Richmond Theatre at 125
Richmond Theatre at 125
To mark its birthday year, we take a look at the past, present and future of Richmond Theatre…
Tucked away in Richmond Theatre’s archive is a collection of programmes stretching back throughout its 125-year-old history. They range from the very first shows to recent hits and reads like a who’s who of legendary actors who have graced its stage over the decades, including Lenny Henry, Catherine Tate, Spike Milligan and Juliet Stevenson.
Allie Long is Richmond’s theatre director. She is looking forward to its quasquicentennial anniversary and the community open day which takes place on 21 September, just after the official birthday on the 18th. “It gives us the opportunity to open our doors to the community outside of seeing a show. They will be able to come and enjoy the beautiful building, and look at the archival material, including the programmes, which demonstrate how the shows have evolved.” There will also be opportunities to stand centre stage, see behind the scenes and take part in workshops.
The theatre opened in 1899 under the name of Theatre Royal and Opera House, showing plays, ballet and musical performances. Now, it is known for a bringing a wide range of shows, many of which go on to West End success or tour nationally. Recent examples include A Little Life [starring Andrew Norton], Vanya [with Andrew Scott], and The Enfield Haunting. “This is what Richmond can do well. We can have tech weeks, and build weeks and a week of performances before a play transfers to the West End, we can be the starting point for these brand-new shows. Drop the Dead Donkey started here, went on tour and finished back here.”
I ask Allie, if she could go back in time, which of the shows would she most like to see? It has to be the theatre’s first-ever play, As You Like It, she says. “I know what it is like to open a regular opening night but imagine in 1899 putting on a show for the very first time… Also, it is theatre manager Andy’s show of all time so I’d like for him to come back with me to see it.”
Richmond Theatre was originally designed by Frank Matcham, who designed over 90 theatres including the Hackney Empire and the Coliseum. Richmond is considered among the best-preserved, with its stunning marble proscenium arch and marble balustrades in the foyer. The theatre’s original ceiling represents scenes from four of Shakespeare’s plays: Romeo and Juliet, Hamlet, A Midsummer Night’s Dream and King Lear.
The building underwent a renovation in the 1990s. If you look up in the foyer, you’ll see a ceiling created by Laurence Llewelyn-Bowen, at the start of the designer’s career. There is no shortage of quirky facts: Milton Jones was an usher and sold ice creams here before he hit the big time!
As the theatre looks back on its 125 years, there have, of course, been challenges. The pandemic being one of the most serious. “Richmond reopened on 25 September 2021, which feels like a lifetime ago, operating with Covid passes and masks for the audience – all those extra layers came into operation to make the audience and team feel safe. And it took a while for everyone to feel safe again.”
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Fast-forward to 2024 and the arts are seeing record numbers of visitors. “There is such a big appetite for live entertainment. Amazing as it was to have plays via Zoom and live streaming, there is nothing that can replace the live experience.”
After the pandemic, it was a slow start as producers needed to regain confidence that they could invest in a show and not worry it would be shut down again. “We programme around two years in advance so initially there was not as much content but now it is coming back.”
Some even reference the pandemic. For example, Here You Come Again – a Dolly Parton musical, which will come to Richmond in September, is actually set during Covid. “This point in history is now a cultural reference in art, similar to what happened with the plays that came out during the war. They help to give joy in a moment that was really difficult and that everyone can resonate with.”
The challenge for theatres now is rising costs. “The cost of living crisis can feel like a throwaway comment but it is very real. We want to offer a high-quality experience while also being commercial. It is about being smart in what we do – as an example, updating our technical lights to LED, which is greener, cheaper and actually better for stage lighting as it is more controllable.”
Building a future audience base is also a high priority. The Richmond Theatre Trust helps to provide opportunities for those who might face barriers to accessing the arts. Community outreach is key, Allie says. The theatre hosts regular creative learning opportunities such as an acting class for the over 50s, guided tours and story time for toddlers. It also aims to offer accessible ticket prices with its ‘seats from £15’ initiative and discounted tickets for local heroes.
Another pressing issue is how to make the industry more diverse. Making the arts a higher priority in state schools is key. “I did a GCSE in drama but the following year it wasn’t available for the next year group. If you take the arts out of mainstream education you are creating more barriers.”
Allie Long
Allie is a great example of how you can rise quickly in the industry. “I started eight years ago as an usher and it’s great to be able to show that if you want a career in theatre, you can work your way up.”
As a student, she worked part time at the Grand Opera House in York. She then got a job as a marketing assistant there, and did some stage work. “I did a bit of everything and then decided to work towards general management, doing the ATG graduate management scheme. I love being really hands on and working in the team in the background that makes it all happen.”
Allie is currently covering Rachel Crocombe-Lane’s maternity leave, after which she will head back to York as theatre manager. Allie has done something that most dream of – making your passion into a career.
The first play she remembers seeing was Chitty Chitty Bang Bang in Manchester. “I remember the drive from Huddersfield with my parents and listening to the CD of the songs. I get goosebumps thinking about it now. I was dazzled by the flying car – of course, I now know how we can do that. But the colour, light and joy of it all was magical. I still have the programme.”
Allie’s parents actually met while doing am dram at university. “It was Arsenic and Old Lace and my mum was going out with the lighting designer, but she then got together with my dad who was in the play – he went on stage and all the lights got turned out!
“I guess theatre is in my blood.”
