Talk:Hampstead Theatre

Hampstead Theatre

In 1959 James Roose-Evans founded, what was then called, the Hampstead Theatre Club, at Moreland Hall, in Holly Bush Vale, London. New plays formed the core of the repertory from the very beginning and the first season included successful premieres such as Siwan, a play by the Welsh poet Saunders Lewis, translated by Emyr Humphreys, and with Siân Phillips as the Princess Siwan. A double-bill by Harold Pinter, The Dumb Waiter and The Room, received rave reviews and put the fledgling theatre on the cultural map.

In 1962 the theatre moved to the 157 seat prefabricated building at Swiss Cottage which was to be its home for over 40 years. The programme mix was much the same as it is now: occasional revivals (Roose-Evan’s 1963 production of Private Lives did much to restore Noel Coward’s reputation) supporting a diverse repertory of new plays and UK premieres of American work.

During its first decade, the theatre existed without any subsidy, making it dependent on Box Office revenue, philanthropic support and revenue from transfers. Accordingly, the diverse range of Hampstead’s work developed a particular character, with intellectual challenge balanced by a significant entertainment component. This contrasted with the work of its near contemporary institution, The Royal Court, where greater financial support granted greater license for experiment. The institutions have both remained true to their heritages and Hampstead’s always close relationship with the commercial theatre has led to a surprisingly high number of West End transfers and tours.

Once established, Hampstead supported the careers of a number of notable writers. Three plays by David Hare (including his first play, Slag) premiered here; there were premieres of three plays by Michael Frayn, four plays by Mike Leigh (including Abigail’s Party), two plays by Terry Johnson, five plays by Philip Ridley, two plays by Stephen Jeffreys, and the return of Harold Pinter with the premiere of The Hothouse. Alongside these there were UK premieres of plays by Tennessee Williams (one also a World premiere), three Frank McGuinness plays, four Brian Friel plays, and plays by Athol Fugard, David Mamet and Tony Kushner. Other notable world premieres included Bernard Pomerance’s The Elephant Man and Dennis Potter’s only play Sufficient Carbohydrate. Inevitably this repertory attracted some of the finest creative and acting talent available. Amongst others the tiny Hampstead stage attracted artists as diverse as Ian McKellen, Leonard Rossiter, Jude Law, Zoe Wanamaker, Faye Dunaway, Ian Holm, Susan Hampshire, Albert Finney, Eileen Atkins, Ewan McGregor, Harriet Walter, Alan Rickman, Nigel Hawthorne, Elaine Stritch, Frances de la Tour, John Hurt, Penelope Keith, Billie Whitelaw, John Malkovich, Sheila Hancock, David Suchet, Juliet Stephenson, Timothy Spall, Maureen Lipman and many others.

In 2003, with the prefab becoming increasingly dilapidated, a National Lottery grant and the generosity of the local community enabled Hampstead to create its current state-of-the-Art premises. But adjustment to this new home proved unexpectedly difficult both financially and artistically: the much loved but tatty old auditorium was less than half the size of the luxurious new Main House. Accordingly, a very different approach to play selection and production was required, and the early years proved challenging.

In 2010 Edward Hall (Artistic Director) and Greg Ripley-Duggan (Executive Producer) were appointed http://www.telegraph.co.uk/culture/theatre/theatre-news/6987990/Edward-Hall-appointed-new-artistic-director-of-Hampstead-Theatre.htmland a comprehensive rethink of the business model was initiated, reducing overhead, investing more money onstage, and starting to present professional productions in the Downstairs Studio for the first time. The new model rapidly yielded results and notable recent successes have included World premieres of four Howard Brenton plays including 55 Days, Drawing the Line and #aiww: The Arrest of Ai Weiwei, David Hare’s The Moderate Soprano, Mike Bartlett’s adaptation of Chariots of Fire and his Wild, Amelia Bullmore’s Di and Viv and Rose (which was first discovered in the studio Downstairs), Beth Steel’s Wonderland and Labyrinth – as well as Hampstead’s first large scale musical, Sunny Afternoon. UK premieres of American plays have included David Mamet’s Race, Gina Gionfriddo’s Rapture, Blister, Burn, David Lindsay Abaire’s Good People and Rabbit Hole and Tony Kushner’s iHo. There have been revivals of plays by Stoppard, Frayn, Hare and Terry Johnson. And Hampstead Downstairs has, since 2010, given World premieres to over 40 plays (many of which have gone on to other stages) whilst Hampstead has transferred eight of its Main Stage productions to the West End.

Whilst now operating an unique commercial/funded model at a scale and prominence unimaginable in those early days in the church hall, Hampstead Theatre continues to honour its early creative values, as well as respecting the rich heritage that it has created in the course of its 50-year history.

Hampstead2016 (talk) 15:44, 24 October 2016 (UTC)

We need to know the source or sources of the above information, preferably from independent reliable sources if possible. Promotional language like "Inevitably this repertory attracted some of the finest creative and acting talent available" needs editing or removal, to make it less of an opinion. 331dot (talk) 16:04, 24 October 2016 (UTC)

Ok, understood. I will have another look at the copy and re-supply. Thanks for your help and feedback. — Preceding unsigned comment added by Hampstead2016 (talk • contribs) 17:19, 24 October 2016 (UTC)

Hello! I've edited and found sources to backup the facts. I've also made it much less opionated. I hope you agree? Many thanks:

In 1959 James Roose-Evans (https://en.wikipedia.org/wiki/James_Roose-Evans) founded, what was then called, the Hampstead Theatre Club, at Moreland Hall, in Holly Bush Vale, London. New plays formed the core of the repertory from the very beginning and the first season included successful premieres such as Siwan, a play by the Welsh poet Saunders Lewis, translated by Emyr Humphreys, and with Siân Phillips as the Princess Siwan http://www.hamhigh.co.uk/etcetera/music/hampstead_theatre_founder_james_roose_evans_ponders_dylan_thomas_ahead_of_hampstead_arts_festival_celebration_1_3814986http://www.thecnj.com/review/2008/123108/feature123008_01.html

In 1962 the theatre moved to the 157 seat prefabricated building at Swiss Cottage which was to be its home for over 40 years https://www.londontheatredirect.com/venue/141/hampstead-theatre.aspx. The programme mix was much the same as it is now: occasional revivals (Roose-Evan’s 1963 production of Private Lives did much to restore Noel Coward’s reputation http://www.telegraph.co.uk/journalists/charles-spencer/4372481/Private-Lives-at-Hampstead-Theatre-review.html) supporting a diverse repertory of new plays and UK premieres of American work.

Once established, Hampstead supported the careers of a number of notable writers. Three plays by David Hare (including his first play, Slag) premiered here; there were premieres of three plays by Michael Frayn, four plays by Mike Leigh (including Abigail’s Party), two plays by Terry Johnson, five plays by Philip Ridley, two plays by Stephen Jeffreys, and the return of Harold Pinter with the premiere of The Hothouse. Alongside these there were UK premieres of plays by Tennessee Williams (one also a World premiere), three Frank McGuinness plays, four Brian Friel plays, and plays by Athol Fugard, David Mamet and Tony Kushner. Other notable world premieres included Bernard Pomerance’s The Elephant Man and Dennis Potter’s only play Sufficient Carbohydrate. Amongst others the tiny Hampstead stage attracted artists such as Ian McKellen, Leonard Rossiter, Jude Law, Zoe Wanamaker, Faye Dunaway, Ian Holm, Susan Hampshire, Albert Finney, Eileen Atkins, Ewan McGregor, Harriet Walter, Alan Rickman, Nigel Hawthorne, Elaine Stritch, Frances de la Tour, John Hurt, Penelope Keith, Billie Whitelaw, John Malkovich, Sheila Hancock, David Suchet, Juliet Stephenson, Timothy Spall and Maureen Lipman.

In 2003 a National Lottery grant and the generosity of the local community enabled Hampstead to create its current state-of-the-Art premises. But adjustment to this new home proved unexpectedly difficult both financially and artistically https://www.theguardian.com/stage/theatreblog/2010/jan/13/edward-hall-hampstead-theatre.

In 2010 Edward Hall (Artistic Director) and Greg Ripley-Duggan (Executive Producer) were appointed and a comprehensive rethink of the business model was initiated, reducing overhead, investing more money onstage, and starting to present professional productions in the Downstairs Studio for the first time http://www.standard.co.uk/goingout/theatre/how-artistic-director-edward-hall-saved-hampstead-theatre-9216082.html.

The new model rapidly yielded results and notable recent successes have included World premieres of four Howard Brenton plays including 55 Days, Drawing the Line and #aiww: The Arrest of Ai Weiwei, David Hare’s The Moderate Soprano, Mike Bartlett’s adaptation of Chariots of Fire and his Wild, Amelia Bullmore’s Di and Viv and Rose (which was first discovered in the studio Downstairs https://www.thestage.co.uk/news/2014/di-viv-rose-transfer-west-end-2015/, Beth Steel’s Wonderland and Labyrinth – as well as Hampstead’s first large scale musical, Sunny Afternoon which won the Olivier Award for Best New Musical in 2015 http://www.olivierawards.com/winners/view/item350439/olivier-winners-2015/. UK premieres of American plays have included David Mamet’s Race, Gina Gionfriddo’s Rapture, Blister, Burn, David Lindsay Abaire’s Good People and Rabbit Hole and Tony Kushner’s iHo. There have been revivals of plays by Stoppard, Frayn, Hare and Terry Johnson. And Hampstead Downstairs has, since 2010, given World premieres to over 40 plays http://www.broadwayworld.com/westend/article/Hampstead-Theatres-FIREBIRD-to-Transfer-to-Trafalgar-Studios-This-February-20160216 whilst Hampstead has transferred eight of its Main Stage productions to the West End.

Hampstead2016 (talk) 18:44, 24 October 2016 (UTC)

References