CHARCOALBLUE
theatre and acoustics
‘Inside, it’s a miracle as the epic and intimate unite...
a theatre fit to do Shakespeare proud’
Image; (c) Peter Cook
Dominic Maxwell, The Times
‘We could not have achieved this without the imagination of our theatre
consultants, Charcoalblue... it has been a long journey from late night cups
of coffee over a cardboard model years ago to opening our doors to the public’
Vikki Heywood, RSC Executive Director
‘The new auditorium really is a triumph’
Eddie Heathcoate, Financial Times
‘...its going to be one of the most exciting theatre spaces in England’
Charlie Spencer, Telegraph
Charcoalblue is widely regarded as the most exciting and innovative theatre consultancy in the UK. In
2004 our founders Andy Hayles, Gavin Green, Jon Stevens and Jack Tilbury set out to create something
different. Since then we have grown to a total of thirty including our associates, and Charcoalblue is
now the largest organisation of its kind working in Britain.
In 2009 we decided to include acoustics services as a part of our practice. And again, we aimed to
create something different: a truly integrated theatre and acoustic consultancy. We have, since then,
been building a portfolio of work with existing clients.
Our portfolio ranges from world-famous companies like the Royal Shakespeare Company, the National
Theatre and English National Opera, through new theatres in Canterbury, Corby, Folkestone and
Leicester, to our work with experimental companies such as the Battersea Arts Centre and Graeae.
Our work on buildings like the Young Vic in London, the Theatre Royal in Newcastle and the RSC’s
Courtyard Theatre in Stratford-upon-Avon has won us awards and enthusiastic reviews from the
theatrical and architectural press and, more importantly as far as we are concerned, praise from
performers, technicians and audiences.
‘The Royal Shakespeare Company is a complex and pressurising
client and Charcoalblue are genuine, robust collaborators. They have
a strong sense of the rhythm of when to be open and when it’s time
to start closing.’
Michael Boyd, RSC Artistic Director
...WHY DO PEOPLE WANT TO WORK WITH US?
We think there are four main reasons why you would want to choose our integrated service, though
we are happy to let our clients speak for themselves.
All of our team members have extensive and recent experience of working in the theatre industry
around the world. We share a passion for all types of performance. We know what it’s like to be at the
sharp end, and whenever possible we continue to be actively involved in theatre production so that we
remain connected to the world in which we consult.
We won’t dictate to you – our approach is based on collaboration and developing user-led projects that
meet your needs, rather than imposing a pre-defined solution. But we do confess to having a strong
commitment to theatricality and innovation, and to taking advantage of new techniques and materials.
Charcoalblue’s concept for the RSC’s new main house
We deliver. We don’t just meet your deadlines, we also go that extra mile, combining a meticulous
attention to detail with a firm understanding of the bigger picture and how what we are doing relates
to the rest of your organisation.
And finally - we enjoy what we do. People – not just our clients, but architects, structural, mechanical
and electrical specialists and other designers and engineers – seem to enjoy working with us too, and
come back wanting to do so again.
‘Bringing Charcoalblue into our design team was one of the best
decisions we have made. They have proved to be extremely
knowledgeable, enthusiastic, efficient and supportive; working with
them has been a pleasure. Their hands-on, collaborative approach and
detailed investigation of our requirements has resulted in a practical
yet innovative scheme which completely suits our needs.’
Sharon Goddard - Capital Projects Co-ordinator, Aldeburgh Music
‘The 350-seater Britten Studio, will surely come to rank as one
of the most attractive spaces for chamber music in Britain.’
Rupert Christiansen, Daily Telegraph
...WHAT CAN WE DO FOR YOU?
Charcoalblue provides detailed design guidance on all aspects of theatre, performance and arts
projects. We will tackle anything from a concert hall to a community centre, a gallery to a multi-media
centre.
Our scope of service can range from preparing the initial feasibility study and assessing user needs
and aspirations of the wider community, to the detailed design of a theatre auditorium or the technical
fitting out of a stage. We can follow through from developing the correct functional relationships of a
building, to the detailed design of all aspects of its public, technical and service areas, as well of course
as the auditorium itself.
Where appropriate, we will design specialist systems and equipment, tailoring them to your
requirements. This could include seating, stage engineering, stagelighting and audiovisual systems.
Our team has an in-depth knowledge of the most recent and relevant health and safety standards and
accessibility guidelines.
We also provide an integrated service in room acoustics design and noise control. Sound quality is
established in the initial planning of a theatre and the layout of the building functions. We have a
commitment to the thorough integration of the theatrical and acoustic disciplines, to ensure the best
holistic result.
We have a wealth of experience in adapting and making the most of existing buildings, as well
as creating entirely new ones. Our clients include subsidised arts organisations, local authorities,
educational bodies, property developers and the private sector.
We have come a long way in the last six years, but we are always looking for new challenges.
Above all, we want to be judged on our record. So see what we’ve done and read what some of our
clients have said about us.
...WHY CHOOSE AN INTERGRATED SERVICE?
Charcoalblue offer an integrated service of theatre consultancy and acoustic design.
We provide an acoustics service that is founded in solid technical capability, a spirit of clear and open
communication, and a passion for listening. Listening defines our work. Whether observing the tonal
balance of a string ensemble, scrutinizing an intrusive noise, or interviewing a performer about their
ambitious, listening is our focus.
Creative solutions to acoustic problems require an in-depth understanding of the science of sound. The
physics of acoustics is notoriously counter-intuitive. Our work is founded in physics, not fable.
A hands-on, detail-oriented watchfulness is key to realising even the most bullet-proof of designs. The
very nature of acoustics demands this care. One noisy lighting ballast, one shorted vibration isolator,
or one bit of concrete over-pour can undo years of effort and money spent to achieve silence.
Acoustic solutions seldom stand alone. We will not issue recommendations in isolation. Technical and
aesthetic integration of the design is the key to developing buildings that sound as good as they look
and function.
There are natural areas where theatre technologies and acoustic goals will clash. In the worst cases,
such differences can derail a design process. Charcoalblue is committed to arriving at sensible design
solutions that are internally coordinated and focused on the overall project goals.
Providing theatre and acoustics services together allows us to take advantage of common resources,
project management, and efficiency in design. This value is returned to the project in both our fee
structure and ultimately against the bottom line. Moreover, we feel this approach yields a more
coherent, better coordinated result.
‘Working with Byron was a true collaboration, where architecture and
acoustic design pushed each other’s boundaries. Together, we’ve created
a performance space of the highest quality that will serve as a model for
collaborative design in theatre architecture.’
James D. Brown, Director, Bing Thom Architects, Arena Stage, Washington DC
PROJECTS
being built or designed:
being used or completed:
temporary theatre installations:
National Theatre Futures Project, London
Tobacco Warehouse, DUMBO, New York City
Chichester Festival Theatre
ICC Birmingham
Queen Elizabeth Hall, Antwerp
Lyric Theatre, Hammersmith
New Marlowe Theatre, Canterbury
Christchurch University, Canterbury
Everyman Theatre, Liverpool
Hepworth Gallery, Wakefield
New Performance Venue, Doncaster
Empire Theatre, Barbados
Perth Theatre, Scotland
Wells Cathedral School, Wells
Royal Academy of Dance Battersea, London
National Skills Academy, Thurrock
New Inn Broadway, London
Bristol Old Vic Redevelopment
Hippodrome, London
Marlborough College, Wiltshire
St George’s Chapel, Great Yarmouth
Jewish Community Centre, London
Mulgrave Theatre, Hurlingham Club, London
ACCA, University of Sussex
The Leys, Cambridge
Polka Theatre, Wimbledon
Royal Shakespeare Theatre Transformation,
Stratford-upon-Avon
Ebert Room Redevelopment, Glyndebourne
Core Theatre at Corby Cube
Nottingham Contemporary
Hoffmann Building, Snape Maltings
400 Hall, Repton
Centre for Carnival Arts, Luton
Graeae Hackney Omnibus, London
Quarterhouse Arts Centre, Folkestone
CURVE Theatre, Leicester
Bluecoat Arts Centre, Liverpool
National Theatre Studio, London
Theatre Royal, Newcastle
Ustinov Studio, Bath
University Place, Manchester
Arts Exchange, Nottingham
Siobhan Davies Dance Centre, London
Guildhall School of Music & Drama, London
Amnesty International HQ, London
Royal Welsh College of Music and Drama, Cardiff
Peepul Centre, Leicester
North Wall Theatre, St Edward’s School, Oxford
Camden Roundhouse, London
Unicorn Theatre for Children, London
Young Vic Theatre, London
RSC Courtyard Theatre, Stratford-upon-Avon
RSC at the Roundhouse, London
Kneehigh at Battersea Arts Centre
Skywalk, London Festival of Architecture
competitions/proposals/studies:
Lincoln Centre, NY, War Horse, Acoustic Study
Nanjing Grand Theatre, Jiangsu
Dance and Music Centre, The Hague
King Edwards School, Birmingham
State Cinema, Grays, Essex
English National Opera, Trinity Buoy Wharf
Central St Martins College, London
WMI Conference Centre, Kenya
The Asylum, Kneehigh Theatre Company
No 1 Oxford St, London
Temporary Theatre, Chester
Westminster Theatre, London
The Pit Feasibility Study, Barbican
Beethovenhalle, Bonn
Westminster Theatre, London
Kings School, Canterbury
Elephant Theatre, London
Cannock Theatre Briefing Study
Prescot Playhouse, Knowsley
Ailsa Craig Visitor Centre, Girvan
Opera House, Lausanne
Seoul Performing Arts Centre, Korea
COURTYARD THEATRE, RSC
‘the Courtyard... is bit of a smasher’
Michael Billington, Guardian
‘The RSC Courtyard.. is clearly a magnificent space for Shakespeare’
Sir Ian McKellen
‘Courtyard Theatre... at once more loved than most theatres
are after decades’
Financial Times
Image; (c) RSC Stewart Hemley
‘When we walked in for the first time, there was an audible
gasp, it’s so high, like a cathedral of theatre, but then you
notice how close the audience is. The space is big, but
they’re right there. It’s a perfect example of marrying the
epic with the domestic and personal’
Chuk Iwuji, RSC Henry VI
‘London and the South Bank has changed completely.
It feels like the right time to respond.’
Nick Hytner, NT Artistic Director
National Theatre Futures Project, London
Project Budget: Confidential
Anticipated Completion: tbc
Architect: Haworth Tompkins
After over 30 years of intensive use, the National Theatre’s
London home is now being extensively refurbished under the
guidance of its Artistic and Executive Directors, Nick Hytner
and Nick Starr.
Design is underway to radically improve the Cottesloe
Theatre which improve audience comfort, capacity and
sightlines. The wider refurbishment will enhance many of the
backstage and front-of-house areas for the theatres, as well
creating a new paintframe building in the rear car park.
Charcoalblue are guiding the company through an extensive
and comprehensive upgrading of the theatre systems, so
far, we have successfully completed the installation of a
new computerised point hoist system in the Olivier and new
lighting bar winches in the Lyttleton Theatre.
PROJECTS
Image; (c) Haworth Tompkins
‘Working with Charcoalblue on our hugely ambitious capital development
has been nothing less than a godsend. They immediately understood our
artistic vision and have been inventive and pragmatic in helping us realise
our dreams. Suffice it to say we always look forward to our regular consultations
with Andy and his team.’
Gemma Bodinetz , Artistic Director, Liverpool and Merseyside Theatre’s Trust
Everyman Theatre, Liverpool
Project Budget: Confidential
Anticipated Completion: 2013
Architect: Haworth Tompkins
Following a detailed feasibility study, Charcoalblue were
appointed by the Liverpool and Everyman Theatres Trust to
assist them in the redevelopment of the Everyman Theatre.
This major development will create an inspiring legacy
beyond Liverpool’s Capital of Culture 2008 with new
employment and training opportunities as well as opening
up the theatre experience to children, young people and
communities across Merseyside.
TRIANGLE
GARDEN
MAIN
ENTRY
FOYER
2ND SPACE
BOH
SUPPORT
PERFORMANCE
SPACE
BOX OFFICE
LOAD-IN
LIGHT-BOXES
Saint Ann’s Warehouse, DUMBO, New York
CBL / 010049 TW - REVISED SKETCHES - THR
Project Budget: Confidential
Anticipated Completion: 2014
Architect: H3 Hardy Collaboration Architecture
VIEW FROM WATER STREET
ST. ANN’S WAREHOUSE D SITE PLAN AND ARCHITECTURAL DESIGN
The project aims to relocate St Ann’s Warehouse theatre into
the historic Tobacco Warehouse, an unroofed pre-Civil War
building by the river, between the Brooklyn & Manhattern
Bridges. There is to be no fixed auditorium but simply the
space and infrastructure to support a wide range of stage
and seating arrangements for between 300 and 600 seats,
with space for up to 1,000 standing and a new, second
performance space.
Saint Ann’s is characterized by its inventive response to
theatre companies from around the world in a no-frills
environment - the new building will continue this philosophy
in a robust and highly functional performance space that
challenges expectations and thrills audiences and artists
alike. Charcoalblue were appointed in 2010 to help win the
site from the City, and are to provide full theatre consultancy
and acoustic services.
‘I love almost everything about the Young
Vic - its two wonderfully well-proportioned
acting spaces, which create a near perfect
rapport with the audience; the warmth of
the welcome that the brilliantly revamped
building extends to the public in its foyer,
bar and restaurant areas.’
Sir Christopher Frayling, Arts Council England
Image; (c) Philip Vile
Paul Taylor, The Independent
‘the best value per square metre of
any rebuild of the past ten years...’
The Young Vic Theatre, Waterloo, London
Project Cost: £9.5 million
Completed: Autumn 2006
Architect: Haworth Tompkins
The Young Vic Theatre was built as a temporary structure in 1970
for the National Theatre Board with an expected lifespan of 6
years. Thirty years later it has been refurbished and extended by
Haworth Tompkins with Charcoalblue.
Charcoalblue’s directors were the lead technical consultants from
the beginning of the project, designing the stagelighting and
audiovisual systems, and developing a highly innovative “egg
crate” grid with the Young Vic’s technical staff. Sections of the
grid can be installed in different positions or removed entirely to
maximise the flexibility of the space.
Image; (c) Philip Vile
Awards: USITT Merit Awards 2007; Stirling Prize 2007 Shortlist;
RIBA Regional Award & London Building of the Year; LEAF Public
Building of the Year Award; Evening Standard Theatre Awards Special Award for Innovative Theatre Architecture, National Civic
Trust Award 2008 and AIA Commendation 2008.
‘the level of theatrical understanding
that Charcoalblue bring to the table
makes them key to the effectiveness
of our team’
PROJECTS
Image; (c) Keith
RSC Stewart
WilliamsHemley
Architects
David Chipperfield Associates/Studio Toni Yil-Suvanto
David Wright, ISG Jackson Design Manager
New Marlowe Theatre, Canterbury
Hepworth Gallery, Wakefield
The Courtyard Theatre, RSC, Stratford-upon-Avon
Project Budget: £25.5 million
Anticipated Completion: 2011
Architect: Keith Williams Architects
Project Budget: £16.8 million
Anticipated Completion: Summer 2011
Architect: David Chipperfield Architects
Project Cost: £6 million
Completed: July 2006
Architect: Ian Ritchie Architects
25 years ago, a 1930s Odeon cinema in Canterbury
was converted into the Marlowe Theatre. The aim of the
refurbishment project is to renew the space to provide extra
seating capacity, improved public areas, and updated stage
facilities to attract a wider range of performing companies
than can be housed at present. The development of an
educational programme for young people is also an essential
part of the scheme.
Working closely with the architects, Charcoalblue designed
a multi-functional space seating 120 seats and associated
technical systems. The auditorium supports the work of the
innovative gallery, and will be used by outside organisations
for community events, seminars, meetings, music events,
film and festivals.
Charcoalblue provided auditorium planning, technical
planning, design and specification guidance to the Royal
Shakespeare Company in its development of a temporary
1,000-seat performance space at its base in Stratford-uponAvon.
Charcoalblue worked hand-in-hand with the client and the
architect to help them clarify and develop their vision, and
to deliver a building which can accommodate opera, ballet,
dance, musicals, pantomime, popular concerts and drama.
We worked closely with the company’s technical and planning
staff and with the architect to develop the original design
and to design technical systems for the space, which is now
the RSC’s sole theatre in Stratford whilst the existing Royal
Shakespeare Theatre and Swan Theatre undergo a substantial
refurbishment.
Awards: RIBA National Award 2007; AIA Commendation 2008
and short listed as one of the UK architectural entries to the
Prague Quadrennial in 2007.
‘It was a pleasure to work on it and in the roof space
as a whole, access to the ring beams has been well
thought out minimising the time spent working and the
risks involved’
Jay Call, Summit Steel
on installing the Fuerzabruta rig
Camden Roundhouse, London
Project Cost: £23.5 million
Completed: Summer 2006
Architect: John McAslan and Partners
An engine turning shed, a gin warehouse, a theatre, a rock
gig venue - the Roundhouse has been all of these and more
since it was built in the middle of the 19th century.
The architects were commissioned by the Roundhouse Trust
to deliver a performing arts building for the 21st century
which houses a new studio theatre and a creative centre with
recording and TV studio facilities, whilst maintaining and
improving the building’s unique character.
Awards: RIBA National Award 2007 (for conservation) and a
special Civic Trust Award 2008, for Accessibility.
RSC at the Roundhouse, London
Project Cost: Confidential
Completed: April 2008/2010
Project design: RSC/Charcoalblue
Charcoalblue developed the concept design for a temporary theatre
which was built inside the Roundhouse. The encircling structure was
designed specifically for the Royal Shakespeare Company to transfer its
acclaimed Histories plays from its own Courtyard Theatre in Stratfordupon-Avon to London, and made innovative use of the Roundhouse’s
own temporary seating equipment.
In 2008 the theatre ran eight plays over eight weeks, the auditorium
was built in ten days with four days to tech the shows using eighty-five
crew. The theatre and productions arrived in twenty seven trailers and
was removed in 7 days.
The performance space was a further exploration for Charcoalblue into
the thrust stage format, continuing the stage development and lessons
learned from the Courtyard Theatre and the Royal Shakespeare Theatre
Transformation project. The RSC technical teams developed the detailed
design of the temporary Roundhouse Auditorium in consultation with
Charcoalblue.
‘Aside from the actors, the heroes of the occasion are the
technical staff. Under Peter Bailey, they have transformed
the Roundhouse from the cavernous vault that handicapped
the recent Indian Dream into an intimate, galleried space
that closely resembles the Stratford Courtyard.’
Michael Billington Guardian
‘...a specially constructed auditorium in the Roundhouse
for one big last blast from a company, and a project, that
will be talked about for years to come.’
Charles Spencer Telegraph
Image; (c) RSC Stewart Hemley
‘Charcoalblue theatre consultants have created
a superb and technically advanced drum-form
auditorium with a deep thrust stage, and
1,040 seats in three tiers – none more than
15m from the front edge of the forestage’
Jay Meyrick - The Independent
‘At last, Stratford-upon-Avon finally has a
theatre worthy of Shakespeare’s name’
Jonathan Glancey, Guardian
‘Bennetts and Charcoalblue’s transformation
of the RST has achieved the contradictory; a
marriage of old and new, epic and intimate,
statement architecture yet welcoming building’
Emma Pomfet, Auditoria
‘Stepping out onto the thrust stage for our
first performance was like being given a hug
by the audience.’
James Tucker, RSC actor, on playing Oswald in King Lear
Image; (c) Stuart Hemley
Image; (c) Peter Cook
‘As someone who has played all the RSC’s theatres,
it seems to me that what the Company has found is
a brilliant way of retaining the best of the original
building while constructing a new theatre which will
work wonderfully for actors and audiences alike. We
are creating a theatre in Stratford that Shakespeare
could walk into and recognize as a playhouse for his
work. It’s a spectacular idea.’
Dame Judi Dench
RSC Transformation, Stratford-upon-Avon
Project Budget: £112 million
Completed: November 2010
Architect: Bennetts Associates
The Royal Shakespeare Company appointed Charcoalblue
to assist them in the remodelling of their 1932 Grade II*
listed theatre. Following the opening of the temporary
Courtyard Theatre, the existing theatre has been reworked
to accommodate a thrust stage auditorium seating around
1,000 people. The new theatre improves the relationship
between audiences and actors by bringing them closer
together, reducing the distance from the furthest seat from
27 metres to around 15 metres.
Charcoalblue provided complete design and planning
consultancy services for the auditorium, foyers and
backstage areas, as well as design and integration of
technical systems, and worked closely with the architects and
the RSC during the transformation of the theatre.
Awards: Winner of Project of Year, Building Awards 2011.
‘...sitting in my favourite position in a theatre - in a
box at the side of the stage - it’s fantastic! It’s good to
look back on those early conversations and know they
served a positive purpose’
Seth Rutt, Hawkins/Brown
Core Theatre at Corby Cube
Project Budget: £30 million
Completed: November 2010
Architect: Hawkins\Brown
The Cube is a regeneration project in the heart of Corby in
Northamptonshire, housing a 450-seat proscenium theatre
with retractable seating and overstage flying, a studio theatre
space, a library, art galleries and administration spaces.
Charcoalblue assisted the architects in the planning of the
auditorium and stage, which includes an innovative curved
retractable bleacher system and fully motorised scenic flying,
as well as designing custom stagelighting and audiovisual
technical systems which include digital cinema capability.
Image (c) Haworth Tompkins Architects
PROJECTS
Chichester Festival Theatre
Quarterhouse Arts Centre, Folkestone
King Edward’s School, Birmingham
Project Budget: Confidential
Anticipated Completion: tbc
Architect: Haworth Tompkins
Project Cost: £4 million
Completed: Spring 2009
Architect: Alison Brookes Architects
Project Budget: £10.5m
Anticipated Completion: tbc
Architect: Haworth Tompkins
The Grade II* listed Chichester Festival Theatre was built in
1962 by architects Powell and Moya, it was the first modern
theatre in the UK to have an open ‘thrust’ stage with the
audience seated around it on three sides, and was influenced
by Guthrie’s Festival Theatre in Stratford, Ontario.
The Quarterhouse Arts Centre in Folkestone is a new venue
for live music, dance, theatre and community events. It will
also be used by the new performing arts college currently
being constructed next door. There has historically been a
lack of small to medium sized venues in the town, and this
200 seat flexible space is already in high demand as an
integral part of the emerging cultural quarter of the town.
Having worked closely alongside Haworth Tompkins
architects, Charcoalblue designed up to tender a new
Concert Hall and Studio Theatre for King Edward’s Schools
in Birmingham, as part of their new Performing Arts Centre.
Other aspects of the building include a rehearsal studio,
practice rooms and music rehearsal rooms. The centre will
provide a resource for both the boys’ and girls’ schools.
Awards: RIBA Regional Award 2009.
As well as advising on the planning of the building and the
performance spaces, Charcoalblue designed the technical
systems for the stagelighting, audiovisual, stage engineering
systems and designs for bespoke seating within each
performance space.
The building is now operating beyond its original capacity
both in terms of backstage facilities and front of house, the
project aims improve access into the auditorium, increase
capacity and renew ageing technical equipment, as well as
updating the building’s fabric.
Charcoalblue is providing theatre planning services in a close
working relationship with longtime collaborators Haworth
Tompkins, technical systems design is also being undertaken
by Charcoalblue to update and improve the stagelighting,
audiovisual and stage engineering facilities.
‘Working with Charcoalblue has involved us in a very sharp, open
process of developing new ways in performance space. It has been a
really productive collaboration’
Adam Caruso, Caruso St John Architects
Nottingham Contemporary
Project Cost: £13.9 million
Completed: Autumn 2009
Architect: Caruso St John Architects
Nottingham Contemporary, designed by architects Caruso St
John, is one of the largest venues for temporary exhibitions
of contemporary art in the UK. The building opened in
November 2009 with a major exhibition of over 60 works
by David Hockney from national and international museum
collections. ‘Quite simply, this will be one of the best spaces for art
and culture anywhere in Britain..’
Nicholas Serota, Director of Tate Galleries
The building’s four galleries offer a combined space of 750
square metres. In addition, there are education & study
areas, café-bar and a large performance space designed to
accommodate performance art, dance, theatre and music.
The space may also be used for exhibitions and corporate
functions.
Charcoalblue worked with Caruso St John to try to bring the
feeling of a “found space” to the performance space, as well
as ensuring that the technical infrastructure could provide for
both art exhibitions, events and performance.
‘The Ebert Room is part of Glyndebourne’s history. We plan to make it part
of opera’s future: a place where young people encounter the art form,
where new work takes shape, where artists and teachers develop their
skills... in short, a place of learning and discovery.’
Gus Christie, Executive Chairman, Glyndebourne
Image (c) Ian Simpson Architects
Queen Elizabeth Hall, Antwerp
…innovative concert hall with world-class acoustics
Queen Elisabeth
Hall, Antwerp
The complex project involves the retention and restoration of
existing heritage buildings which surround the existing concert
hall which dates from the 1960’s. The project aims to insert a
new 2,100-seat concert hall with excellent acoustics capable
of hosting both symphonic and modern popular music. With no
compromise to the rooms acoustic, the stage is highly flexible
and can be adapted for larger capacity conference events
and reconfigured for theatrical staging. The concert hall will
become the new home to the Royal Flemish Philharmonic.
Ebert Room Redevelopment, Glyndebourne
Budget: Confidential
Completion: tbc
Architect:Ian Simpson Architects
Project Budget: Confidential
Completed: Spring 2011
Project architect: Miller Bourne Architects
The complex project involves the retention and restoration
of existing heritage buildings which surround the existing
As well as assisting the architects on the design of the principle
concert
hall which dates from the 1960’s. The project aims to
room, Charcoalblue are advising on the general planning of
insert
a new
2,100-seat
hall
acoustics
the building
and designing
the theatricalconcert
technical systems
- with
Client: excellent
Antwerp Zoo (KMDA)
and
Royal Flemish Philharmonic
stagelighting, audiovisual and stage engineering.
capable
of hosting both symphonic and
modern
popular
Architect:
Ian Simpson
Architects
Budget:
Confidential
music. With no compromise to the rooms
acoustic,
the stage
Completion:
TBD
Charcoalblue:
Lead - Paul Franklin
is highly flexible and can be adapted for
larger
capacity
conference events and reconfigured for theatrical staging.
Charcoalblue is a limited company registered in England with number 5014930
Registered
address
17 Shortto
Street,
Bankside,
London SE1 8LJ
The concert hall will become
the
new
home
the
Royal
T 020 7928 0000
E studio@charcoalblue.com
www.charcoalblue.com
Flemish Philharmonic.
The Ebert Room at Glyndebourne was built in 1959 to provide
the old opera house with a space where scenic rehearsals
could take place. The building was located adjacent to the old
stage and had direct access from it, allowing scenery to be
moved in and out of the stage or scene dock via a full-height
soundproof connecting door.
As well as assisting the architects on the design of the
principle room, Charcoalblue are advising on the general
planning of the building and designing the theatrical technical
systems - stagelighting, audiovisual and stage engineering.
Charcoalblue was engaged in 2007 by Glyndebourne to
investigate ways in the space could be better adapted
for a wider range of events and Education projects.
Having produced an options report detailing a number of
alternatives, we are now developing a scheme to revitalise
the space, providing seating for up to 135 on a fixed balcony
with a motorised bleacher, new stagelighting and audiovisual
systems, refurbished mechanical ventilation and greatlyimproved access for wheelchair users.
‘It is hard to describe what is so
good about this building, except to
say that it is fully alive. Despite its
small budget, it goes far beyond
the merely necessary....Money was
tight, but it’s seldom I’ve seen it
better, or more joyfully, spent’
Hugh Pearman - Sunday Times
‘These studios will make a real
difference and it is my intention
that they should benefit dancers,
choreographers and other artists
by being a beautiful place to work.’
Siobhan Davies
Siobhan Davies Studios, London
Project Cost: £4.2 million
Completed: April 2006
Architect: Sarah Wigglesworth Architects
The new home of the Siobhan Davies Dance Company
opened in Spring 2006 with performances of “In Plain
Clothes”, choreographed by Siobhan Davies in response
to their new building. Sarah Wigglesworth Architects
collaborated with Siobhan Davies to adapt a late-Victorian
school building in Lambeth to house dance studios and offices
in architecture which is physical, tactile and sinuous.
Working closely with the architects and with the company’s
technical staff, Charcoalblue designed sensitively coordinated technical facilities which allow the company to use
the space both for performance, and for developing technical
and choreographic elements prior to touring.
Awards: RIBA Arts Building Award 2006.
‘What we now have is a gem of a space due to the architect’s vision and,
significantly, the quality of Charcoalblue’s input. Andy and his team
brought a pragmatic yet imaginative approach, their hands-on technical
know-how, advice and enthusiasm for the project proving invaluable.’
Image (c) Stefan Müller
Bryan Biggs , Artistic Director
Bluecoat Arts Centre, Liverpool
Project Cost: £9.75 million
Completed: March 2008
Project Architect: BIQ Architecten
Executive Architect: Austin-Smith:Lord
Within the performance space, Charcoalblue worked closely
with the architects to establish the form of the space, and
designed seating for approximately 200, full stagelighting
and audiovisual infrastructures and equipment, a semisprung floor and a fixed lighting grid. The grid is mounted
in such a way as to allow it to be upgraded to a winched or
motorised system in the future if funds permit.
Awards: RIBA Regional Award 2008.
Image (c) Stefan Müller
The Bluecoat Arts Centre is a redevelopment of the oldest
building in Liverpool City Centre as an arts, heritage, cultural
business and retail complex. The scheme has restored the
fabric of the Grade I listed building, and created a new wing
housing an art gallery and performance space.
‘This beautiful facility... will give us access to leading members of the
professional arts world, which we think will really help to break down the
barriers that exist in the arts, and will inspire and empower young people
from around the country.’
Image; (c) Philip Vile
Emily Man, North Wall Chief Executive
North Wall Theatre, St Edward’s School, Oxford
Project Cost: £3.9 million
Completed: February 2007
Architect: Haworth Tompkins
The North Wall building is a sensitive conversion by Haworth
Tompkins of an existing swimming pool in the school’s
grounds. The converted space houses a 270-seat flexible
‘found space’ theatre, plus a rehearsal space, dance studio
and art gallery.
Together with the architects we designed a tightly-focused,
very flexible courtyard space for drama. Charcoalblue
also designed all the technical facilities and oversaw the
installation of the stagelighting & audiovisual systems.
Awards: National Civic Trust Award 2008; RIBA Regional and
National Award 2008.
‘What I like about having Charcoalblue on board is that it feels just like
that. You’re engaged, opinionated, sometimes provocative, always part of
the bigger picture. You’re emphatically not skulking in a corner for toyloving techies!’
Image; (c) Philip Vile
Nick Starr, Executive Director, National Theatre
National Theatre Studio, London
Project Cost: £4.5 million
Completed: November 2007
Architect: Haworth Tompkins
The National Theatre’s 1958 rehearsal and workshop
space was redeveloped under the guidance of Haworth
Tompkins and Charcoalblue. This unique facility provides
an experimental and very private working space for
performances to be honed and developed prior to
presentation at the National Theatre. The challenge was to
develop a design which blends an empty space devoid of
distraction for performers with a safe and comprehensivelyequipped working space for technicians.
Awards: Nominated for the Prime Minister’s Better Public
Building Award, 2008.
‘‘I couldn’t be happier with the transformation from the old Ustinov to
the new... I’ve got the Ustinov we always wanted from the project ... an
exciting, vibrant, welcoming space, a fully functioning ‘grown-up’ theatre...’
Andrew Smaje, Associate Director, Theatre Royal
‘Thanks for your contribution to a successful and happy project. Your
calm efficiency and skill in dealing with the intricacies of theatre technical
equipment and installation was very much appreciated by the theatre and
by me’
John Monahan, Ustinov Project Manager
Ustinov Studio, Bath
St George’s Chapel, Great Yarmouth
Project Cost: £1 million
Completed: February 2008
Architect: Haworth Tompkins
Project Budget: £8.5 million
Anticipated Completion: Spring 2012
Architect: Hopkins Architects
Since its opening in 1996, the Ustinov Studio, which is
housed in the Bath Theatre Royal building, has acquired a
national reputation for its cutting-edge programming. In
2006, Charcoalblue and Haworth Tompkins were appointed
to refurbish and redevelop the venue. The changes have
created an almost completely new theatre, both in the foyer,
stage and the auditorium, where a new balcony redefines the
space bringing audience closer to the stage.
The Grade I-listed St George’s Chapel in Great Yarmouth
was built in 1715, and modelled on the church of St Clement
Danes in London, which was designed by Sir Christopher
Wren. After the church was declared redundant in 1971, the
building became an arts centre before falling into disrepair
and being declared unsafe.
The design has also provided renewed technical systems for
lighting and sound, and improved rigging equipment over
the stage area. The design and construction process was
completed within 18 months.
Image; (c) Philip Vile
The restoration of the chapel and its conversion into a
fully-featured performance space forms the heart of a
regeneration scheme which includes the creation of a new
pavilion and an outdoor performance area in the park
alongside the chapel. Charcoalblue is working closely with
Hopkins Architects on the conversion of the chapel, advising
on the design of the seating and staging systems, sightlines,
lighting and sound systems for performance use, technical
access and general theatre planning issues.
‘...the new rehearsal suite is designed to protect the innocence of the
maltings, which in the coming years will grow gracefully back into the
landscape from which it was born’
Image; (c) Philip Vile
Steve Tompkins, Director, Haworth Tompkins Architects
Hoffmann Building, Snape Maltings
Project Cost: £9.5 million
Completed: May 2009
Architect: Haworth Tompkins
Model by Haworth Tompkins
Snape Maltings is the home of Aldeburgh Festival of Music
and the Arts, founded by Benjamin Britten in 1948. The
original concert hall at Snape was converted from a former
maltings building in the late 1960s, and was an immediate
critically-acclaimed success.
In a sensitive conversion of further derelict buildings on the
site, Haworth Tompkins designed a new campus housing
a 350-seat adaptable rehearsal / performance space with
public spaces, musicians’ rehearsal studios, communal areas
and offices. Charcoalblue provided design and planning
assistance on all aspects of the new centre.
‘Working collaboratively on BAC’s
Grand Hall, Charcoalblue brilliantly
managed to mirror our theatre-making
processes, keeping the conversation
open and porous until late in
the day before arriving at a final
configuration that brilliantly serves
our presentation of Kneehigh’s Don
John.’
David Micklem, Joint Artistic Director, BAC
Kneehigh at Battersea Arts Centre, London
Project Cost: Confidential
Completed: Spring 2009
Client: Kneehigh Theatre
The London premiere of ‘Don John’, by Cornwall’s Kneehigh
Theatre Company in association with The RSC & Bristol Old
Vic, was a journey into the darkest depths of ‘the winter of
discontent’, riffing on Mozart’s Don Giovanni.
The production was part of an innovative series of
collaborations and interventions between artists, producers
and architects Haworth Tompkins.
The show was staged in the spring of 2009 in a brandnew temporary 500-seat theatre in BAC’s Grand Hall.
Charcoalblue provided concept designs for the new
theatre, along with detailed plans and sections showing the
seating layout and sightlines, as well as advising on the
truss configurations over the stage, and designing outline
stagelighting and audiovisual systems.
‘Charcoalblue… assisted in every way possible so that
our aims and aspirations were achieved’
Kevin Peel, Client’s Project Manager
Theatre Royal, Newcastle
Project Cost: Confidential
Completed: October 2006 & auditorium works 2011
Architects: Napper Architects (‘06) & Sansome Hall (‘09)
The building originally opened in 1837, but after a fire was
restored and redesigned by theatre architect Frank Matcham,
reopening in 1901.
The 2006 refurbishment provided new public areas, during
the same period, Charcoalblue led the design of a new double
purchase flying system complete with innovative GRP grid
which was part of a wider scheme to improve the working
environment and technical capability of the fly-tower.
The latest phase of the project sees the refurbishment of
the auditorium with Charcoalblue providing guidance on
re-seating and improvements to the sightlines, as well as
designing the new technical systems which will complement
the restoration.
The Leys School, Cambridge
Project Cost: £9 million
Anticipated Completion: 2013
Architect: Bland, Brown and Cole
The Great Hall at The Leys School will replace the existing
theatre on the school campus. In response to the school’s
challenging brief, Charcoalblue and the architects have
designed an intimate 340-seat proscenium theatre which
can be transformed into an assembly room for up to 600
students. The rear wall of the stalls can be opened up
and the seating at this level retracted to reveal a large flat
floor which can be used for other staging formats, lectures,
exhibitions, and examinations. A new 100-seat studio theatre
compliments the new arts centre.
Technical provisions will enable the ambitious school
productions as well as safe hands-on learning. The acoustic
environment will support young voices while maintaining
flexibility for a wide range of events. A movable stage
enclosure will provide quality listening conditions for
ensembles on the stage.
‘Charcoalblue are excellent to work with. They seem to have an intuitive
understanding of what is required and nothing is too much trouble.’
Martin Bishop - Past Chairman of The Hurlingham Club
Attenborough Centre for Creative Arts
Theatre Royal, Bristol
Mulgrave Theatre, Hurlingham Club, London
Project Cost: £7.2 million
Anticipated Completion: tbc
Architect: Studio Andrew Todd & RH Partnership
Project Budget: £3.5m
Anticipated Completion: tbc
Architect: Andrzej Blonski Architects
Project Cost: confidential
Anticipated Completion: tbc
Lead consultant: Charcoalblue
The Grade II-listed Gardner Arts Centre at the University of
Sussex, the historic collaboration of architect Sir Basil Spence
and theatre designer Sean Kenny, will be reborn as an
academically focused creative arts centre sponsored by the
Attenborough family.
The Bristol Old Vic company founded in 1946 and is based in
a complex including the historic Theatre Royal, which opened
in 1766 and is considered the oldest theatre auditorium in
the UK.
The Mulgrave Theatre functions as a multi-purpose room
and home for the Hurlingham Player’s ambitious amateur
productions. Amidst rehearsals and performance for the
dramatic productions, the room hosts conferences, lectures,
meetings, cinema, and discos. The existing room however is
a challenging space to perform and has limited technical and
scenic provision.
Extensive renovations of the auditorium are planned whilst
addressing the challenging acoustics of the circular room.
In addition there will be up-to-date technical systems,
infrastructure and building services. The acoustic isolation
will be sensitively integrated into the historic building.
The redevelopment is to include refurbishment of the Theatre
Royal and Studio, a re-invention of the Paintshop as a
flexible rehearsal and performance space, a new Heritage
Resource Centre, a dedicated Education Centre, Professional
Development Centre and remodelling and expansion of
the foyers, rehearsal spaces, technical and administrative
facilities.
Charcoalblue is assisting with the functional planning and
new technical system design in close collaboration with the
architect and theatre’s expert technicians.
The Charcoalblue-led options study has analysed various
schemes and associated costs addressing aspects of the
wide-reaching brief. Charcoalblue has recommended inserting
a Georgian-inspired theatre into the existing footprint whist
also providing safe access to a technical level and control
position. Resolving existing noise control problems and
enhancing the clarity of spoken word for drama are included
in the proposals.
Andy Hayles, Managing Partner
Jon Stevens, Creative Manager
Andy has thirteen years experience in theatre consultancy, including
two years as a director of Theatre Projects Consultants. He was cofounder of Charcoalblue in 2004. He also has six years experience
as a theatre practitioner, including three years as Chief Electrician/
Lighting Designer at the Theatre Royal, Richmond. Andy’s main areas of
work currently include strategic planning, consultancy in all aspects of
theatre design - with an emphasis on feasibility studies, project and risk
management, health and safety, access and technical systems. Some of
Andy’s past and current projects include the Royal Shakespeare Theatre
Redevelopment and Courtyard Theatre, RSC, Stratford-upon-Avon;
National Theatre Studio, London; Old Vic Theatre, Bristol; Liverpool
Everyman and Playhouse; National Theatre Futures Project, London;
Camden Roundhouse, London; Royal Court Theatre, Sloane Square;
Royal Exchange Theatre, Manchester and the Young Vic Theatre, London.
Jon has twelve years experience in theatre consultancy and co-founded
Charcoalblue in 2004. He previously worked as a theatre practitioner
in lighting and sound for eleven years, including seasons for the Royal
Shakespeare Company, the Royal National Theatre, Phoenix Dance
Company and four years for Glyndebourne Festival Opera as Head of
Sound. Consultancy work for Charcoalblue in the UK includes: Bristol
Old Vic Redevelopment; National Theatre Future Project, London; Snape
Maltings Hoffmann Building, Suffolk; Ebert Room at Glyndebourne, East
Sussex; St George’s Chapel, Great Yarmouth; Curve Theatre, Leicester;
Courtyard Theatre & Royal Shakespeare Theatre Transformation,
Stratford-upon-Avon; Hepworth Gallery, Wakefield; Siobhan Davies
Dance Centre, London; Camden Roundhouse, London; Unicorn Theatre
for Children, London. Internationally, Jon has consulted on a number of
projects including the Emirates Palace Theatre, Abu Dhabi; Den Norske
Opera, Oslo; Esplanade Theatres on the Bay, Singapore and Heritage
Village Theatre, Abu Dhabi.
Gavin Green, Head of Theatre Design
Katy Alexander, Head of Administration and Finance
Gavin has thirteen years’ experience as a theatre design consultant
in the UK and US, and co-founded Charcoalblue in 2004. Gavin is
an architect, specialising in auditorium design, theatre planning and
feasibility and briefing studies. Current projects include National Theatre,
London; New Marlowe Theatre, Canterbury; Chichester Festival Theatre;
Everyman Theatre, Liverpool; Theatre Royal, Newcastle; Ebert Room,
Glyndebourne; Hepworth Gallery, Wakefield and Saint Ann’s Warehouse,
DUMBO, NYC. Completed projects include Royal Shakespeare Theatre
Redevelopment and RSC Courtyard Theatre, Stratford-upon-Avon; the
RSC Roundyard at the Roundhouse, London; The Core, Corby; The North
Wall, St Edwards School, Oxford; Kneehigh at Battersea Arts Centre
and Cannock Theatre Briefing Study. Past experience also includes both
music spaces at Sage, Gateshead, Den Norske Opera, Oslo and the
feasibility study for the Lincoln Center Redevelopment Study, New York
including the Avery Fisher Concert Hall & New York State Opera House;
Heritage Village Theatre, Abu Dhabi & the Kodak Theatre, Hollywood and
Highland, LA.
Katy is the first point of contact for Charcoalblue’s clients and
collaborators. She provides administrative support to the Charcoalblue
team, assisting with financial duties as well as overseeing all aspects of
the day to day running of the studio. She is also responsible for compiling
all pre-qualification and tender documents. Katy previously spent two
years working in arts administration as Office Manager for Aura Sound
Design Ltd. Prior to that, she spent six years working in theatre as a
freelance Stage Manager and Props Buyer, both in London and nationally.
Notable productions include: Shooting Stars/The Fast Show Live
(Hammersmith Apollo, London); The Channel 4 Sitcom Festival (Riverside
Studios, London); and numerous productions/tours for the Royal Court
Theatre (Sloane Square/West End/nationally). Katy has a BA Hons in
English Literature & French from Roehampton Institute.
Email: andy.hayles@charcoalblue.com
Email: gavin.green@charcoalblue.com
Email: jon.stevens@charcoalblue.com
Email: katy.alexander@charcoalblue.com
THE TEAM
Chris Spurgeon, Non-Executive Partner
Mike Harvey, Accounts Manager
Chris is a Chartered Accountant with over 20 years commercial
experience in the UK creative industries sector. Until 2003, he was
Director of Finance for FilmFour Ltd, the stand-alone feature film
investment, production and distribution arm of Channel 4. Prior to that,
he was Finance Controller, then Finance Director of the Television Division
of Chrysalis Group PLC, gaining extensive exposure to the independent
television sector. Chris’ role at Charcoalblue is to oversee the financial
direction and management of the company.
Mike has day to day responsibility for finance and accounting procedures
at Charcoalblue, working closely with the Directors on resource and
finance issues. He is an Affiliate member of the Institute of Certified
Bookkeepers, and a Qualified member of the AAT (Association of
Accounting Technicians). Mike has previously been Operations Director
for a sales office equipment company dealing in both retail and trade,
and also had two years experience as Owner/Director of a sales office
equipment company which was subsequently sold to a competitor. He
then spent four years as Owner/Director of a company running three
public houses. For the past seven years, Mike has run a management
and finance consulting business working with UK companies supporting
and advising in all areas of finance, management structure and resource
planning.
Email: chris.spurgeon@charcoalblue.com
Peter Longman, Non-Executive Partner
Email: peter.longman@charcoalblue.com
Peter has thirty-eight years experience working in senior posts in the
arts, crafts, museums and heritage sectors with responsibilities across
the UK. He has been a Non Executive Board Member or Director of over
twenty organisations across the last 25 years. Peter was the Director
of The Theatres Trust for 10 years. Earlier he ran the Arts Council of
Great Britain’s ‘Housing the Arts’ Fund for nine years, generating over
300 grants towards the cost of arts building projects. Around fifty new
theatre buildings were created during this period, including Manchester’s
Royal Exchange; the Young Vic; Sheffield Crucible; Derby Playhouse;
Leicester Haymarket; Ipswich Wolsey; Inverness Eden Court; Cardiff
Sherman; Chester Gateway, and Plymouth Theatre Royal, as well as
refurbishments at Bristol Old Vic and Nottingham Theatre Royal. Peter’s
main role at Charcoalblue is to provide assistance and advice to the
Company on projects, business development, company management and
finance.
Email: mike.harvey@charcoalblue.com
Alex Wardle, Head of Project Management
Paul Crosbie, Senior Consultant
Alex has fifteen years experience of working in the theatre industry. He
was Production Manager for Kneehigh Theatre from 1999 – 2005, then
Theatre Consultant for Arup 2005 – 2011. Alex also works as a lighting
designer: credits include productions at the Royal National Theatre,
West Yorkshire Playhouse, Bristol Old Vic, Lyric Theatre Hammersmith,
Belgrade Theatre Coventry, Arcola Theatre. Alex’s speciality at
Charcoalblue is theatre planning and technical systems design, with an
emphasis on lighting systems and technical access. Consultancy work for
Arup includes Kings Place, London; Glasgow City Halls; Mareel, Shetland;
Royal College of Music, London; Arcola Theatre, London; Constellation
Centre, Boston, USA; Grand Canal Theatre, Dublin; Kolkata Museum of
Modern Art; Bodø Kulturkvartalet, Norway; Ahmed Adnan Saygun Sanat
Merkezi, Izmir, Turkey.
Paul has twenty-two years experience of working in the theatre industry.
He was the General Manager, then Project Manager for the refurbishment
of The Shaftesbury Theatre, London. Paul has also provided production
and technical consultancy services to Pop-Up Theatre Company, London
and Gardner Arts Centre, Brighton. Paul’s speciality at Charcoalblue is to
provide consultancy and project management services with an emphasis
on strategic planning, building-wide functionality, the development of
turnkey technical solutions and building-wide legislative compliance.
Consultancy work includes the New Marlowe Theatre, Canterbury; Jewish
Community Centre, London; Nottingham Contemporary; The Core,
Corby; The National Skills Academy, Thurrock; New Theatre, Doncaster;
Perth Theatre, Scotland; The Centre for Music in the World of Islam, Abu
Dhabi; The Hippodrome Casino and Cabaret Space, London.
Gavin Owen, Senior Consultant
Jon Woodley, Consultant
Gavin provides project management and consultancy on all aspects of
theatre design, specialising in the stagelighting and audiovisual systems
for the performing arts. He has a BA Hons in Performance Management
from Bretton Hall, University of Leeds, is an Associate member of the
Association of British Theatre Technicians, and a Professional member
of the Association of Lighting Designers. Prior to joining Charcoalblue
in 2005, Gavin had twelve years experience as a theatre practitioner,
including four years as a member of the lighting department at the Royal
Court Theatre, London; three years as Deputy Chief Electrician at the
Palace Theatre, Watford, and experience as a freelance technician and
Lighting Designer in London and theatres nationally. Consultancy work
for Charcoalblue includes: Royal Shakespeare Theatre Redevelopment,
Stratford-upon-Avon; The Quarterhouse, Folkestone; Graeae Rehearsal
Space, London; Bluecoat Arts Centre, Liverpool; Young Vic Theatre,
London; Roundhouse, London; Carnival Arts Centre, Luton; North Wall
Theatre, St Edwards School, Oxford; RSC Courtyard Theatre, Stratfordupon-Avon; The National Theatre Studio, London.
Jon provides consultancy on all aspects of theatre design, with special
emphasis in project management and stage engineering systems. He has
worked in the theatre for many years mainly as a Production Manager
working for, and helping to develop many well reputed companies and
venues including Regent’s Park Open Air Theatre, London; The Abbey
Theatre, Dublin; Bill Kenwright Ltd and the Royal Opera House, London.
Prior to joining Charcoalblue Jon was working for Terry Murphy Scenery
- one of the most prolific scenic workshops in the UK - where he project
managed a number of largescale international productions including Love
Never Dies, Hair, and The Lion King (Hamburg). Consultancy work for
Charcoalblue includes: Theatre Royal, Bristol; National Skills Academy,
Thurrock; Newcastle Theatre Royal.
Email: alexlwardle@charcoalblue.com
Email: gavin.owen@charcoalblue.com
Email: paul.crosbie@charcoalblue.com
Email: jon.woodley@charcoalblue.com
THE TEAM
Paul Franklin, Head of Technical Design
Giles Favell, Senior Consultant Paul provides project management and consultancy on all aspects of
theatre design, with special emphasis on stage lighting systems. He has
many years experience of working as a theatre practitioner, including
four years as Chief electrician /Lighting designer at the Yvonne Arnaud
Theatre, Guildford and seven years as Chief Electrician at the Old Vic,
London. He has also worked as a freelance electrician/assistant lighting
designer for over fifty West End shows, as well as many UK regional
tours, conferences, car shows and exhibitions. Consultancy Work
includes: Jewish Community Centre, London; New Theatre, Doncaster;
Wexford Opera House; Severn Theatre, Shrewsbury; Cork Opera House;
Victoria Palace Theatre, London; Theatre Royal, Bath; Waterside Theatre,
Aylesbury; New Civic Hall, Guildford; Dance East studios, Ipswich; Apex
centre, Bury St Edmunds; Sevenoaks School Performing Arts Centre.
At Charcoalblue, Giles provides consultancy on all aspects of theatre
design, specialising in the design of stage engineering and other
technical systems. Giles has thirty three years experience in professional
theatre with fourteen years at RADA as Production Manager, training
theatre technicians and stage managers, including five years managing
the Academy’s redevelopment. His recent inventions include the award
winning APACK retractable seating system for theatres and stadia, and
the Wedgelock fixing system, now fitted in theatres across the UK. Work
for Charcoalblue includes St. Edwards School, Oxford; National Theatre
Futures Project, London; Corby Cube; Liverpool Everyman; Marlowe
Theatre, Canterbury; Hippodrome, London; King Edwards School,
Birmingham; The RSC Courtyard Theatre, Stratford-upon-Avon; 400 Hall,
Repton.
Ian Stickland, Senior Consultant
Gregory Allan, Consultant
Ian provides consultancy in all aspects of theatre design, specialising
in audiovisual systems for the performing arts. He is a graduate of
the Music and Sound Recording (Tonmeister) degree at the Institute
of Sound Recording, University of Surrey. Ian has worked in a wide
variety of venues including Battersea Arts Centre, Abbey Road Studios,
numerous festivals and tours. His expertise includes all areas of
sound reinforcement and recording, theatrical lighting and technical
management. He has worked with artists including Punchdrunk,
Kneehigh Theatre Co, Diana Ross, London Symphony Orchestra and
Stephen Frears, and has performed professionally as a musician.
Consultancy work for Charcoalblue includes: King Edwards School,
Birmingham; 400 Hall, Repton; Nottingham Contemporary, Nottingham;
New Theatre, Doncaster; New Marlowe Theatre, Canterbury;
Hippodrome, London; Perth Theatre, Scotland.
Gregory assists and provides project management and consultancy on all
aspects of theatre design, specialising in the design of stage engineering
and other technical systems. He graduated from the University of
Strathclyde, Glasgow with a BEng Hons in Product Design Engineering
and is a member of the Association of British Theatre Technicians. Before
joining Charcoalblue Gregory worked for two years as an Electrical/
Electronic and Manufacturing Design Engineer for Caterpillar, specialising
in component and control systems engineering. Consultancy work
for Charcoalblue includes Perth Theatre, Scotland; Marlowe Theatre,
Canterbury; Royal Shakespeare Redevelopment, Stratford-Upon-Avon;
Corby Cube; New theatre, Doncaster, and UAL, Central St Martin’s,
London.
Email: paul.franklin@charcoalblue.com
Email: ian.stickland @charcoalblue.com
Email: giles.favell@charcoalblue.com
Email: gregory.allan@charcoalblue.com
Byron Harrison, Head of Acoustics
Elena Giakoumaki, Senior Consultant Byron provides consultancy in all aspects of acoustic design for the
performing arts, including major arts centres, university buildings,
outdoor venues, and school auditoria. As well as performing arts venues,
Byron has managed acoustic projects for restaurants, carried out historic
renovations and undertaken environmental noise surveys. He has a BS
in Engineering, Acoustics & Music from the University of Hartford, USA
and has eight years’ experience as Acoustics Consultant at Talaske,
USA - beginning as an intern and rising through the ranks to Senior
Consultant by 2006. He has written several conference papers for the
Acoustical Society of America and guest lecturered throughout the USA.
Consultancy work includes Mead Centre for American Theater at Arena
Stage, Washington; Charles R Walgreen Jr Drama Center, University
of Michigan; Jay Pritzker Pavilion - Millennium Park, Chicago; Presser
Hall - Berea College, Kentucky; Hartford Stage Company Renovation
& Expansion - Hartford, Connecticut and North-Western University
Community Noise Master Plan, Chicago.
Elena is a qualified architect with eight years experience in auditorium
design and theatre planning, and has worked on various venues in the
UK and abroad. Her experience also includes a two year collaboration
with a leading set designer in Athens. Elena’s recent experience includes
the newly completed Grand Canal Theatre, Dublin; detailed design for
a new theatre at the O2, London; Aylesbury Theatre and Entertainment
Centre; Montecasino Theatre, Johannesburg, and the Novello Theatre
refurbishment, London, as well as numerous feasibility studies and
competition entries.
Email: byron.harrison@charcoalblue.com
Email: elena.giakoumaki@charcoalblue.com
Ben Hanson, Consultant
Email: ben.hanson@charcoalblue.com
At Charcoalblue, Ben provides consultancy in all aspects of theatre
design, primarily in the areas of auditorium design and planning, seating,
sightlines and accessibility. Ben trained as an architect at the University
of Bath. During his degree course, Ben worked with an assortment
of architectural practices in the South West of England, as well as
collaborating with Johan Engels as a set design assistant on numerous
productions. After graduating, Ben continued working as Set Design
Assistant alongside Peter Davison. Some of his most recent productions
have included Die Passagierin for the Bregenz Festival Festspielhaus; The
Boys in the Photograph for the Johannesburg Civic Theatre, and Blithe
Spirit on Broadway. Ben also spent time working with Make Architects in
London and was involved in detailed design projects in Barbados, Bahrain
and London. Ben has specialist experience in Microstation, AutoCad,
Vector works and Adobe CS, and is an experienced model builder.
Current projects include Perth Theatre, Scotland; Theatre Royal, Bristol;
Everyman, Liverpool; Empire Theatre, Barbados and St George’s Chapel,
Great Yarmou
THE TEAM
Jack Tilbury, Associate Consultant
Ali Grant, Stage Lighting Associate
Jack provides project management and consultancy in all aspects
of theatre design, specialising in all technical and stage engineering
systems. He trained at Rose Bruford College, then spent ten years as
a Production manager in theatre, including working for the RSC, the
National Theatre and The Young Vic. Jack is a full Member of the Society
of Theatre Consultants, and an Associate Member of the Association of
British Theatre Technicians. He has seven years experience in theatre
consultancy, and co-founded Charcoalblue in 2004. Consultancy work for
Charcoalblue includes: Hepworth Gallery, Wakefield; Corby Cube Theatre;
The Quarterhouse, Folkestone; Nottingham Contemporary; CURVE,
Leicester; Bluecoat Arts Centre, Liverpool; St Edwards School, Oxford;
University Place, Manchester; English National Opera, London and New
Marlowe Theatre, Canterbury.
Ali specialises in the design of custom stagelighting systems for the
performing arts. Previous experience includes work for Theatre Projects
Services Ltd, and 25 years as a freelance Lighting Designer/Production
Electrician/Theatre Consultant. He has been involved in more than a
hundred UK and international productions, ranging from workshops
through Repertory and West End, to large scale Arena and concert
productions. RADA trained, Ali is also a member of the Association of
Lighting Designers. Lighting designs includes: Jailhouse Rock – The
Musical (Piccadilly Theatre); Acorn Antiques (UK Tour), and Showboat
(Royal Albert Hall). Concert & live events experience includes: One Day
More – The Music of Boublil & Schonberg (Symphony Hall); Lesley Garret
in Concert; Kiri Te Kanawa in Concert and John Barry (Royal Albert Hall).
Consultancy experience includes production of lighting system designs
for: Northern Stage, Newcastle-Upon- Tyne; The Chicken Shed Theatre,
Enfield; Prince of Wales Theatre, London; Gielgud Theatre, London;
Novello Theatre, London; Wyndhams Theatre, London; and overseas
- preliminary studies of the Auditorium Theatre, Chicago and Das RheinMain-Theater, Niedernhausen.
John Owens, Senior Audio Visual Associate
Paul Davies, Associate Education Consultant
John has over twenty one years experience working in technical
theatre, mainly as Production Sound Engineer and Sound Designer.
For Charcoalblue he specialises the bespoke deisgn of sound and
communications systems. John co-founded Aura Sound Design Ltd (1998
– 2004), which specialised in offering sound design and consultancy
services to theatres and producers all over the world. John also is the
visiting Tutor at Guildhall School of Music and Drama, London, and
Hong Kong Academy of Performing Arts. Sound design credits include:
A Doll’s House; The Blue Room; Judas Kiss; Private Lives (all on
Broadway); When Harry Met Sally (West End); Closer - internet scene
video realisation designer at the National Theatre, West End, Broadway
and then World tour. Consultancy projects include National Theatre
Studio, London; Guildhall School of Music and Drama, London; Cottesloe,
National Theatre, London; Old Vic Theatre, Bristol; Almeida Theatre,
London; Hampstead Theatre, London and Royal Academy of Dramatic
Art, London.
Paul joins Charcoalblue with specialist educational expertise and over
fifteen years experience working in lighting design, technical/production
management, and production electrics. Paul has taught and administered
Technical Theatre and Lighting Design courses at sixth form, vocational,
professional, and higher education level since 1989 while located in the
UK, USA, and Canada. Since 2006, Paul has been a Lecturer in Lighting
& Sound at the University of Kent. Consultancy projects include: Design
and project management of performance and teaching spaces for St
Donats Arts Centre, University of Leeds (Bretton Theatre and initial
work on PCI Leeds); CSU Chico (California), and the University of Kent.
Current projects for Charcoalblue include 400 Hall, Repton; The Corby
Cube; RST Transformation, Stratford-Upon-Avon.
Email: jack.tilbury@charcoalblue.com
Email: john.owens@charcoalblue.com
Email: ali.grant@charcoalblue.com
Email: paul.davis@charcoalblue.com
Will Bowen, Associate Consultant
Email: will.bowen@charcoalblue.com
Will has over twenty-five years experience as a freelance theatre
practitioner, including operational, management, design & project
experience. He was co-founder of the Almeida Theatre in Islington with
Pierre Audi and Chris Naylor. Will provides consultancy on all aspects
of theatre and auditorium design, and has project managed many
projects in the West End and on tour including The Rehearsal (Garrick
Theatre) and Kiss Me Kate (RSC UK Tour). He has also designed for many
theatre, opera & ballet productions including: Rowan Atkinson in Revue
(Shaftesbury); Derren Brown Live (Palace Theatre), and Macbeth & Tosca
(Icelandic Opera). Will designed engineering schemes for The Phantom
of the Opera (Her Majesty’s); Aspects of Love (Prince of Wales); Oliver!
(Palladium); Chitty Chitty Bang Bang (Palladium), and His Dark Materials
(NT Olivier). Architectural design work includes Sydmonton Court
Theatre; Great Offley Barn Theatre; Lyttelton Loft Theatre & Lyttelton
Transformation. Consultancy work includes Almeida Theatre, Islington;
Soho Theatre, London and Royal Shakespeare Theatre Redevelopment,
Stratford-Upon-Avon.
Adam Crosthwaite, Associate Consultant
Email: adam.crosthwaite@charcoalblue.com
Adam provides project management and consultancy at Charcoalblue,
focussing on all aspects of theatre design, with special emphasis in
project management and stage lighting systems for the performing arts.
Adam has sixteen years experience as a theatre practitioner, including
Technical Building Supervisor for Interchange Studios at Hampstead Town
Hall and four years as Production Manager and resident Lighting Designer
at the Little Angel Theatre Islington. For two years he taught Technical
Stage Management at Mountview Theatre School and has worked on
numerous shows in London and theatres nationally as a freelance lighting
designer and technical manager. Consultancy work for Charcoalblue
includes Hepworth Gallery, Wakefield; Royal Shakespeare Company
Redevelopment, Stratford-upon-Avon; The National Theatre Studio,
London; Liverpool Playhouse and Everyman Theatre; Wells Cathedral
School; King Edward’s School, Birmingham; 400 Hall, Repton; Empire
Theatre, Barbados.
Christopher Daniel, Associate Consultant
Matt Berry, Associate Consultant
Chris is a practicing architect who provides consultancy in all aspects of
theatre design, primarily in the areas of auditorium design and planning,
seating, sightlines and accessibility. Chris trained as an architect at the
University of Newcastle-upon-Tyne and the Bartlett, UCL where his work
included proposals for theatrical facilities in Newcastle, UK and Budapest,
Hungary. After graduating from the Bartlett, Chris worked in the London
studio of NBBJ and was involved in the development of a diverse range
of projects of a variety of sizes in the UK, Norway, Russia, UAE, Kuwait,
Yemen & Kazakhstan. Chris has specialist experience in a wide variety of
digital presentation techniques, including 3D Studio Max, Microstation,
AutoCAD and a variety of more esoteric platforms. Current projects
include the Hippodrome, London and New Marlowe Theatre, Canterbury.
Matt has twelve years experience working in professional theatre,
including six years as Sound Technician at the Almeida. He was also
Deputy Electrician for the ‘Grease’ UK tour and Assistant Electrician at
the Bristol Old Vic. Matt qualified from the Welsh College of Music and
Drama, Cardiff, and has taught at the Bristol Old Vic Theatre School.
Matt’s sound design credits include Romance by David Mamet (Almeida);
and The Goat by Edward Albee (Almeida and West End). As production
sound operator, Matt’s work includes: Brighton Rock the musical
(Almeida); The IO Passion by Harrison Birtwistle (Aldeburgh, Almeida
and Bregenz, Austria); The Embalmer (Almeida Opera, Snape & UK tour).
Matt’s consultancy work to date includes Aldeburgh Rehearsal Campus,
Snape Maltings; RST Redevelopment and Courtyard Theatre, Stratfordupon-Avon; Young Vic Theatre, London and National Theatre Studio,
London.
Andrew Gardner, Associate Consultant
Cordelia Chisholm, Modelmaker
Andrew provides project management and consultancy on all aspects
of theatre design, with special emphasis on stage lighting systems.
With over forty years’ worldwide freelance experience in the lighting
sector and extensive experience in live events, theatre, dance, casino
shows and architectural lighting, Andrew also acted as General Manager
of TPC in South East Asia for two years, leading projects including the
Esplanade up to tender and award stages. Lighting design credits for
the West End include The Wind in the Willows; Baggage , and Oh, Mr
Porter, with world premieres including Days of the Commune; Music Hall
1870; Gilbert & Sullivan; Shirley Bassey; Elton John; Disneyland; Cirque
du Soleil; and many international casinos. Andrew has also lectured in
Sao Paulo, Brazil for the British Council, and commissioned a lighting
system for new TV studios in Jeddah, Saudi Arabia. He was Creative
Lighting Director for a Disney production of Crescend’O in Disney Village,
Paris . Andrew also carried out concept designs for Foster Architects &
TPC including West Kowloon Cultural District (Hong Kong) , consultancy
and architectural lighting design for the new Lisbon Casino; and he has
consult ed on various cultural projects in Iran.
Cordy is principally model-maker to the Design department, but is also
an accomplished theatre designer in her own right. Designs include
Hansel and Gretel, directed by Frederick Wake-Walker (Opera North);
Cosi Fan Tutte, directed by Ashley Dean (RSAMD); Shadow Language,
directed by Tim Stark (Theatre 503); Peter Grimes and Marriage of
Figaro directed by Ashley Dean (Surrey Opera) and Touched, directed by
David Tucker (RADA). Costume designs include: Orlando and La Scala di
Seta directed by Alessandro Talevi (Sadler’s Wells); Taboos directed by
Andy Jordan (New End) and The Wedding, directed by Emma Bernard
(Southwark Playhouse). Cordy has also assisted the following Designers:
Tom Piper on various RSC projects including King Lear, Hamlet, Twelfth
Night, Henry VI; David Fielding; Es Devlin and Hildegard Bechtler. Cordy
studied at Motley Theatre Design Course and has a BA Hons in English
Literature from Cambridge University.
Email: christopher.daniel@charcoalblue.com
Email: andrew.gardner@charcoalblue.com
Email: matt.berry@charcoalblue.com
Email: cordelia.chisholm@charcoalblue.com
AWARDS
Civic Trust Special Award for Access 2008 - Roundhouse
RIBA Regional Award 2011 - Royal Shakespeare Theatre, Stratford-upon-Avon
Civic Trust Award 2008 - Young Vic Theatre
RIBA Regional Award 2011 - UK Centre for Carnival Arts, Luton
Civic Trust Award 2008 - North Wall Theatre, Oxford
RIBA Regional Award 2010 - Aldeburgh Music Creative Campus
RIBA Regional Award 2010 - Nottingham Contemporary
Building Awards 2011 - Winner of Project of Year - Royal Shakespeare Theatre
RIBA Regional Award 2009 - Quarterhouse, Folkestone
RIBA Regional Award 2009 - Nottingham Arts Exchange
USITT Merit Awards 2007 - Charcoalblue - Unicorn Theatre
RIBA Regional Award 2009 - Curve Theatre, Leicester (with Sceno Ducks)
USITT Merit Awards 2007 - Charcoalblue - Young Vic Theatre
RIBA National Award 2008 - North Wall Theatre, Oxford
RIBA National Award 2008 - Bluecoat Arts Centre, Liverpool
Stirling Prize 2007 Shortlist - Young Vic Theatre
RIBA Regional Award - Young Vic Theatre
RIBA London Building of the Year - Young Vic Theatre
BD Public Building Architect of the Year 2006 - Unicorn
RIBA National Award 2007 - Courtyard Theatre
BD Architect of the Year 2006 - Roundhouse
RIBA National Award 2007 (conservation) - Roundhouse
RIBA Arts Building Award 2006 - Unicorn Theatre
LEAF Public Building of the Year Award - Young Vic
RIBA Arts Building Award 2006 - Siobhan Davies Dance Centre
RIBA SE Region Award of Merit 2005 - Amnesty International HQ
Evening Standard Award for Innovative Theatre Architecture - Young Vic
RICS East of England Conservation Award 2010 (Joint Winner)
BCO National Award 2010 – Project up to 2000m2 – Graeae Theatre Company
- Aldeburgh Music Creative Campus
RICS Community Benefit Award 2009 (Winner)
Construction Project of the Year - 2010 Insider West Midlands Property
Awards – Royal Shakespeare Theatre
RICS Sustainability Award 2009 (Shortlisted) - Courtyard Theatre
www.charcoalblue.com
Registered address: 17, Short Street, Bankside, London SE1 8LJ
E studio@charcoalblue.com T 020 7928 0000 F 020 7691 0454
Charcoalblue is a limited company registered in England, number 5014930