VENUE 071
AYLESBURY WATERSIDE THEATRE
ONE OF THE MOST PERTINENT ISSUES OF AYLESBURY THEATRE’S CREATION WAS THE NEED FOR A COMMUNITY SERVING VENUE. WITH THAT CAME A NECESSITY FOR MULTIFUNCTIONALITY, WHICH IN TURN PRESENTED AN ACOUSTICAL CONUNDRUM THAT REQUIRED A TECHNOLOGICAL SOLUTION.
AYLESBURY, UK EUROPE/MIDDLE EAST/AFRICA
The concept of a new theatre in Aylesbury was first proposed in 2003 by Leader of the Aylesbury Vale District Council (AVDC), John Cartwright. He had both the vision of creation and nous to attract investors to the proposed new entertainment facility. As plans developed, the theatre became the centre of a wider scheme, which would include retail, housing, restaurants and a hotel. But the complexities and delays caused by being part of a larger project resulted in AVDC withdrawing it and focusing on it as a separate venture. By February 2006, architects RHWL Arts Team had been appointed and the ensuing 18 months were dedicated to finding a design that satisfied AVDC’s requirement for an all encompassing venue that would satisfactorily replace the Civic Centre, whilst eclipsing it in terms of modernity. They drew inspiration from the community function that the (now demolished) Civic Centre fulfilled, as well as from a progressive rock club called Friars, which began in 1969, and by showcasing bands like The Clash and The Jam over the years, had given Aylesbury a credible musical reputation in the UK. At the heart of the entire project was a desire that Aylesbury Waterside Theatre would have the flexibility to be an absolutely inclusive venue. The specifics targeted by the project team included: a 1,200 seated auditorium with a 1,800 standing capacity, five bars and a café, a motorised floor in the main auditorium, a fly tower and counterweight flying system, and a high spec lighting and sound installation,
which would enable the theatre to accommodate shows from large West End musicals, to concerts and dramas. And following a lengthy period of deliberation, AVDC decided to relinquish the management of the venue and open it up to a commercial operator. The conclusion of a tender process saw Ambassador Theatre Group (ATG) appointed as the venue’s operator. Design of the two performance spaces was undertaken by theatre consultants Carr & Angier, with valuable acoustics work from Arup Associates and an intelligent installation by Northern Light. Helen Butcher, who works as an Acoustic Consultant with Arup Associates, explained that the AVDC team had a specific purpose in mind. “With this one there was a very clear primary purpose, which was aimed more at the amplified, touring shows, so the theatre was designed very specifically for that,” said Helen. “It’s not like a concert hall, it’s definitely more a theatre with a fly tower and a stage, but equally it’s also not like a drama studio or intimate horseshoe-type lyric theatre, where the people wrap around the performing area. It’s a theatre where everybody sits in stalls and there’s two big balconies, and it’s very much front on so that they’re watching a show. It’s an end stage show, so it’s quite distinctive in that format.” To complement the amplified sound, the acoustics of the space needed to be relatively neutral. But to ensure that the theatre upheld its obligation to the community, a degree of flexibility, capable of spanning the acoustic plain was required. For such a dramatic
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