B i gP l ans EVERYMAN NEWS

ISSUE 01JUNE 2011

DESIGN AND DEVELOPMENT DESIGN AND DEVELOPMENT02 03

The Essential IngredientsOver the last few years we’ve been listening to our audiences, our staff and the actors, writers, directors and designers of the past, present and future to find out what makes the Everyman so special. Developed and designed by prominent theatre architects Haworth Tompkins, the building will provide new incarnations of the Everyman’s dynamic and inclusive 400-seat ‘thrust’ stage auditorium, legendary basement Bistro and iconic Everyman sign. All images by Haworth Tompkins

OUr architects: HAWORTH TOMPKINSHaworth Tompkins architects produce a wide range of bespoke buildings for specialist clients in the public and private sectors, manufacturing industry and the arts. Founded in 1991, by Graham Haworth and Steve Tompkins, the practice has a growing international reputation for their design work; in 2007 they were shortlisted for the RIBA Stirling Prize; in 2008 they were awarded an International Architecture Award by the Chicago Athenaeum and in 2010 they won three RIBA design awards. Theatre projects include London’s Royal Court and Young Vic theatres and the forthcoming £100m remodelling of the National Theatre; the Egg children’s theatre in Bath, and Snape Maltings recital hall. They previously worked in Liverpool on the award-winning Building Seven in Liverpool One. The Everyman team: Director Steve Tompkins and Associate Roger Watts have designed all the practice’s theatre projects, and project architects Will Mesher and Katy Marks (who comes from Liverpool) are also experienced theatre designers.

THE NEW EVERYMAN

Welcoming and AccessibleFront of House areas will feature an open and welcoming street presence, a new pavement café, a first floor theatre bar with balcony over Hope Street, and of course a new incarnation of the basement Bistro. There will be excellent access throughout the whole building for disabled people and we aim to attract new and diverse audiences to ensure this will be an Everyman for everyone.

Greener and SustainableThe new theatre will be lean and green, designed to reduce carbon consumption and leave the lightest possible footprint on our planet. Low energy strategies including plenty of natural light, natural ventilation throughout the building and rainwater harvesting.

How Will it Look?The building will be constructed of red brick with a new glass frontage. At first floor level there will be a full-length balcony and a new 21st century version of the current iconic sign. Above this will be a beautiful façade comprising 105 life-sized, abstracted portraits of Liverpool people transferred onto cut aluminum shutters, a physical representation of the community to which the Everyman has always belonged.

More SpaceWe have bought back the theatre and acquired the site next door, giving us space to accommodate vital facilities the Everyman currently lacks, many of which will also serve the Playhouse. These will include a Youth and Community space for the theatres’ vast and growing work with education, youth and community groups; rehearsal space, workshops and offices for production staff; and a ‘hub’ for writers to develop their work.

A New Everyman for EveryoneThe Everyman Theatre on Hope Street opened in 1964 and has been home to some of the most inspiring, urgent, enjoyable and socially aware theatre of the last five decades. The building itself has changed many times; from chapel to cinema to theatre space. It once had a circle, a space for youth theatre and for building sets; now it is just what you see and despite our best efforts it’s in a bad state of repair. Now we are poised to build a new Everyman – a vibrant hub fit for this creative and dynamic city.

THE SEEDBED OF NEW TALENT

It’s a pragmatic view; an obvious fact. But anyone who has ever cared for the place, including Morrissey, knows there’s a bit more to it than that.

As the Everyman prepares for its last production before its complete redevelopment, all eyes are on one actor, returning to his alma mater in one of theatre’s most iconic, historic, and demanding roles: Macbeth. It’s a beautiful complement to the latest chapter in the extraordinary history of a theatre where remarkable journeys have been made, that has launched stellar careers, and is beloved by its loyal audience.

David Morrissey knows that – because all those things apply to him, too. You

might know the Kensington-born actor from his roles in such iconic TV dramas as State of Play and Blackpool; from roles including Gordon Brown in The Deal, Sky TV’s DI Tom Thorne, or The Other Doctor in the 2008 Christmas special of Dr Who. Then there’s Hollywood films like Nowhere Boy, The Other Boleyn Girl and Basic Instinct 2, and the work of his charity CAST, (the Creative Arts Schools Trust), that runs drama workshops in deprived areas of the world.

Yet it might never have happened had he not walked through the doors of the Everyman Youth Theatre at the start of the 1980s. Alongside contemporaries including Ian Hart (the pair have been friends since they were five), Cathy Tyson and Paul McGann, the youth theatre opened up a whole new world. Its director at the time was Roger Hill.

“He was the oldest punk in town and had an amazing mix of an anarchic view of the world and a massive discipline,” recalls Morrissey.“ His approach really was about

having fun, but the structure was there.”The work of Everyman stalwarts like maverick director Ken Campbell left the budding actors amazed, and alive to the possibilities of theatre; old hands passing through, including Jim Broadbent, Pete Postlethwaite, Anton Lesser and John Sessions were on hand to offer support and advice about breaking into the business.

“The youth theatre was two nights a week, but it seemed 24/7 to me,” Morrissey says.

“When we weren’t rehearsing we were in the Bistro. It was invaluable, there was always something going on and we would just gravitate to this part of town all the time.”

Morrissey’s break came when he secured the lead role in Willy Russell’s coming-of-age series One Summer in 1983, a part he is still fondly remembered for. With no doubt in his mind what he wanted to do, he then went on to RADA.

It has been documented how moving to London was a wrench for the young actor. He was homesick, and missed the camaraderie of Liverpool, and the Everyman terribly.

“I felt very safe here,” he says. “It was a creative place and we were doing edgy stuff where we were given license to make a noise, and it was great.”

Yet in time, it was the making of him, and he went on to become one of the UK’s most respected acting talents. Now based in the capital, he lives with his wife Esther Freud and their three children. He returned to his home city in 2008 to direct his own film, Don’t Worry About Me, a romance described as “a love letter to Liverpool”. It was then he met Everyman Artistic Director Gemma Bodinetz, and the seeds of returning to the theatre were planted. Finally, three years later, Macbeth is the result.

And with the theatre set to close on July 2 allowing the long-awaited redevelopment of the Everyman to finally begin, what would be a bold production at the best of times is given an added intensity.

“This place is just bricks and mortar, but people come through it – not just the rich and famous but a lot of other people who have put blood, sweat and tears into it, and people feel very strongly about this theatre,” Morrissey says.

“There’s a wonderful story to this place for me personally. The Everyman has been such a part of my life.”

Stephanie Beacham, Barbara Dickson, Trevor Eve, Bernard Hill, Matthew Kelly, David Morrissey, Bill Nighy, Pete Postlethwaite, Jonathan Pryce, Antony Sher, Alison Steadman, Cathy Tyson and Julie Walters are just a few of the now-celebrated actors who found their courage and their voice here. Alan Bleasdale and Willy Russell developed their craft here. The poets Roger McGough, Adrian Henri, Adrian Mitchell and Brian Patten were practically resident, especially in the Bistro. And the Everyman youth theatre launched another generation of talent including Ian Hart, Cathy Tyson and of course David Morrissey.

Since 2004 the Everyman has produced 19 world premières, 17 by Liverpool writers. Many of these writers are already seeing their work reaching a wider platform, nationally and internationally, and 5 of these productions have gone on to find audiences and acclaim in London and around the country.

We work constantly to nurture, support and provoke new talent, offering creative development combined with pragmatic advice in making and sustaining a career. For writers this includes an ongoing programme of new commissions; a Young Writers’ Programme; a Writers on Attachment scheme and the annual Everyword festival of new work.

This year, our youth theatre will evolve into a wider programme: Young Everyman/Playhouse. YEP will expand the number of places available and, as we approach the opening of the new Everyman – which will give YEP its own, dedicated space – will begin to include training for directors and technicians; a children’s theatre strand, and short training courses for a wide range of young people across Merseyside.

By fostering new talent, developing new work and championing creative courage, we want to make sure that the new Everyman comes alive with new work, new energy and new ideas.

“There’s a wonderful story tothis place for me personally.The Everyman has been such a part of my LIFE”

David Morrissey is MacbethEveryman, 6 May to 11 June

Article by Vicky Anderson

Photography by Helen Warner

www.everymanplayhouse.com

“The Everyman in Liverpoolis living up to its name.Thanks to a new play, it isdoing what theatres allover the country dreamof: pulling in scores offirst-time theatre goersalongside loyal subscribers” THE OBSERVER ON ‘UNPROTECTED’

From its earliest days, the Everyman has been a fertile ground for new and young talent.

The Everyman as we know it – it’s a building, just bricks and mortar, David Morrissey reasons, more than once.

DAVID MORRISSEY INTERVIEw 0504

“Your support has beencrucial to my developmentover the past two yearsand I have always come awayfeeling truly inspired andencouraged to push myselffurther” Kellie Smith, writer

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Images, top to bottom, left to right: 1. The Everyman and Playhouse Youth Theatre in rehearsal, 20082. The Company of 1974-75 3. Tracey Ullman, Linda Beckett and George Costigan in

Talent by Victoria Wood, 19804. Leanne Best in the world première of Unprotected by John Fay,

Tony Green, Lizzie Nunnery, Esther Wilson, 20065. Louis Emerick and Eddie Redmayne in Master Harold and

the Boys by Athol Fugard, 2003 6. Con O’Neill and Alan Stocks in the world première of

Dead Heavy Fantastic by Robert Farquhar, 2011

Photography: Ron Davies, Robert Day, Hugo Glendinning, Christian Smith, Stephen Vaughan, Helen Warner, Liverpool Daily Post and Echo

Cast in alphabetical order:

Mark Arends Malcolm Ken Bradshaw Banquo Richard Bremmer Duncan, Porter, Doctor Neil Caple Lennox, Old Man Matthew Flynn Macduff Julia Ford Lady Macbeth Gillian Kearney Witch, Lady Mcduff Syrus Lowe RosseGavin Marshall Bloody Sergeant, First Murderer, MenteithShaun Mason Donalbain, Caithness, Young Lennox, MessengerNathan McMullen Witch, Fleance, Young MacduffDavid Morrissey Macbeth Eileen O’Brien Witch, Seyton

Company

Director Gemma BodinetzDesigner Francis O’ConnorLighting Designer Colin GrenfellSound Designer Fergus O’HareComposer Peter CoyteFight Director Brett YountVoice Coach Tess DignanCostume Supervisor Jacquie DaviesCasting Director Kay Magson CDG

Production Manager Sean PritchardCompany Manager Paul SawtellStage Manager Sarah LewisDeputy Stage Manager Roxanne VellaAssistant Stage Manager Kate FosterLighting Operator Andy WebsterStage Crew Xenia Bayer, Howard Macaulay, Ian DaviesDressers Brenna McKenzie, Jess SchofieldWardrobe Maintenance Tracey ThompsonSet built by SplinterAdditional Props Mike Cantley, Jo HeffermanAV Sequences Joshua Sessions

“At last, a productionthat does justice toShakespeare’s darkesttragedy” THE Daily Express

David Morrissey and Julia Ford in MacbethPhotography by Helen Warner

macbethmacbeth 0706

LIVEROOL’S THIRDCATHEDRAL

Liverpool’s Third Cathedral: The Liverpool Everyman Theatre compiled by Ros Merkin (ed) (2004) Published to celebrate the 40th birthday of the Everyman, a personal history of the theatre in the words of those who were and are there.

Available from our Box Offices priced £5.

A succession of visionary directors, exciting writers, and bold young acting companies kept the theatrical flame alive for decades, and the Everyman was the crucible for an astonishing range of theatrical talent.

The intimacy of the Everyman’s thrust space has wrapped itself around the reinterpretation of classics that characterised the sixties; the politically-engaged popular drama of the seventies, inspirational insanity at the turn of the eighties, and the large-scale theatricality and rich vein of new writing that followed.

Founded in 1964 in the appropriately named Hope Hall (once a chapel, then a cinema), in an area of Liverpool noted for its bohemian environment and political edge, the Everyman quickly built a reputation for ground-breaking work.

Since the Everyman joined forces with the Playhouse it has been the launchpad for a remarkable range of new, Liverpool plays – with 19 world premierès since 2004 – as well as a uniquely powerful place to experience the great classics such as its valedictory production, Macbeth.

Whether it is the debut of a new Liverpool playwright, a new version of a world classic, or the British première of a major international play, the warmth and dynamism of the Everyman space has embraced each of the stories that have traversed its stage.

Images, top to bottom, left to right: 1. Jonathan Pryce, Polly Hemmingway, Michael Angelis and Alison

Steadman in The Foursome by Ted Whitehead, 19722. John, Paul, George, Ringo and Bert by Willy Russell, 1974 3. The Warp by Neil Oram, 1980 4. Andrew Schofield and Mickey Starke in No Holds Bard by

John Christopher Wood, 19895. Kevin Harvey and Cecilia Noble in Yellowman by

Dael Orlandersmith, 2004 6. Pete Postlethwaite in King Lear by William Shakespeare, 2008 7. Nicholas Shaw and Paul McCleary in Anthology: We Sing Faster

in the City by Matthew David Scott, 2010

Photography: Robert Day, Hugo Glendinning, Sam Heath Christian Smith, Stephen Vaughan, Helen Warner

A succession of visionarydirectors, exciting writers, and bold young actingcompanies kept thetheatrical flame alive for decades

The Everymen of the Everyman Bistro: Paddy Byrne, Dave Scott and Tim Byrne have played more than supporting roles in the Theatre’s illustrious history. Co-owner Paddy Byrne opened the bar-cum-bistro-cum-pub-cum-restaurant with Dave Scott on September 26,1970 – the restaurateurs and cookery writers were joined by Paddy’s younger brother and wine expert, Tim, in 1980.

Paddy says: “The Everyman has been a civilised place which welcomed everyone.

“The central idea was always that anybody could come in, as long as they showed respect to the people on the adjacent table.”

Last year’s 40th anniversary was a very civilised get-together. Celebrating a legacy of loyalty, friendship, warmth and beautiful banter – even if you were on your own… you could listen to the music of the crowd. The Bistro was an award-winning mainstay of the country’s good beer, pub and food guides. Everyone felt comfortable there. Writers and performers… audiences… If Julie Walters hadn’t become the superstar she is she would probably be working behind the bar now.

So what will become of the Everyman Bistro – a star in its own right – when the final curtain falls? “We’ve been here forty years,” say Dave and Paddy in unison. Tim smiles

and adds: “I’ve only done thirty four years.” They laugh together – naturally and easily. It sums up the eternal, feel good factor of the Everyman Bistro. Adds Dave: “We’ve left behind us the legacy of a brand new theatre and we can be very proud of that.“

Tim agrees: “It’s not just going for a drink or something to eat… it’s an experience – a home from home.” Dave reflects: “When it all went black, we purchased the premises and we formed a board of supporters to get the whole thing back on the road. We couldn’t be members of the theatre board while running a commercial operation. “The timing was very important – it was essential that we did it in a very short space of time, otherwise we’d have lost the momentum. And upstairs could have been a carpet warehouse.”

Tim stresses: “No one else would have done it. “It was a big financial risk. We didn’t mortgage our houses, but we certainly mortgaged the building.” Dave smiles as he says ‘life goes on’: “Paddy and I are in our mid 60s and Tim is in his mid 50s. “So it’s not realistic for us to go forward with it and it wouldn’t be right anyway. It’s a new board and a new game and they need to bring the flavour to it that’s appropriate to them. We couldn’t have taken it off somewhere else – it’s not something that travels.

And this is where the Everyman Theatre upstairs agree – it is a brand new dawn – building on the success of the Bistro boys.

So talking of that other ‘Cavern’ is it like a band splitting up? Forget the Fab Four – are the Terrific Three moving on? Says Dave: “Not really because each of us has been doing their own thing without interference from the other – we’ve each operated independently.” Paddy points out: “Trust sums it up; we trust each other. We’ve always done separate things from each other.”

In the Bistro each of the three had a significant role. Tim’s been in charge – he has real expertise about wine – of the whole cellar. All the liquid stuff. He also picked up the IT stuff for the accounts. Paddy’s been the ‘creative driving force’ behind the food. The perfectionist whose kept everybody on their toes and ensuring the day-to-day functioning and the renewal of the style of the place. Dave’s been the finance strategy type person.

In the early days, along with Paddy he started with just two domestic cookers and both learned to cook on the job. Recalls Dave: We were definitely the centre of the artistic milieu of the city when we opened.

“Now we look at it all and agree, ‘yeah, we did it’ and we’re going out on a roll.” Tim smiles: “I’ll miss the easy interaction with so many young people. “We got it as right as we could over the years. It’s continued to evolve.“ It’s not a museum.“ Adds Paddy:

“The other great thing about this unique place is it’s a safe and popular venue for women; we get a lot of women on their own here. It’s created its own life.”

So, lads, let’s not be morbid, but if there was a gravestone at the Everyman Bistro site what would it say? “It broke the mould

– there was nothing like it – in terms of the food it did and the drinks it did,” says Tim, without hesitation.

“And after forty years it’s still thriving and still fresh,” adds Paddy.

Will there be a farewell party? “Yes,” smiles Dave, looking at his two friends. “But not a wake… “Just say Everyman Bistro… always Awake!”

They looked at each and nodded – all three. thinking the very same thing.

THE NEW BISTROThe new Everyman will include a new incarnation of the Bistro, taking its ethos, inspiration and spirit forward; in the same way as that of the theatre upstairs. Quality beers and wines; affordable prices; locally-sourced food; a friendly atmosphere; great staff; a room for music, poetry and parties; cosy nooks; big tables which bring people together – all these elements and more will be carried forward into the new Bistro. For the first time the Bistro – as the rest of the building – will be fully accessible to wheelchair users and other people with mobility difficulties. Diners and drinkers will have more of a choice of spaces and styles, including outside space – while retaining the precious ‘cavern-like’ feel of the Bistro.

The aim is make sure the new theatre and Bistro feel like natural progressions of themselves, where devoted aficionados will feel right at home and where new generations will be keen to make themselves at home too.

Article by Peter GrantPhotography by Collette Rawlinson

They didn’t do meetings. They never will. They always bumped into each other and ‘passed comments.’ That was their working pattern.

a POTTED HISTORY THE BISTRO BOYS08 09

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In 2004 the Everyman Archive was handed over to Liverpool John Moores University as part of its Special Collections And Archives in the Aldham Robarts Learning Resource Centre (LRC). www.everymantheatrearchive.ac.uk

Everyman Archive

A special celebration of the Everyman, past, present and future.

Join us from 2pm-6pm and share your #EveryMemory in the theatre, and from dusk on Hope Street.

The legend that is the Rock ‘n’ Roll Panto lives on at the Playhouse.

To book call 0151 709 4776 or visit our website www.everymanplayouse.com

By Mark Chatterton and Sarah Nixon

Garfield Weston FoundationThe Monument Trust

Foyle Foundation The Wolfson Foundation

MAKING IT HAPPENeveryone loves the rock ‘n’ roll PANTO It has taken over ten years to get to the point of being

able to start work on site to create the Everyman’s new incarnation and we would like to say a heartfelt ‘thank you’ to those who have made this possible. As well as those listed here who have provided funding towards the project, we could not have reached this point without Liverpool Vision, The Mersey Partnership and Liverpool City Council, and we are sincerely grateful to them all.

“Well done to all it was the best panto I have ever been to”Karen Heeney on Mother Goose, 2009

“It’s a fabulous atmosphere and it’s the music that’s the heart of it all”Customer Comment, March 2011

“At Christmas, at least, there are few things which come with as cast iron a guarantee of fun as the rock and roll panto” Liverpool Echo on Sleeping Beauty, 2010

“Extreme silliness, slapstick comedy, terrible puns and dazzling costumes... The show outdoes itself year after year” Daily Post on Dick Whittington, 2009

THE EVERYMANCLOSing finale

THE ROck ‘n’roll pantocinderella

#EveryMemory

SAT 2 JULSAT 3 dec to sat 21 jan

THE ROCK ‘N’ ROLL PANTO STILL TO COME10 11

Photography by Helen WarnerFrancis Tucker as Queen Ashley and

Adam Keast as King Scarlett in Sleeping Beauty (2010)

Illustration by Kev Jones

“A vital redev

elopment for t

he City’s futu

re.

The Everyman

is a real gem

in Liverpool’s

cultural life a

nd while it w

ill have a new

look it will ret

ain its unique

spirit”

Councillor Joe Anderson, Leader of Liverpool City Council

“Liverpool people are at the

heart of the designs”

Liverpool ECHO

“We think the redevelopment of the Everyman

Theatre has the potential to be an exemplar

project in all aspects of its design”CABE Design Review“The re

development of

the Everyman

theatre will pro

vide a fitting l

egacy for Euro

pean

Capital of Cultu

re 2008 – one th

at will

continue to gr

ow and develop

new audience

s,

new work, an

d create the r

ight conditions

by which grea

t art can happ

en”

Aileen McEvoy, Executive Director,

Arts Council England North West

“The continued evolution of the Everyman makes the world a better place”Bill Drummond, Artist and Musician

“A flagship fo

r Liverpool and

a flagship for

England!”

James Berresford, CEO, Visit England

“This is great news for the

theatre and also for Liverpool”

Mary Winn, regular attender

“Very impressive. The new theatre will be just great”

Jim Mulginley, Customer Comment

What you ’ v e sa i d

Find out more and have your sayFor updates on the redevelopment of the Everyman please email Ev4everyone@everymanplayhouse.com

Follow us on twitter www.twitter.com/LivEveryPlay

Join us on www.facebook.com/LivEveryPlay

Watch videos on www.youtube.com/everymanplayhouse

To see the redevelopment as it happens, watch our live stream on our website www.everymanplayhouse.com (Sponsored by NW Systems)

Or take your own pictures of the redevelopment and upload them here www.flickr.com/photos/LivEveryPlay