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 [email protected] 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: [email protected]

Email: [email protected]

Email: [email protected]

Email: [email protected]

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: [email protected]

Peter Longman, Non-Executive Partner Email: [email protected]

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: [email protected]

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: [email protected]

Email: [email protected]

Email: [email protected]

Email: [email protected]

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: [email protected]

Email: ian.stickland @charcoalblue.com

Email: [email protected]

Email: [email protected]

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: [email protected]

Email: [email protected]

Ben Hanson, Consultant

Email: [email protected] 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: [email protected]

Email: [email protected]

Email: [email protected]

Email: [email protected]

Will Bowen, Associate Consultant Email: [email protected]

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: [email protected]

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: [email protected]

Email: [email protected]

Email: [email protected]

Email: [email protected]

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 [email protected] T 020 7928 0000 F 020 7691 0454 Charcoalblue is a limited company registered in England, number 5014930