Лондонның "Old Vic" театры тарихы

Theatre in Waterloo, London

The Old Vic is a 1,000 seat, not for profit producing theatre in Waterloo, London, England. It was established in 1818 as the Royal Coburg Theatre, and renamed in 1833 the Royal Victoria Theatre. In 1871 it was rebuilt and reopened as the Royal Victoria Palace. It was taken over by Emma Cons in 1880 and formally named the Royal Victoria Hall, although by that time it was already known as the "Old Vic". In 1898, a niece of Cons, Lilian Baylis, assumed management and began a series of Shakespeare productions in 1914. The building was damaged in 1940 during air raids and it became a Grade II* listed building in 1951 after it reopened. The Old Vic is the crucible of many of the performing arts companies and theatres in London today. It was the name of a repertory company that was based at the theatre and formed (along with the Chichester Festival Theatre) the core of the National Theatre of Great Britain on its formation in 1963, under Laurence Olivier. The National Theatre remained at the Old Vic until new premises were constructed on the South Bank, opening in 1976. The Old Vic then became the home of Prospect Theatre Company, at that time a highly successful touring company which staged such acclaimed productions as Derek Jacobi's Hamlet. However, with the withdrawal of funding for the company by the Arts Council of Great Britain in 1980 for breaching its touring obligations, Prospect disbanded in 1981. The theatre underwent complete refurbishment in 1985. In 2003, Kevin Spacey was appointed artistic director, which received considerable media attention. Spacey served as artistic director until 2015; two years after he stepped down, he was accused of sexually harassing and assaulting several people. In 2015, Matthew Warchus succeeded Spacey as artistic director.

The theatre was founded in 1818 by James King and Daniel Dunn (formerly managers of the Surrey Theatre in Bermondsey), and John Thomas Serres, then the marine painter to the King. Serres managed to secure the formal patronage of Princess Charlotte and her husband Prince Leopold of Saxe Coburg, and named the theatre the Royal Coburg Theatre. The theatre was a "minor" theatre (as opposed to one of the two patent theatres) and was thus technically forbidden to show serious drama. Nevertheless, when the theatre passed to George Bolwell Davidge in 1824 he succeeded in bringing legendary actor Edmund Kean south of the river to play six Shakespeare plays in six nights. The theatre's role in bringing high art to the masses was confirmed when Kean addressed the audience during his curtain call saying "I have never acted to such a set of ignorant, unmitigated brutes as I see before me." More popular staples in the repertoire were "sensational and violent" melodramas demonstrating the evils of drink, "churned out by the house dramatist", confirmed teetotaller Douglas Jerrold. When Davidge left to take over the Surrey Theatre in 1833, the theatre was bought by Daniel Egerton and William Abbot, who tried to capitalise on the abolition of the legal distinction between patent and minor theatres, enacted in Parliament earlier that year. On 1 July 1833, the theatre was renamed the Royal Victoria Theatre, under the "protection and patronage" of Victoria, Duchess of Kent, mother to Princess Victoria, the 14 year old heir presumptive to the British throne. The duchess and the princess visited only once, on 28 November of that year, but enjoyed the performance, of light opera and dance, in the "pretty clean and comfortable" theatre. The single visit scarcely justified the "Old Vic" its later billing as "Queen Victoria's Own Theayter". In 1841, David Osbaldiston took over as lessee, and was succeeded on his death in 1850 by his lover and the theatre's leading lady, Eliza Vincent, until her death in 1856. Under their management, the theatre remained devoted to melodrama. In 1858, sixteen people were crushed to death inside the theatre after mass panic caused while an actor's clothing caught fire. In 1867, Joseph Arnold Cave took over as lessee. In 1871 he transferred the lease to Romaine Delatorre, who raised funds for the theatre to be rebuilt in the style of the Alhambra Music Hall. Jethro Thomas Robinson was engaged as the architect. In September 1871 the old theatre closed, and the new building opened as the Royal Victoria Palace in December of the same year, with Cave staying on as manager. By 1873, however, Cave had left and Delatorre's venture failed. In 1880, under the ownership of Emma Cons (for whose memory there are plaques outside and inside the theatre) it became the Royal Victoria Hall and Coffee Tavern and was run on "strict temperance lines"; by this time it was already known as the "Old Vic". The "penny lectures" given in the hall led to the foundation of Morley College. An endowment from the estate of Samuel Morley led to the creation of the Morley Memorial College for Working Men and Women on the premises, which were shared; lectures were given back stage, and in the theatre dressing rooms. The adult education college moved to its own premises nearby in the 1920s. On 24 November 1923, the theatre participated in a pioneering radio event, when the first set of the opera La Traviata was broadcast live by the BBC, using transmitters in London, Manchester and Glasgow, via a specially installed relay transmitter on the roof of the adjacent Royal Victoria Tavern.

With Emma Cons's death in 1912 the theatre passed to her niece Lilian Baylis, who emphasised the Shakespearean repertoire. The first radio broadcasts from the theatre were made as early as October 1923, by the British Broadcasting Company. The Old Vic Company was established in 1929, led by Sir John Gielgud. Between 1925 and 1931, Lilian Baylis championed the re building of the then derelict Sadler's Wells Theatre, and established a ballet company under the direction of Dame Ninette de Valois. For a few years the drama and ballet companies rotated between the two theatres, with the ballet becoming permanently based at Sadler's Wells in 1935. Baylis died in November 1937.

The Old Vic was damaged badly during the Blitz, and the war depleted company spent all its time touring, based in Burnley, Lancashire at the Victoria Theatre during the years 1940 to 1943. In 1944, the company was re established in London with Ralph Richardson and Laurence Olivier as its stars, performing mainly at the New Theatre (now the Noël Coward Theatre) until the Old Vic was ready to reopen in 1950. In 1946, an offshoot of the company was established in Bristol as the Bristol Old Vic.

In 1953, Michael Benthall became the Artistic Director. Michael devised the Five Year plan during his tenure. The plan was to produce Shakespeare's First Folio in five years, starting the plan with Hamlet, starring Richard Burton and Claire Bloom as Hamlet and Ophelia respectively, and ending the plan with Hamlet, starring John Neville and Judi Dench in the leading roles. Michael remained at the Old Vic company until 1962.

In 1963, the Old Vic company was dissolved and the new National Theatre Company, under the artistic direction of Sir Laurence Olivier, was based at the Old Vic until its own building was opened on the South Bank near Waterloo Bridge in 1976. In July 1974 the Old Vic presented a rock concert for the first time. National Theatre director Peter Hall arranged for the progressive folk rock band Gryphon to première Midnight Mushrumps, the fantasia inspired by Hall's own 1974 Old Vic production of The Tempest starring John Gielgud for which Gryphon had supplied the music.

For two years prior to the departure of the National Theatre Company, Toby Robertson, director of the Prospect Theatre Company, sustained a campaign that the Old Vic should make Prospect its resident company. For the Old Vic, Robertson's overtures proved increasingly hard to resist in the face of poor box office returns achieved by productions staged by other visiting companies; against this, Prospect staged a highly successful season which opened in May 1977, including Hamlet with Derek Jacobi, Antony and Cleopatra with Alec McCowen and Dorothy Tutin; and Saint Joan with Eileen Atkins. In July the Governors of the Old Vic announced "a marriage that was all but a merger" between the Vic and Prospect. In September Toby Robertson, director of Prospect, was asked to take artistic control of the Old Vic, and Christopher Richards, general manager of the Old Vic, became general manager of Prospect. One major problem, though, was the terms of Prospect's funding by the Arts Council of Great Britain: this was on the basis of it being a touring company, and the council – already funding the National Theatre and the Royal Shakespeare Company in London – could not accept a case for another theatre company in the capital and repeatedly refused requests to fund any London seasons staged by Prospect. Therefore, any London based productions would have to succeed financially without Arts Council support. Prospect's first season at the Old Vic recouped its costs but left no surplus to fund future productions. Further stagings by visiting companies were box office failures and stretched the theatre's finances to breaking point. Yet Prospect continued to draw audiences to the Old Vic where other companies failed. In December 1978, the governors of the Old Vic agreed to a five year contract with Prospect, announcing to the press on 23 April that henceforth they would be styled "Prospect Productions Ltd., trading as the Old Vic Company". Unfortunately Prospect's touring commitments kept the company out of the theatre for the first half of 1979, leaving the theatre to sink further into debt. The company returned in July with Jacobi's Hamlet (toured afterwards to Denmark, Australia and China, the first English theatre company to tour that country),

Robertson was in effect fired as artistic director in 1980 while he was abroad with the company in China, Timothy West replacing him. The following season, West's first as Robertson's successor, saw Macbeth with Peter O'Toole, The Merchant of Venice with West as Shylock, and a gala performance presented to the Queen Mother to celebrate her eightieth birthday. The company gave a final season at the Old Vic in 1981, staging The Merchant of Venice, then gave a final tour of Europe, giving its last performance in Rome on 14 June before disbanding. In the wake of the scandal, The Old Vic released a statement apologising for "not creating an environment or culture where people felt able to speak freely", and announced a "commitment to a new way forward". In 2018, the Old Vic announced that it had established the Guardians Programme, a group of trained staff who offer a confidential outlet for colleagues to share concerns about behaviour or the culture at work. Additionally, a Guardians Network has been formed to bring together the group of organisations from all sectors (not just the arts) who have implemented the principles of a Guardian Programme.

Since 2015, Matthew Warchus has been Artistic Director of The Old Vic. His debut season opened in September 2015 with Warchus's production of a new play about education, Future Conditional by Tamsin Oglesby.

On 24 October 2017, The Old Vic announced its bicentenary season. The theatre celebrated its 200th birthday on 11 May 2018 with a free performance of Joe Penhall's Mood Music, featuring Ben Chaplin.