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TEC IS A GIRL THING – BY CAITLIN GOULD

Operating from HUSA – our office space here at Hall for Cornwall – Tec Girls is non-profit organisation inspiring girls to engage with the worlds of Technology, Engineering and Creative Digital (TEC).

By CAITLIN GOULD, TECgirls Founder and Director

Like many, I aspire to the idea that every child can be anything they want when they grow up. However, the reality is children as young as four are already forming in their minds what jobs are available to them based on
gender stereotypes. This is especially true in Technology, Engineering and Creative Digital (TEC).

At Bluefruit Software, we did everything we could to hire a diverse team of software engineers, but we struggled to find female engineers. This is because girls are opting out of a technical education.

In the last 20 years much has been done to encourage more girls into science and maths. Girls are now almost equal to boys and excelling in these subjects too. However, when it comes to computer science, engineering and design technology girls are still woefully underrepresented. In Cornwall only 4% chose GCSE computer science and only 5% chose design technology. I created TECgirls to inspire more girls to opt in!

Since 2019 TECgirls has run events in museums and schools across Cornwall, teaching children digital skills and that a digital future is open to all. We’ve also learnt that women feel they’ve missed the boat, wishing that TECgirls was around when they were children. So I set up TECwomen CIC, a Community Interest Company that provides training and support for women who work or want to work in technology, engineering and digital industries.

With inclusivity at its heart, I wanted to find us the right home – somewhere that shared our values. When we heard about HUSA, HfC’s co-working space, we wanted to be part of it. TECwomen has been based at HUSA for over a year. During this time, we’ve engaged over 3,000 children in 60 schools across Cornwall. We’re now running a free 8-week online digitalUPLIFT programme for women.

In the last three months alone, seven women from the first programme have found new careers in digital roles. And where TECgirls is active, schools are reporting an increase of girls taking up computer science, which is brilliant.

In February 2024, we hosted the Ctrl Alt Del Summit at HfC as a part of the Cornwall Festival of Tech.

We’re successfully changing the ratio of women in tech in Cornwall. And in case you are in any doubt TEC is a girl thing!

Images by Hugh Hastings.

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Our most accessible show ever – Jack And The Beanstalk!

The team behind the smash hit Peter Pan are back with a GIANT pantomime extravaganza! Jack and the Beanstalk is going to be bigger and better than ever before. And we’re kicking things off with our widest Access provision yet, including a new Assisted Performance format – a Chilled Performance.

The Cornwall Playhouse Production of Jack And The Beanstalk runs throughout December 2024 and promises to be a festive feast for Cornish audiences.

Assisted Performances for Jack And The Beanstalk will include BSL Interpreted, Captioned, Audio Described, Touch Tours, Relaxed Performances and, for the first time, a Chilled Performance, designed to allow for noise and movement in the theatre, with a re-entry policy allowing anyone who may need time away from the performance at any time.

Alongside the new Chilled Performance on Sunday 8th December at 11am there will also be Relaxed Performances available for family audiences and, for the first time, a dedicated Relaxed Performance for schools. Relaxed Performances take a similarly flexible approach to audience noise and movement, but also includes technical changes with adjustments to lighting, sound and pyrotechnic effects for those with sensory sensitivities.

 “We’ve listened to representatives from Cornish disability groups, schools and our community and are really pleased to be presenting a broader range of Assisted Performances this year. We’re committed to providing a supportive atmosphere for our audiences, enabling the greatest number of people in Cornwall to experience the magic of theatre. We’ll keep working on this, continuing dialogue with audiences and advocacy groups, deepening access to, and enjoyment of, what HfC does. And for anyone who hasn’t booked tickets yet, I can tell you, I’ve read the script and Jack And The Beanstalk is going to be a giant festive celebration for everyone… oh yes it is!”

Jack And The Beanstalk Producer and HfC Deputy Creative Director, Helen Tiplady

 

Full Assisted Performance Schedule

Sat 07 Dec 5pm – BSL Interpreted Performance – Book Tickets Here

Sun 08 Dec 11am – Chilled Performance – Book Tickets Here

Sat 14 Dec 2pm – BSL Interpreted Performance – Book Tickets Here

Sun 15 Dec 11am – Captioned Performance – Book Tickets Here

Mon 16 Dec 11am – Relaxed School Performance – Book Tickets Here

Mon 23 Dec 2pm – Audio Described Performance – Book Tickets here

 

We’re forging a path towards greater accessibility for audiences, users and staff – because live performance should be for everyone. Join us this Christmas for another fun-filled family spectacular with Jack and the Beanstalk … a GIANT adventure!

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Strictly Judge Craig Revel Horwood Reveals All about Upcoming Musical

A Q&A with Craig Revel Horwood, Director and Choreographer of NOW That’s What I Call A Musical.

Image credit: https://www.craigrevelhorwood.com/index.php

What sort of night are audiences in for when they come to see NOW That’s What I Call A Musical?

They can expect some fantastic tunes, a blast from the past, some amazing dancing, some great singing and a great story. It’s a little bit like Stephen Sondheim’s Follies in the fact that it’s set at a reunion and there are flashbacks. The main characters flash back to how they were as teenagers, the music they listened to back in the 80s and the things that led them to live their lives the way they have. It explores all of that and we also have a twist towards the end where we go ahead in time too. It goes through various time zones [laughs] so it’s a little bit like Back to the Future.

 

How does it tie in with the ‘NOW’ brand?

The flashbacks are all about the time when the NOW albums were so famous and so beloved, and the story is about two girls exploring how they’ve lived their lives through music. So those albums and that music were a big part of the leading characters’ teenage years.

 

The show is written by Pippa Evans. How is it collaborating with her?

She’s fun and she’s funny. She’s got a really great sense of humour and she’s a fantastic writer, not to mention a fantastic comic writer. She’s come up with some great twists in the tale and she’s quite sensitive as a writer towards young teenage girls and their relationship with their parents whilst they’re growing up.

 

It’s a brand new musical. That must be an exciting thing to be a part of?

It’s really exciting because with a brand new musical there’s nothing to really base it on, so when you get into the rehearsal room you can be really creative and you have an open mind. That’s what I love about doing new work. With this it’s about weaving all the great songs through the story. That’s one of the challenges, as well as making sure the story is strong. Comedy is a huge element in the show as well as a lot of heartfelt moments, and we’re using songs from the 80s to help push the story forward. There are so many creative opportunities with a new show and when I’m directing I really let everyone have a bit of a say. We all create the show together in the room and I think that’s really important. The actors can bring their creativity and their thoughts and ideas for the characters, then it’s about structuring it.

 

How is the guest artist Carol Decker weaved into the story?

[Laughs] It’s sort of a moment of madness really, where the musical goes into a little bit of fantasy. The singer the girls idolised and were totally in love with come to life to offer them wisdom and advice. It’s a bit like Beauty School Dropout from Grease only the advice she gives is much kinder!

Why do you think pop music is so important to everyone’s lives?

The 80s was a great time for pop and music in general helps people through lots of emotional journeys in their lives, especially with teenagers because their hormones are running riot. As an older person you look back to those moments that made you happy and music is a huge part of that. This show taps into that nostalgia but it will also appeal to younger audiences because a lot of the 80s tunes are coming back or they’ve been covered by other artists. There’s something in it for absolutely everyone and I think teenagers will associate with the two girls – how they’re living their lives, their hopes and their dreams, and their aspirations – as much as adults will. Those are themes that are universal.

 

NOW That’s What I Call Music is celebrating its 40th anniversary. Why do you think it’s such an iconic brand?

Again it’s because music is so important to people’s lives and also the NOW albums first came along at a time when people would make compilations for friends and lovers. They were like ready-made mixtapes, where you’d get so many amazing hits on one album, cassette tape or on CD whereas before you’d have to buy individual singles or albums. I think a lot of teenagers now will be shocked and surprised that we had tape decks back in the day! Before the NOW albums you’d wait for a song to come on the radio, then record it onto a cassette, and you’d never manage to get the full version of it.

 

What was the first single and the first album you ever bought?

The first single I ever bought was Monster Mash, bizarrely, when I was growing up in Australia. And I think the first album I totally fell in love with was Dare by the Human League. I loved all the songs on that album, the tone of it and the freedom of it. It was like a whole new experience because it was so modern.

 

Which pop pin-ups did you have on your wall during the 80s?

Coming after ABBA and going into the 80s it was Whitney Houston because I thought ‘How can someone sing like that and look like that?’ She was like a supermodel with this incredible voice. I loved Annie Lennox and The Eurythmics as well, plus Duran Duran.

 

What were your 80s fashion choices?

I used to have headbands and I had a long side parting, sort of like curtains. Looking back, my fashion was pretty bad actually but of course at the time I thought I was cool. I used to tie rags around my feet as well, around my calves, over my boots. It was a bit weird. I never got completely punky with it but I used to love that trendy headband and long hair combination. That and baggy jeans.

 

Have you ever met any of your popstar idols? And who would you most like to meet?

I’ve met Boy George, who was a real inspiration to me growing up. I just loved how outspoken he was and how he dressed. I’ve met him a few times actually and he’s great company. I got to meet Whitney Houston before she died, which was amazing, and Olivia Newton-John. I’ve also met Liza Minnelli, Bette Midler, Annie Lennox… quite a few people, in fact. I haven’t met Barbra Streisand yet but I’d really like to because I’ve been listening to her music my entire life.

 

You work a lot on TV but what do you most love about the theatre?

I grew up with theatre and the first show I saw was Jesus Christ Superstar. Then I became a professional dancer and my first musical was West Side Story. I’ve been in the theatre all my life really and I’ve never, ever given it up. I’ve either been directing, choreographing, dancing performing or whatever. My favourite thing is directing and choreographing. I only started performing for panto, then in 2015 I was asked to do Annie and this year I’m doing The Wizard of Oz as the Wicked Witch. I love performing but, as I say, directing and choreographing is what I enjoy the most.

 

What do you hope people take away from seeing NOW That’s What I Call A Musical?

I think people will learn something about themselves. The story will prompt them to reflect on their lives to date and how it’s all worked out for them – what their hopes and aspirations were and how that fuelled whatever passion they had to help them become who they are today. People will see themselves in the show and that’s one of the many things that’s really great about it, along with the story, the costumes, the dancing, the comedy and all that fantastic music.

  |   See the musical for yourself this November at Hall for Cornwall!

Written by award-winning comedian Pippa Evans, and directed and choreographed by Strictly Come Dancing legend Craig Revel Horwood, this heart-warming and funny story takes us on an uplifting journey down memory lane. See the musical in Truro, Cornwall this winter!

BOOK NOW by clicking here.

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Shining the Spotlight on our 200 Volunteers

“Volunteers are the backbone of our organisation… They’re part of our big Cornish welcome to our building.”

– Julien Boast, Chief Executive and Creative Director of Hall for Cornwall

It’s National Volunteer’s Week, and we’re taking a moment to thank every single one of our 200 volunteers who give their time to Hall for Cornwall.

As a charity, we simply wouldn’t be here without our volunteers. As Cornwall’s only largescale theatre, we’re proud to provide a warm Cornish welcome to everyone who walks through our doors – and that starts with the people who greet you the moment you arrive.

Whether it’s scanning tickets, showing you to your seats, or supplying you with your very important interval ice cream, our volunteers are always here to help, with a kind word and a familiar smile.

Photo by Hugh Hastings

   | At the heart of the community

We’re passionate about providing an inclusive and diverse environment, and that extends from our stage programme, to our auditorium, and right through to our volunteers. We’re proud to welcome members of the community from all backgrounds, ages and walks of life – our youngest volunteer is 16, and our eldest is in their late 80s!

Front of House Manager Alex Laidlaw with Volunteer Usher Penelope, photo by Hugh Hastings

One of our longest standing volunteers, Penelope, takes care of any patrons with access needs. We asked her what it means to be a part of Hall for Cornwall.

“Money cannot buy what we give and what we get in return. It’s about those connections you have, maybe they’re really short connections, but it makes the difference. Kindness to strangers is a very powerful thing.”

‘Six’ opening night, photo by Hugh Hastings

“Every night is different, it can add so much to your life, it can enrich it. Hall for Cornwall is such an asset to Cornwall and we’re really proud to be a part of it.”

‘Rocky Horror Show’ opening night, photo by Hugh Hastings

   | Thank you to volunteers everywhere

We’re so proud of our volunteers, and we couldn’t do what we do without them – and the feeling goes both ways! Many of the wonderful people who’ve joined us as volunteers are proud of their role and the value that it adds to their life. Meeting new people, making new friends, and having the chance to socialise with theatre-lovers like them are just some of the reasons why our volunteers give their time. For others, it’s a moment of respite from caring duties and challenging home lives in an environment full of joy and the buzz of live entertainment.

So whether it’s a chance to give back to the community, or experience live theatre with likeminded people, we’re proud to provide a place where they can be themselves.

As part of this week’s celebrations, we invited our volunteers to a special evening in the Cornwall Playhouse.

The attendees were offered an insight into the projects that we’re working on and plans for the future, before heading off for a social in our Playhouse Bar. There were plenty of great questions, and it gave us the opportunity to say a big THANK YOU in person to the people who make us who we are.

“They’re an asset to the team – we couldn’t run without them… I can’t thank them enough.”

– Alex Laidlaw, Front of House Manager

   | Discover more on BBC Sounds

Our Front of House Manager Alex Laidlaw is joined by volunteers Penny and Gavin to chat about the 200 people who give their time to Hall for Cornwall. Listen here (skip to 2.40pm)

Chief Executive and Creative Director Julien Boast joins volunteers Jenny and Suzi to talk about why they chose Hall for Cornwall. Listen here.

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HfC Associate Artist Celebrates Triumph at RHS Chelsea Flower Show 

Falmouth-based sound artist Justin Wiggan – one of our associate artists – wowed the judges at RHS Chelsea Flower Show with his latest audio instillation.

For the past 6 months, Justin has been using technology to convert energy from plants into sounds to form a soundscape which is played within the garden.

Justin Wiggan, HfC Associate Artist, by Hugh Hastings Photography

Inspired by National Trust founder 

The Octavia Hill Garden is designed and led by Anne-Marie Powell Gardens, Blue Diamond Garden Centres and the National Trust. The garden pays tribute to National Trust founder Octavia Hill – Justin’s soundscape includes birdsong and a speech by Octavia Hill, which he found and presented as a new poem ‘Whispers of better things to come to us’.

With this special soundscape, the garden is designed to appeal to visitors with sensory loss and additional access needs.

Rooted in Cornwall

Earlier this year, Justin became one of our Associate Artists. Our programme, made possible by Arts Council England’s support of Hall for Cornwall as a National Portfolio Organisation (NPO), provides essential artist development support, advice and funding for developing artists in Cornwall.

Justin said: “I’m so grateful to Hall for Cornwall for their constant support providing office space, advice, and helping me with various funding opportunities and commissions. Being an Associate Artist at HfC has given me exposure of my work in a new network, which I wouldn’t normally have opportunity to explore.” 

Julien Boast, Chief Executive and Creative Director of Hall for Cornwall, said: “We’re overjoyed to see Justin’s work achieving such high-profile success, reaching new and diverse audiences. With our support, Cornwall-based artists continue to deliver on the national stage and we’re proud to have been a catalyst for Justin’s success. It’s exactly what our artist development programmes are for.” 

Chelsea medal-winning art 

The garden exhibiting Justin’s work won the Silver-Gilt Medal, the People’s Choice Award, and the first ever Children’s Choice Award.

Prior to Chelsea Flower Show, Justin’s award-winning works have been exhibited nationally and internationally, including B.O. M Birmingham, Protein Gallery London, Baltic Gallery, Citric Gallery Italy, and Gigantic Art Space New York. His aim is to educate, share and engage people with sound as a creative field, and reconnect with their lives using sound art.

Justin continues: “It’s super exciting to belong to such a high-profile team of international garden designers, landscapers, the National Trust, and Blue Diamond Garden Centres. It’s allowed for renewed discussions for artists to engage with the public in new and creative ways.”

Judi Dench ushers in new beginning

After the tragic incident at the famous ‘Sycamore Gap’, new roots were planted at the Chelsea Flower Show this year.

With the help of seven-year-old schoolgirl Charlotte Crowe, Dame Judi Dench planted a sapling from the fallen sycamore at the Octavia Hill Garden, promising new beginnings. Surrounded by the sounds of Justin’s instillation, the sycamore will find new life in Chelsea.

You can find out more about Justin Wiggan’s work here.

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GETTING CREATIVE ACROSS CORNWALL…

Catch up with our Get Creative youth groups

Our popular Youth Theatre and Youth Dance groups are the cornerstone of HfC’s Get Creative outreach work, which engages more than 10,000 young Cornish people each year. In this piece, we’re catching up with all the goings on within our youth companies…

International Dance Day

At the end of April we threw the spotlight on International Dance Day, which seemed like the perfect excuse to celebrate the power of dance – on and off the Cornwall Playhouse stage.

A Youth Dance performance on the Cornwall Playhouse stage, mage by Hugh Hastings

“Dance has the power to move us, to inspire us, to wow us, to entertain us. From Strictly stars to our own incredible Youth Dancers, from companies like Rambert and Motionhouse, to all the dazzling dance schools who perform here at the Cornwall Playhouse…”

Helen Tiplady, Deputy Creative Director

For more on our response to International Dance Day, take a look here…

Young Company Rehearsals…

As the month of May began, our Young Company started rehearsals for their upcoming performance of Blue Stockings by Jessica Swale. Set in Cambridge, 1896, the play takes its name from a derogatory term for female intellectuals. Throughout this period, women were allowed to attend university, but weren’t permitted to receive a formal qualification at the end of their studies – unlike their male classmates.

Blue Stockings will be presented on Sat 03 Aug on the Cornwall Playhouse stage – keep an eye on our social channels for more info and details about tickets.

Youth Dance

Our Junior, Intermediate and Senior Youth Dancers met again on 05 May to begin working on their Jack and the Beanstalk themed pieces. Inspired by our upcoming festive Cornwall Playhouse production of this popular English fairytale, each group performed their pieces at Watergate Bay’s Arts on the Beach in June, alongside a host of local and national professional artists who will partake in the 3-day arts beach fest.

HfC Youth Dance perform at 2023’s Arts on the Beach at Watergate Bay. Image by Hugh Hastings

Dance, theatre and exam anxiety

Many of our young company members have school exams coming up soon which inevitably raises anxiety levels. We believe that movement, play and a change of scene are an essential piece of the jigsaw as our young people begin to navigate the pointy end of their academic careers…

“There were a few tears from those taking their exams this week during the regular ‘check in’ that we do at the start of each dance and theatre session – but dancing, moving, playing theatre games and working with peers for a few hours gave them light relief from exam revision and stress. I’m very glad they have chosen to keep coming as this creative release is really important for them and their wellbeing. We’re also covering the importance of eating well, sleeping well and having a good revision timetable to help mitigate stress. We wish them all Chons Da for the weeks ahead, whilst also remembering exams do not define you!”

Helen Tiplady, Deputy Creative Director

 

Want to be a part of it all?

Do you have a passion for performance? Want to sing or dance on stage? Then Hall for Cornwall’s Get Creative scheme and our Young Companies may be for you.

Youth Dance, image by Hugh Hastings

Work with industry professionals to explore creativity, collaboration and choreography in regular workshops, while working towards exciting projects. You’ll even have the chance to perform on the Cornwall Playhouse stage during our end of term showcases!

One of our Youth Dancers said: “I’ve been part of the Hall for Youth Dance Company for 10 years and performing on the Hall for Cornwall stage at the showcase was a beautiful dream come true.”

We have workshops for ages 5 – 19 and welcome all levels of experience.

All Boys Dance, image by Hugh Hastings

Come along and explore your creativity, while learning new dance and performance skills. Based at AMATA on Falmouth University’s Penryn campus, our workshops are open to complete beginners and performers of all experience levels. Find out more here.

While most of our youth dance and theatre terms are well underway, it’s not too late to join and we’re always happy to chat to late joiners. Email [email protected] to register your interest and find out more about our youth programmes.

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FROM PLEN-AN-GWARI TO THEATRE CORNWALL

By HELEN GRASSLY

Burrell Foley Fischer

Photo by French & Tye

What a dream moment – the opportunity to be architects for the refurbishment of a well-loved theatre – to increase its capacity, improve the sight lines and give it a sustainable future. At Hall for Cornwall, this was wrapped up in a fine collection of Grade II* listed buildings and a mission aligned with the values of our architectural practice – to encourage the arts, celebrate the heritage of listed buildings and enable access for all without distinction.

The Green Room Café by Hugh Hastings

The seeds of the project were all there in that first, well-written brief. In essence, it asked us to create a dynamic and strong relationship between performers and audience; embrace a building that had evolved with the vicissitudes of fortune for 175 years; develop a site that had been occupied for much longer, and celebrate the Cornish context, the culture, the language and the independent attitude.

We hadn’t anticipated falling in love with Truro

It happened on that first evening as we looked at the rain-swept granite, listening to the noisy rills of water and the disappearing estuaries that danced and twisted through the streets, subtly carving the shape of the city. We explored the idiosyncrasies of the Opeways with their crazy shortcuts – you enter Squeeze Guts Alley next to the shoe shop and pop out at the back of a Gothic Revival cathedral that should be in Northern France.

View from Lemon Quay by Hugh Hastings

As architects, you always start with questions

The building has always been civic – a market, skating rink, cinema, shooting range amongst others. Could we create an open public building where the audience flowed as naturally and easily through the internal spaces as they did in the streets? The precedent of the Plen-an-Gwari, was in our minds, a sophisticated contemporary of the transient, Medieval pageant wagon. The Plen was the permanent circular playing space of Medieval Cornish theatre. Sited at the edge of town, the audience was accompanied from scene to scene by the narrator and free to move around the staging.

The auditorium prior to renovation – photographer unknown

What was the quality of the existing building? We saw the austere beauty of Christopher Eales’ 1847 marketplace on the Boscawen side, and the softer, light-filled Back Quay with tall spaces and fine windows looking onto Lemon Quay. But the space in the middle was covered in plasterboard and painted purple. The volume of the space could potentially provide a fine acoustic, but risk lay in what we might uncover when we stripped out the late 20th century insertions around the perimeter.

Standing on stage in the arena style auditorium with the audience vanishing into the far corners we absolutely understood the disconnect between the audience and performer. The space was too wide and the proscenium enormous, but we needed to make it bigger, adding 300 seats and a roof extension too.

During the renovation by Hugh Hastings

On meeting Julien and the team for the first time it was evident they’d already worked on reimagining the building and gathered enough funding to realise their vision – we knew we had to respond by making something unique. Not a London theatre transposed, no red velvet upholstery or closed shutters if there wasn’t a performance. Comfortable, relaxed, welcoming and of the highest quality is what the Cornish people deserved.

Julien was brave enough to say yes to our question and prompt more

History uncovered… by Hugh Hastings

Yes, to an open space where the audience easily moves from the foyer to stalls and balconies and where there is always a stair or ramp to connect through to the next level. Yes, to exposing the perimeter walls regardless, revealing a palette of rough and friable
Cornish Killas stone, blocks of Carn Brea granite, modern concrete blocks, old roof lines and redundant steels that sketched the history of the building. Yes, to allowing the auditorium to sit as a simple, robust and modern insertion clearly differentiated from the restrained classical formality of the architecture of the listed building.

Seating in the Cornwall Playhouse by Hugh Hastings

Working closely with Charcoalblue, Skelly and Couch, and Price and Myers, we designed a three-tiered auditorium. We replaced the old one and introduced new circle and balcony levels by reusing the existing structural frame, extending it at roof level and digging down into the ground. This created 1,250 seats in the stalls, circle, and balcony combined with 100 standing seats, increasing the overall capacity from 900 to 1,350. Enough to compete with top-tier presenting theatres and receive the first tours of brand-new shows. Installing movable shutters and drapes means the theatre can tailor its acoustic and atmospheric profile to suit drama, stand-up comedy, amplified music, orchestral music and other live events.

The new auditorium is an open space within the granite box of the original marketplace

With new views through and out to the back façade of the city hall and Back Quay on the harbour side, the public can now glimpse the world of theatre in the daytime during rehearsals and set-ups. Together with the lifts and gentle ramps across the site there’s universal access. Better seating for all audience members includes thirteen spaces for those using wheelchairs and with a variety of locations within the auditorium to choose from. Improved dressing room facilities, and for the first time, accessible facilities for performers with disabilities.

The fantastic arcaded marketplace on Boscawen Street has been restored. It now forms a new foyer for the theatre and Playhouse Bar. We also remodeled the original Duchy offices at the Back Quay to form Husa, a new co-working space with a relaxed café bar.

The Playhouse Bar by Hugh Hastings

Embarking on a huge refurbishment project is always a leap into the unknown, but Julien and his team were quick to make thoughtful decisions throughout. The early reference to Basil Spence was a clear signal and we followed a clear set of principles – the building’s past had to be celebrated as part of the local collective community heritage; it wasn’t a restoration, but we had to stabilise the building, and the ask was to show the scars of the previous alterations, as well as be true to the materials, adding only honest and robust detailing with refined surfaces that want to be touched (oak, steel, soft-stained wood) and maintain simplicity everywhere else.

A standing ovation in the Cornwall Playhouse by Hugh Hastings

The Cornish are proud, independently-minded people with a keen sense of historical and cultural identity. In revitalising the Hall for Cornwall, we were asked to design a theatre that was representative of its location and culture; a space that was open to all, without barriers to attendance or participation. The finished building successfully connects the past and the present, the social with the artistic, and the community with heritage and place.

Opening night of Fisherman’s Friends: The Musical by Hugh Hastings

It felt like we’d got it right at that first Saturday night performance of Fisherman’s Friends. When the audience rose to its feet to sing along with the cast – any barriers between the community and the performers vanished.

 

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HfC resident photographer reveals his childhood connection

By Hugh Hastings

Funny how some memories stick around a whole lifetime: I can still recall the day in 1968 when I was an eleven year old schoolboy at Colet Court in Hammersmith, London and the headmaster brought the morning assembly to an abrupt halt to introduce the school to two young men who would be writing an end-of-term musical for us to perform.

From beneath the balcony where I was sat with my classmates ambled two young men towards the headmaster who introduced them as Tim and Andrew and we were told to do whatever they required in the creation of their second ever work, ‘Joseph & The Amazing Technicolour Dreamcoat”. It all seemed rather surreal and biblical.

Given what Tim Rice and Andrew Lloyd Webber have gone on to achieve, it’s worth noting the first humble steps of their careers included working with off-key monsters like us kids as an inspiration for any aspiring young creatives. We duly rehearsed the work again and again, giggling quite a lot at the wrong moments of course, and then found ourselves in the Methodist Central Hall, Westminster, trying not to mess up the first ever live performance – and live recording too, if I recall. 2,500 people attended, mostly proud parents.

Somewhere along the way I managed to get my first-ever autograph book for Tim and Andrew to sign for me, accompanied as they were in my book by other well-known visitors to the school, mostly from the world of sport including Jim Laker, Cliff Morgan and Jimmy Hill. 

There’s also a page of scribbles in that book of me practicing my signature – all pretty horrible – and a poem from my Mum, which reads: “Big fleas have small fleas upon their backs to bite ‘em, and little fleas have smaller fleas, and so on, ad infinitum.” A super lovely Mum, but whatever did she mean?

The school soon moved out of Hammersmith to Barnes, and with it came Tim Rice, who became very successful and a Barnes resident and I remember standing behind him with my parents in the queue for meat at Seal’s the butchers.

Oddly, many years later when Tim bought a lovely house in a secluded Cornish coastal village, the couple who lived at the end of his drive were Noel and Barbara, my first wife’s parents.

In May this year I look forward to being on duty as the Photographer in Residence at the Hall for Cornwall when Tim takes to the stage, at this more advanced time, to entertain Cornwall with memories and songs from his incredible musical career.

He won’t recall a young schoolboy from his early days – for why should he – but I can still see young Tim today from another time and place and I’ll reflect on how interesting life can be, how small the world is, how big the opportunities within.

At least in my era, and I hope so still, for today’s eleven year olds.


You can see Hugh in action when Sir Tim Rice visits us on WED 08 MAY.

Cover Image: Jesus Christ Superstar.


 

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If Music Be the Food of Love… ‘Shakespeare Nation’ Plays On!

By Sam Rankin

Shakespeare Nation Producer at Hall for Cornwall

All good things must come to an end…

Now that the dust has settled on what was a busy production weekend, I find myself reflecting on the rehearsal process from the last couple of months.

Twelfth Night was perhaps the most ambitious Shakespeare Nation project to date. Under the masterful direction of Alister & Miranda from Prodigal UPG, we all knew we were in safe hands from the off. The focus very much on the text itself this time round, and a group of community actors have spent the last three months working on what was ultimately a fresh and unique take on a Shakespeare classic!

With familiar faces from the last two productions – Comedy of Errors (2022) and A Midsummer Night’s Dream (2023) – the company was at its core one brimming with extremely talented performers from the local community. Just when you think things can’t get any better, many new members joined the ranks, seamlessly becoming an integral part of this supportive and inclusive group of people.

Through the tireless efforts of the creative team, the technical staff at Hall for Cornwall, and dedicated body of actors, the play was such a success – the laughter, applause, and cheering from a receptive audience affirming this was indeed a job well done.

What always becomes clear towards the end of a Shakespeare Nation project is just how much the process means to everyone involved. These are special experiences for a company of like-minded people, who genuinely relish the opportunity to work and create together. And although Twelfth Night may have come to an end, the comfort is in knowing that the next project will be upon us before we know it.

Until next time!

Photos by Hugh Hastings.

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FROM RURAL TO CUTTING EDGE

By HELEN TIPLADY Deputy Creative Director

Acclaimed recording artist Carleen Anderson is testament to the kind of creative talent we back, now and in the future. With Hall for Cornwall in its new guise there’s opportunity for us to be the instigator of innovative new work, and our building the canvas for new ideas, so expect more of both.

Hall for Cornwall first collaborated on Carleen’s 2018 stage production that she described as her ‘Tribal Opera’, otherwise known as Cage Street Memorial. In its early development Arts Council England provided funding to workshop it and the work garnered high praise when presented to selected industry professionals. The accompanying album, subsequently staged at the Barbican, was recorded at Falmouth University. With six acclaimed albums under her belt Carleen has accumulated numerous industry accolades, including a Brit Award and coveted Mercury Prize. She became one of our Associate Artists in 2019 and part of a wave of artists and companies we’ve seed funded and nurtured from the wider creative industries for over four years now.

In 2022, and as the newly formed Cornwall Playhouse Productions, we co-produced the world premiere of Carleen’s new work MELIOR Opus Griot, a compelling futuristic opera performed by a truly original ensemble of artists, both professional and community performers. Again, Arts Council support was instrumental. Conceived, composed, written, and performed by Carleen this new work brought together world class musicians with Cornish talent.

It was a unique blend of storytelling, singing, poetry, projection and music, fusing jazz, soul, electronic and classical. Carleen was joined on stage by renowned vocalists China Moses (who flew in from New York) and Terri Walker, award-winning saxophonist Camilla George, alongside a chamber quartet, a group of Cornish professionals, community performers and a specially formed choir.

It was brilliant to see some of the young performers from our open access dance programme perform, as well as create the choreography. Behind the scenes we provided work experience too as the 40-strong cast had their hair and make up done by students from Cornwall College, St Austell.

This incredible ensemble also enjoyed a sound track and the use of digital MI.MU Gloves (wearable tech that maps movement and sound) created by Grammy-winning artist Imogen Heap.
Carleen had a gem of an idea and we simply nurtured it in collaboration with her, drawing on and further developing our ability to produce innovative work that people want to see.

This show was a unique spectacle for everyone involved and a landmark work in Carleen’s illustrious career. As for the team and I here at the Hall, it was an inspiration for how we produce new work with different artists in future.

All I can say is, let’s create more and watch this space.