. WEEKS. searching and compiling and analysing potential venues, yet every venue I fall in love with is out of reach. At this point now, I'm still uncertain as to whether the perfect venue has been mentioned in this blog post, and therefore am aware that I will probably need to make a comprimise somewhere.
Compromise option 1: Use a location that I like but can't get to (like the Sanatorium) and make-up the dimensions.
Not really happy doing this, I'd like to do somewhere I can visit and get a feel for the space, aslso for the sake of the pitch, I'd like somewhere legal and real.
Compromise option 2: After all this hard work, maybe I should consider just staging it in a 'proper' theatre.....
After all, the whole point of site-specific performances is that the location of the play is meant to add something to the text, a new interpretation, a greater feeling of realism, and immersive nature... but if a venue that is not a purpose-built theatre fails to offer these things, why stray from the path? Why not use a theatre? After all, there is a lot to be said for proper seating, clear sight-lines, a deep and high stage, and most of all a blank canvas on which to work on. I want to make this set much more figurative and minimalist than some of my previous work, therefore, as I'm not striving for realism, maybe choosing to present the work in a site-specific way was a poor choice?
But then again, from an academic perspective, I chose to make the production in a non-traditional venue in order to challenge myself, in order to have to work round building-nuances and aesthetic obstructions. I don't want to have just another boring model-box, I want to design something that feels a bit more special. But if it's not right.... it's not right.
I am upset that after a huge amount of time dedicated to this search, and indeed, this blog post, I feel I am not that much nearer to making a decision, yet this is something that is really blocking me creatively and is causing my whole project to grind to an unsatisfactory halt.
BoOO!
More to come on this later.... I should hope!!!
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