The Old Vic
|Royal Coburg Theatre
Royal Victoria Theatre
Royal Victoria Palace
Royal Victoria Hall and Coffee Tavern
|Public transit|| Waterloo
|Owner||Old Vic Theatre Trust
Chief Executive: Sally Greene
|Designation||Grade II* listed|
|Type||Non-profit producing theatre
Artistic Director: Matthew Warchus
|Rebuilt||1871: J. T. Robinson
1880/1902: Elijah Hoole
1922/1927: Frank Matcham
1933-38: F. Green & Co
1950: Pierre Sonrel
1960: Sean Kenny
1983: Renton, Howard, Wood & Levine
|Architect||Rudolphe Cabanel of Aachen|
The Old Vic is a theatre located just south-east of Waterloo Station in London on the corner of The Cut and Waterloo Road. Established in 1818 as the Royal Coburg Theatre, and renamed in 1833 the Royal Victoria Theatre, in 1871 it was rebuilt and reopened as the Royal Victoria Palace. It was taken over by Emma Cons in 1880 and formally named the Royal Victoria Hall, although by this time it was already known as the "Old Vic". In 1898, a niece of Cons, Lilian Baylis assumed management and began a series of Shakespeare productions in 1914. The building was damaged in 1940 during air raids and it became a Grade II* listed building in 1951 after it reopened.
It was also the name of a repertory company that was based at the theatre and formed the core of the National Theatre of Great Britain on its formation in 1963, under Laurence Olivier. The National Theatre remained at the Old Vic until new premises were constructed on the South Bank, opening in 1976. The Old Vic then became the home of Prospect Theatre Company, at that time a highly successful touring company which staged such acclaimed productions as Derek Jacobi's Hamlet. However, with the withdrawal of funding for the company by the Arts Council of Great Britain in 1980 for breaching its touring obligations, Prospect disbanded in 1981. The theatre underwent complete refurbishment in 1985. In 2003, Kevin Spacey was appointed as new artistic director of the Old Vic Theatre Company which received considerable media attention. In 2015, Matthew Warchus succeeded Spacey as artistic director.
- 1 History
- 2 Recent and current productions
- 3 Current developments
- 4 References
- 5 Sources
- 6 Further reading
- 7 External links
The theatre was founded in 1818 by James King and Daniel Dunn (formerly managers of the Surrey Theatre in Bermondsey), and John Thomas Serres, then Marine painter to the King who managed to secure the formal patronage of Princess Charlotte and her husband Prince Leopold of Saxe-Coburg naming the theatre the Royal Coburg Theatre. The theatre was a "minor" theatre (as opposed to one of the two patent theatres) and was thus technically forbidden to show serious drama. Nevertheless, when the theatre passed to George Bolwell Davidge in 1824 he succeeded in bringing legendary actor Edmund Kean south of the river to play six Shakespeare plays in six nights. The theatre's role in bringing high art to the masses was confirmed when Kean addressed the audience during his curtain call saying "I have never acted to such a set of ignorant, unmitigated brutes as I see before me." More popular staples in the repertoire were "sensational and violent" melodramas demonstrating the evils of drink, "churned out by the house dramatist", confirmed teetotaller Douglas Jerrold.
When Davidge left to take over the Surrey Theatre in 1833 it was bought by Daniel Egerton and William Abbot who tried to capitalise on the abolition of the legal distinction between patent and minor theatres, enacted in Parliament earlier that year. On 1 July 1833, the theatre was renamed the Royal Victoria Theatre, under the "protection and patronage" of Victoria, Duchess of Kent, mother to Princess Victoria, the 14-year-old heir presumptive. The duchess and the princess visited only once, on 28 November of that year, but enjoyed the performance, of light opera and dance, in the "pretty...clean and comfortable" theatre. The single visit scarcely justified the "Old Vic" its later billing as "Queen Victoria's Own Theayter". By 1835, the theatre was advertising itself simply as the Victoria Theatre. In 1841, David Osbaldiston took over as lessee, succeeded on his death in 1850 by his lover and the theatre's leading lady, Eliza Vincent, until her death in 1856. Under their management, the theatre remained devoted to melodrama. In 1867, Joseph Arnold Cave took over as lessee. In 1871 he transferred the lease to Romaine Delatorre, who raised funds for the theatre to be rebuilt in the style of the Alhambra Music Hall. Jethro Thomas Robinson was engaged as the architect. In September 1871 the old theatre closed, and the new building opened as the Royal Victoria Palace in December of the same year, with Cave staying on as manager. By 1873, however, Cave had left and Delatorre's venture failed.
In 1880, under the ownership of Emma Cons to whom there are plaques outside and inside the theatre, it became The Royal Victoria Hall And Coffee Tavern and was run on "strict temperance lines"; by this time it was already known as the "Old Vic". The "penny lectures" given in the hall led to the foundation of Morley College, an adult education college, that moved to its own premises nearby, in the 1920s.
Old Vic company
With Emma Cons's death in 1912 the theatre passed to her niece Lilian Baylis, who emphasised the Shakespearean repertoire. The Old Vic Company was established in 1929, led by Sir John Gielgud. Between 1925 and 1931, Lilian Baylis championed the re-building of the then-derelict Sadler's Wells Theatre, and established a ballet company under the direction of Dame Ninette de Valois. For a few years the drama and ballet companies rotated between the two theatres, with the ballet becoming permanently based at Sadler's Wells in 1935.
The Old Vic was damaged badly during the Blitz, and the war-depleted company spent all its time touring, based in Burnley, Lancashire at the Victoria Theatre during the years 1940 to 1943. In 1944, the company was re-established in London with Ralph Richardson and Laurence Olivier as its stars, performing mainly at the New Theatre (now the Noël Coward Theatre) until the Old Vic was ready to re-open in 1950. In 1946, an offshoot of the company was established in Bristol as the Bristol Old Vic.
National Theatre company
In 1963, the Old Vic company was dissolved and the new National Theatre Company, under the artistic direction of Lord Olivier, was based at the Old Vic until its own building was opened on the South Bank near Waterloo Bridge in 1976.
In July 1974 the Old Vic presented a rock concert for the first time. National Theatre director Sir Peter Hall arranged for the progressive folk-rock band Gryphon to première Midnight Mushrumps, the fantasia inspired by Hall's own 1974 Old Vic production of The Tempest starring John Gielgud for which Gryphon had supplied the music.
Prospect Theatre Company
For two years prior to the departure of the National Theatre company, Toby Robertson, director of the Prospect Theatre Company, sustained a campaign that the Old Vic should make Prospect its resident company. For the Old Vic, Robertson's overtures proved increasingly hard to resist in the face of poor box office returns achieved by productions staged by other visiting companies; against this, Prospect staged a highly successful season which opened in May 1977, including Hamlet with Derek Jacobi, Antony and Cleopatra with Alec McCowen and Dorothy Tutin; and Saint Joan with Eileen Atkins. In July the Governors of The Old Vic announced "a marriage that was all but a merger" between the Vic and Prospect. In September Toby Robertson, director of Prospect, was asked to take artistic control of The Old Vic, and Christopher Richards, general manager of The Old Vic, became general manager of Prospect.
One major problem, though, was the terms of Prospect's funding by the Arts Council of Great Britain: this was on the basis of it being a touring company, and the Council – already funding the National Theatre and the Royal Shakespeare Company in London – could not accept a case for a third major company in the capital and repeatedly refused requests to fund any London seasons staged by Prospect. Therefore, any London-based productions would have to succeed financially without Arts Council support. Prospect's first season at the Old Vic recouped its costs but left no surplus to fund future productions. Further stagings by visiting companies were box office failures and stretched the theatre's finances to breaking point. Yet Prospect continued to draw audiences to the Old Vic where other companies failed. In December 1978, the governors of the Old Vic agreed to a five-year contract with Prospect, announcing to the press on 23 April that henceforth they would be styled "Prospect Productions Ltd., trading as the Old Vic Company". Unfortunately Prospect's touring commitments kept the company out of the theatre for the first half of 1979, leaving the theatre to sink further into debt. The company returned in July with Jacobi's Hamlet (toured afterwards to Denmark, Australia and China, the first English theatre company to tour that country), followed by Romeo and Juliet, and The Government Inspector with Ian Richardson. The following season, however, proved controversial: the proposed programming, including the double bill of The Padlock and Miss in Her Teens, to mark the bicentenary of David Garrick's death, and a revival of What the Butler Saw, were deemed by the Arts Council unsuitable for touring repertory. An internal report by Prospect now questioned "whether Prospect can any longer satisfy the triple task of filling the Vic, of satisfying the Arts Council Director of Touring's requirements for product of a certain familiar sort, and of realising the vision of Toby Robertson".
Robertson was in effect fired as artistic director in 1980 while he was abroad with the company in China, Timothy West replacing him. The following season, West's first as Robertson's successor, saw Macbeth with Peter O'Toole, The Merchant of Venice with West as Shylock, and a gala performance presented to the Queen Mother to celebrate her eightieth birthday. On 22 December 1980, four days after the gala performance, the Arts Council withdrew its funding from the company, sealing its inevitable demise. The company gave a final season at the Old Vic in 1981, staging The Merchant of Venice, then gave a final tour of Europe, giving its last performance in Rome on 14 June before disbanding.
The Old Vic was significantly restored under the ownership of Toronto department-store entrepreneur 'Honest Ed' Mirvish in 1985. In 1987, his son David Mirvish installed Jonathan Miller as artistic director of the Old Vic and the theatre enjoyed several critical successes – including an Olivier Award for a production of the musical Candide, but suffered three straight years of financial loss. In 1990, Mirvish terminated Miller's contract over budgetary issues, earning much negative criticism in the British press.
In 1997, Mirvish appointed Sir Peter Hall as artistic director and, again, enjoyed critical acclaim with such productions as The Master Builder with Alan Bates and Waiting for Godot with Ben Kingsley, but continuing financial loss. Within a year of the appointment, Mirvish terminated Hall's contract – again to much negative comment in the press – and put the Old Vic up for sale. In 1998, the building was bought by a new charitable trust, The Old Vic Theatre Trust 2000. In 2000, the production company Criterion Productions was renamed Old Vic Productions plc, though relatively few of its productions are at the Old Vic theatre.
In 2003, actor Kevin Spacey was appointed as new artistic director of the Old Vic Theatre Company receiving considerable media attention. Spacey said he wanted to inject new life into the British theatre industry, and bring British and American theatrical talent to the stage. He appears in one or two shows per season, and performs some directorial duties on other shows. In 2015, Spacey was replaced by Matthew Warchus as artistic director. His debut season opened on 1 September with Warchus's production of a new play about education, Future Conditional by Tamsin Oglesby. Future plans include the world premiere of the musical Groundhog Day, which will also be directed by Warchus.
Recent and current productions
- Cause Célèbre by Terence Rattigan, directed by Thea Sharrock, starring Anne-Marie Duff
- Richard III by William Shakespeare, directed by Sam Mendes, starring Kevin Spacey (part of The Bridge Project, followed by international tour and BAM New York)
- The Playboy of the Western World by J M Synge, directed by John Crowley, starring Niamh Cusack, Ruth Negga and Robert Sheehan
- Noises Off by Michael Frayn, directed by Lindsay Posner (followed by West End transfer and UK & Ireland tour)
- The Duchess of Malfi by John Webster, directed by Jamie Lloyd, starring Eve Best
- Democracy by Michael Frayn, directed by Paul Miller
- Hedda Gabbler by Henrik Ibsen in a new version by Brian Friel, directed by Anna Mackmim, starring Sheridan Smith
- Kiss Me, Kate music and lyrics by Cole Porter book by Sam and Bella Spewack, directed by Trevor Nunn, choreography by Stephen Mear, starring Alex Bourne, David Burt, Adam Garcia, Clive Rowe and Hannah Waddingham (co-production with Chichester Festival Theatre)
- The Winslow Boy by Terence Rattigan, directed by Lindsay Posner, starring Henry Goodman
- Sweet Bird of Youth by Tennessee Williams, directed by Marianne Elliott, starring Kim Catrall and Seth Numrich
- Much Ado About Nothing by William Shakespeare, directed by Mark Rylance, starring James Earl Jones and Vanessa Redgrave
- Fortune's Fool by Ivan Turgenev in a version by Mike Poulton, directed by Lucy Bailey, starring Richard McCabe
- Other Desert Cities by John Robin Baitz, directed by Lindsay Posner
- Clarence Darrow by David W. Rintels, directed by Thea Sharrock, starring Kevin Spacey
- The Cruicible by Arthur Miller, directed by Yaël Farber, starring Richard Armitage
- Electra by Sophocles in a version by Frank McGuinness, directed by Ian Rickson, starring Kristin Scott Thomas
- Tree, a play for two people written and directed by Daniel Kitson, starring Tim Key and Daniel Kitson
- Clarence Darrow by David W. Rintels, directed by Thea Sharrock, starring Kevin Spacey (return from 2014 season)
- High Society music and lyrics by Cole Porter book by Arthur Kopit, directed by Maria Freidman
Productions with Matthew Warchus as artistic director include:
- Future Conditional by Tamsin Oglesby, directed by Matthew Warchus, starring Rob Brydon
- The Hairy Ape by Eugene O’Neil, directed by Richard Jones, starring Bertie Carvel
- Dr. Seuss's The Lorax adapted for the stage by David Grieg, music and lyrics by Charlie Fink, directed by Max Webster
- The Master Builder by Henrik Ibsen in a new adaptation by David Hare, directed by Matthew Warchus, starring Ralph Finnes
- The Caretaker by Harold Pinter, directed by Matthew Warchus, starring Timothy Spall, Daniel Mays and George Mackay
- Jekyll & Hyde by The McOnie Company, devised directed and choreographed by Drew McOnie
- Groundhog Day book by Danny Rubin music and lyrics by Tim Minchin, directed by Matthew Warchus, starring Andy Karl (World Premiere, followed by Broadway transfer)
- No’s Knife by Samuel Beckett, co-directed and performed by Lisa Dwan, co-directed by Joe Murphy
- King Lear by William Shakespeare, directed by Deborah Warner, starring Glenda Jackson
- Art by Yasmina Reza translated by Christopher Hampton, directed by Matthew Warchus, starring Rufus Sewell, Tim Key and Paul Ritter
- Rosencrantz and Guildernstern Are Dead by Tom Stoppard, directed by David Leveaux, starring Daniel Radcliffe and Joshua McGuire (50th Anniversary Production)
- Woyzeck by Georg Büchner in a new version by Jack Thorne, directed by Joe Murphy, starring John Boyega
- Girl From The North Country written and directed by Conor McPherson, music and lyrics by Bob Dylan
- Dr. Seuss's The Lorax adapted for the stage by David Grieg, music and lyrics by Charlie Fink, directed by Max Webster (return from 2015-16 season)
- Fanny and Alexander adapted by Stephen Beresford, directed by Max Webster
- H.M.S. Pinafore by Guilbert and Sullivan, directed by Christopher Luscombe
Old Vic Tunnels
In February 2010, The Old Vic acquired a new sister performance space beneath London Waterloo station; a series of cavernous tunnels formerly owned by British Rail. Now operating under the artistic direction of Hamish Jenkinson, this venue plays host to productions, performances and installations. The Old Vic Tunnels was presented the Big Society Award by David Cameron in 2011. The Tunnels closed as a performance space in 2013.
There was an artist-in-residence scheme with a resident photographer, graffiti artist, designer, and filmmaker. In 2011 The Old Vic appointed German film director Grigorij Richters and producer Alex Souabni as their filmmakers-in-residence.
Old Vic New Voices
Old Vic New Voices is the education, community and emerging talent programme of The Old Vic. It aims to discover and nurture emerging actors, writers, producers and directors and draw more diverse audiences into the theatre. The director is Alexander Ferris. A parallel project, OVNV New York, has been set up in New York.
- Staff. "Kenny, Sean, 1932–1973.". National Art Library Catalogue. Victoria and Albert Museum. Retrieved 11 January 2009.
- English Heritage listing details 28 April 2007
- "Spacey 'to run Old Vic'". BBC News. 3 February 2003. Retrieved 9 March 2014.
- Brown, Mark (22 May 2014). "Matthew Warchus to take Kevin Spacey's role running the Old Vic". The Guardian. Retrieved 22 June 2016.
- Frick, John W. (2003). Theatre, culture and temperance reform in nineteenth-century America. Cambridge, England: Cambridge University Press. p. 86. ISBN 978-0-521-81778-3.
- Rowell, George Presbury (1993). The Old Vic Theatre: a history. Cambridge, England: Cambridge University Press. pp. 26–29. ISBN 0-521-34625-8.
- "Royal Victoria Theatre". Standard. London. 2 July 1833.
- "Court Circular". The Times. London. 30 November 1833.
- Newton, Henry Chance (1923). The Old Vic. and its associations; : being my own extraordinary experiences of "Queen Victoria's own theayter". London: Fleetway Press. OCLC 150444870.
- Coleman (2014), pp. 22–36.
- Coleman (2014), pp. 43–57.
- 'The Royal Victoria Hall – "The Old Vic"', Survey of London: volume 23: Lambeth: South Bank and Vauxhall (1951), pp. 37–9. Retrieved 28 April 2007.
- An endowment from the estate of Samuel Morley led to the creation of the Morley Memorial College for Working Men and Women on the premises, these were shared and lectures were given back stage, and in the theatre dressing rooms.
- Rowell, p. 157
- Rowell, p. 158
- "History of the Old Vic, 1950–1999". The Old Vic. Retrieved 5 September 2014.
- "Prospect Theatre Company". Ian McKellen Stage. Retrieved 4 September 2014.
- Rowell, p. 159
- Rowell, p. 160
- Hunter, Adriana (2006). "Prospect Theatre Company" in Continuum Companion to Twentieth Century Theatre. A&C Black. p. 623. ISBN 9781847140012.
- Quoted in Rowell, p. 160
- Coveney, Michael (8 July 2012). "Toby Robertson obituary". The Guardian. Retrieved 16 September 2013.
- Rowell, p. 161
- "Spacey to lead Old Vic theatre". CNN. 5 February 2003. Retrieved 15 February 2012.
- "Matthew Warchus to take Kevin Spacey's role running the Old Vic". The Guardian. 22 May 2014. Retrieved 19 May 2015.
- "'Groundhog Day' musical to premiere at London's Old Vic". Daily Mail. 21 April 2015. Retrieved 17 May 2015.
- "Nothing will ever be the same again: now it's Groundhog Day the musical". The Times. 21 April 2015. Retrieved 17 May 2015.
- "What". The Old Vic. Retrieved 2016-09-30.
- "Fiennes and Spall lead Old Vic season". www.officiallondontheatre.co.uk. Retrieved 2016-09-20.
- "Matthew Warchus unveils 2016/17 Old Vic Season". Retrieved 2016-09-20.
- "The Old Vic Tunnels win Prime Minister's Award". British Prime Minister's Office. 18 February 2011.
- "Old Vic New Voices". Bermondsey, London: Ideas Tap. Retrieved 12 January 2012.
- Coleman, Terry (2014). The Old Vic: The Story of a Great Theatre from Kean to Olivier to Spacey. London: Faber and Faber. ISBN 978-0-571-31125-5.
- Rowell, George (1993). The Old Vic Theatre: A History. Cambridge: Cambridge University Press. ISBN 9780521346252.
- Guide to British Theatres 1750–1950, John Earl and Michael Sell pp. 128–9 (Theatres Trust, 2000) ISBN 0-7136-5688-3
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