• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Summary Sheffield Theatre Trust.

Extracts from this document...


Summary Sheffield Theatre Trust The Sheffield Theatre Trust is responsible for the UK's leading provincial theatres; a profile of high quality producing theatre (Crucible) and a strong history of touring theatre (Lyceum). A producing theatre commissions and finances productions and employs it's own artistes through artistic direction. Touring theatre have a contracts with touring companies who bring their production and own artistes to the theatre. The Sheffield Theatre company is, outside London, unique in the UK in being able to produce, co-produce and present independent productions all in one complex. With an income of around �5m the Sheffield Theatre Trust company aims to create high quality artistic work, filling sufficient seats and work without deficits. Theatre buildings in Sheffield The Lyceum Theatre opened in 1897 and is now a grade II listed building with the advantage of traditional theatres of having no pillars obstructing audience views and having one of the deepest stages in the country. In 1968 the Lyceum had to close down in because of lack of investment and modern amenities and became a bingo hall. After giving The Playhouse, another theatre in Sheffield, an Arts Council grant a change took place from being a commercial theatre to becoming a subsidised theatre. In 1966 Sheffield Council announced its intention to sponsor the building of a new theatre of 800-900 seats. This would be mainly a producing house, although with the demise of the Lyceum, it would also host some touring productions. The result was the Crucible Theatre, completed in 1971 at a total cost of � 884,000, on a site next door to the Lyceum. ...read more.


A fundamental shift of thinking came in 1998/99 in that the artistic quality and financial prudence were no longer to be seen as competing forces. The autumn of 2000 was disappointing, but no major cuts were made; the resolve of the board to stick to its new strategy was severely tested. Structures Both theatres first had their own board. By 1995 it was decided that both theatres would come under one charitable body, the Sheffield Theatres Trust. It charitable objects were: * To promote, maintain, improve and advance education, particularly by the production of educational plays and the encouragement of the arts of drama, mime, dance, singing and music... * To receive, educate and train students in drama, dancing, music, and other arts, and to promote the recognition and encouragement of special merit in students..... The Lyceum Trust continues, but it employs no staff. It leases the building to Sheffield Theatres Trust using the money for future repairs and maintenance. As with most charitable organisations of any size, it is necessary to have a trading subsidiary company to undertake non-charitable subsidiary company to undertake non-charitable activities such as the sale of food and drinks and commercial sponsorship. This is the role of Offstage Ltd which is owned by Sheffield Theatres Trust. At the end of the year, Offstage undertakes a gift aid payment to transfer all its profits to Sheffield Theatres Trust. The board of Sheffield Theatres now operates in effect as one organisation, which overall responsibility for management of the whole complex. ...read more.


The profits of the restaurants, bars and gift shop form an important source of additional income. By the mid-1990's, Sheffield Theatres became increasingly successful in attracting sponsors for many Sheffield productions. The need for major upgrading of the Crucible building means that a new fundraising project, possibly for up to �10m, might soon be launched with a view to completion by 2004. Employees In 2000, Sheffield Theatres employed 161 staff on ongoing contracts. Issues for the early 2000s The principal challenge is the ongoing requirement to maintain and develop the quality of output on the three stages, whilst attracting sufficient revenue from a combination of grants and box office sales to make this possible. Building new audiences remained crucial. The new revenue grants from Yorkshire Arts meant that for the first time in many years the management could think about expanding the investment in productions. Charity Commissions guidance suggests that charities should have adequate reserves over and above their fixed assets to cover a reasonable period of expenditure (three months is often suggested). There was willingness to invest in higher quality in-house productions, but a higher quality of in-house productions can only succeed in the long term if it leads to higher levels of attendance. Sadly, due to a combination of apparently unrelated issues, attendances in 2000/01 were disappointing both for in-house and visiting productions. The key question which remained was whether or not, on a long-term basis, the output of the theatres could be translated into a level of scales at the box office that could give the financial stability which Sheffield Theatres so desperately needed. Case 1 Sheffield Theatre Trust ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Theatre Studies section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Theatre Studies essays

  1. Compare the ancient theatres with theatres today!

    Each tragic author sent in four plays. All the four plays where performed on the same day and comic actors sent in one play. The committee also chose a leading actor for each day and these where played by the state. These actors then had to find actors for the smaller parts.

  2. job opportunities in performing arts

    They can also specify in a particular area. They can work freelance or even move onto relevent careers such as an agent or manager. What is work like? An actor has to be able to take a character and to then bring it to life.

  1. Performing Arts A2 - Unit 4 - Report Secion (1 Specialism)

    a more academic look at acting with a high percent of academic studies and essay writing whereas a drama school looks at teaching through a more practical based programme, with assessments based on a performance rather than written. The choice of a university depends solely on the way an individual

  2. elizabethan times theatre history

    That made the theatre a posh high status place which encouraged rich people to go there which meant that they got to mix with poor people and it meant that poor people went to the same high status place as the Queen and other rich people.

  1. Performing arts skills

    I can be versatile when it comes to characters I am able to play an energetic young child or a cantankerous old man. This is important because it means I am not limited to certain roles although I am better at some characters and if given a choice I may have a preference.

  2. Analysis of Use of Language in 'The Crucible'

    very long so it would have been difficult for Miller to have gathered much information about the language. Therefore Miller has used words and phrases to suggest a period different from modern day that's believable but that has a historical feel.

  1. A2 theatre studies portfolio

    as soon as each of them manages to get my attention i move on to the next recruit. This was to make them wanting more so they would essentially have to join the army to get the full benefit. Throughout the second verse it is all about how joining the

  2. AS Theatre Studies Portfolio

    Another inspirational influence in the devising process was the DV8 Physical Theatre Companies work, in particular the films 'Enter Achilles' and 'Strange Fish'. DV8 specialise in breaking down "the barriers between dance, theatre and personal politics and, above all, communicating ideas and feelings clearly and unpretentiously".

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work