the struggle to own Sydney’s theater scene

“It was the theater of the theaters,” she recalls. “I left home, I left my family, it was my first show, eight shows a week. It was a great show to start with because it was very athletic and it required you to really keep being the best. I learned professionalism on this stage Cats people used to tear a tendon and keep going. When you work in these large theaters, you feel His Majesty, you feel in style as part of the theater community. ”

Actor and TV host David Campbell came to his first grand opening night at Theater Royal. “It was so fancy, a really big theater,” he recalls.

The bronze sculpture by Charles Perry and the ceiling designed by Italian consulting architect Professor Pier Luigi Nervi, originally for the Harry Seidler design, have been restored.

The bronze sculpture by Charles Perry and the ceiling designed by Italian consulting architect Professor Pier Luigi Nervi, originally for the Harry Seidler design, have been restored.Credit:James Brickwood

Later, he played Marius for Beck’s Fantine in the 10-year anniversary production of The miserable in 1997, for which he received great recognition.

Campbell, who will soon star in an Australian adaptation of the Alfred Hitchcock film classic, North by Northwest, credits the role of Marius for starting his musical theater career.

“If the government and the city had not saved [the Theatre Royal] I think that would have been a real tragedy. “

A theater has existed on the site of the Royal Theater almost continuously since 1872. When the old theater was demolished in 1971, a public campaign pushed for it to be rebuilt and incorporated into the Harry Seidler-designed MLC Center.

In 2018, Art Minister Don Harwin stepped in to secure its future as it appeared to be transformed into a food court.

The government has leased the building of Dexus for 55 years against a prior capital contribution and annual rent. It then sublet the site to Panthers Trafalgar Entertainment Asia-Pacific for a contribution to the exterior renovations, rent and a ticket prize. The contract contains fine provisions.

Sir Howard said the government’s efforts to develop a theater district in the Sydney CBD were “viable”, especially as the city came out of the lockdown.

“One of the things I want to do when I’m out there is talk to different people, look at different places, see what the practical things are, and hope that without the dreaded COVID-19 we can move on. with a few of the schemes.We are extremely eager, optimistic.

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“You look at Toronto – it has 14 theaters, depending on how you count it, it’s about the same size, a little smaller now than Sydney, but it does not have the growth potential. And you think, “Why is Sydney not up there?”

A new theater with 1550 seats was a “necessary and ideal addition to the theater scene in Sydney and NSW”.

“But I also think that something around 900 to 1000 seats, making plays as well as medium-sized musicals, is good,” said Sir Howard. “I also know from my work in Broadway and London that in fact 1250 seats, if they are all good seats, is about the ideal number.”

Sir Howard’s confidence in the strength of Sydney’s theater scene comes as Foundation Theaters proposes a Broadway-style theater and a versatile 2023 Live Room in Star Casino.

“The competition is fierce, the competition has made London and Broadway flourish,” says Sir Howard. “Whose [Foundation] The proposal is progress, I will be the first to send them a magnum champagne when they open. “

At the Royal Theater, floor-to-ceiling windows have been installed that bring light into the original “drum” entrance.

In the foyer, the bronze sculpture by Charles Perry and a ceiling designed by the Italian consulting architect Professor Pier Luigi Nervi, originally for the Harry Seidler design, have been restored.

Downstairs, the auditorium has been clad in red velvet and gold as the casting of Sharp little pill practice. Excited will be followed by Girl from Nordlandet, with music by Bob Dylan, and An American in Paris. All are imported shows.

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The contract between the government and Trafalgar does not specify the staging of Australian productions, and its performance indicators ensure profitable theater operations.

Sir Howard said a couple of Australian productions were “coming through” but had been delayed by COVID-19 complications and he was planning meetings with various creators in the coming weeks.

“Sydney’s time has come, and hopefully Royal is the new banner wave for this era.”

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