Timeline: Britain’s oldest working theatre turns 250 - Discover Britain Timeline: Britain’s oldest working theatre turns 250 May 27, 2016 Google+0 Original ‘silver tickets’ Bristol Old Vic, the oldest working theatre in the English-speaking world, will celebrate its 250th anniversary on Monday 30 May with a weekend of celebrations planned over the coming bank holiday weekend (28 May to 30 May). There will be a wealth of celebrations taking place to mark the occasion but here we take a look at the long and eventful history of the theatre. For more a full programme of events, visit the theatre here . 1764 A campaign was started to build a new theatre as it was a matter of civic pride that Bristol had a theatre worthy of its status as the leading provincial city in England. The advice of David Garrick was therefore sought and the theatre designed by the carpenter he recommended, James Saunders, who he called “clear-brained to the skull of him”. 30 Nov 1764 The foundation stone was laid and because of the marshy conditions on the site, a “raft” of rushes was laid down as foundation for the building.

1765 The theatre was funded by a group of fifty citizens, each of whom invested an initial £50 in the project, in exchange for which they received a silver ticket, which entitled them to a “sight” of any show in the theatre forever. Investors included local councillors, two future MPs and at least three Quakers. Early play bills from Bristol Old Vic before it received its royal patent – 1768 and 1773 – courtesy of Bristol Record Office 30 May 1766 The theatre opened with a capacity of more than 1,000. Built when the average lifespan of a theatre building was just 17 years – most were burnt or demolished before that – it is now the oldest working theatre in the English-speaking world. At that time, due to political offence caused by satirical plays, 18th-century theatre was heavily censored by the Lord Chamberlain under the Licensing Act of 1737 and royal permission in the form of a ‘patent’ was needed to stage plays. It had been hidden away from the street behind a row of houses.

To gain admission, people had to go through these houses, belonging to a Mr Foote and a Mr Gill to access the theatre entrance itself. 1766 The first performance at the theatre was advertised as ‘a concert of music and a specimen of Rhetorick’, thus evading the restrictions of the 1737 Act. Richard Steele’s The Conscious Lovers and a farce ‘The Miller of Mansfield’ were acted between the performances of the orchestra. Garrick wrote the prologue and epilogue, and reportedly dubbed the playhouse “the most exquisitely designed theatre in Europe.” 1778 Despite various Puritan bodies – which were particularly strong in 18th-century Bristol – continuing to oppose the theatre on moral and religious grounds, it was eventually awarded its Royal patent, and enabled them to use the title ‘Theatre Royal’. This legalised its status and allowed it to openly advertise and legally perform full length plays. 1778 Royal patent for Theatre Royal, Bristol, courtesy of Bristol Record Office 1779 Sarah Siddons played up to 30 roles in a season from 1779 to 1782.

1785 – Sarah Siddons as Isabella from The Tragedy of Isabella, or The Fatal Marriage. Painting by William Hamilton. Courtesy of the University of Bristol Theatre Collection. 1800 The ceiling of the auditorium was raised and sloped back to accommodate a new gallery and additional boxes, increasing the capacity to more than 1,600, which is 1,000 more than the theatre holds today. The great actress Sarah Siddons learnt her trade in this company and the theatre also hosted most of the theatrical greats of the time, including Edmund Kean, William Charles Macready and Grimaldi, the famous clown. 1830 For a production of The Elephant of Siam on 12 April 1830, an elephant was part of the act on stage. Because the Rackhay entrance was too low to admit the animal, part of the rear wall of the Theatre had to be taken down to get it in! 1831 Manager Richard Brunton tried to alter the theatre layout to remove the “geese” or prostitutes who used to solicit custom from the upper circle boxes.

1834 Sarah M’Cready became the indomitable manager of the theatre, which she ran for nearly 20 years. Her ghost is said to haunt the theatre to this day. 1850s & 60s There is evidence remaining of 19th century graffiti in the theatre including a delightful graffiti sketch of a schooner in full-sail, probably scratched by the theatre’s carpenter E J Harwell in 1859. 1867 In 1867, as King Street became a risky and undesirable river-side slum, a New Theatre Royal (later renamed the Princes Theatre) was built and opened on Park Row and the theatre on King Street was renamed “The Old Theatre Royal” and then, as it became more and more down-market, “The Old” or even ‘The Old Gaff’. 1905 Electricity was used to light the theatre’s auditorium for the first time. Theatres were previously lit by gas and, earlier still, by candles and oil lamps, which had caused so many to burn down. 1939-1945 Much of ancient Bristol was destroyed during World War II but the theatre sustained only slight damage.

Most of the original theatre machinery survived until this time. Thunder Run with balls Credit: JonCraig.co.uk 28 Jan 1942 After falling into a state of disrepair and a series of failed attempts to revive it as a theatre, the Bristol theatre was sold at auction for £10,500 to the Metal Agencies Company, who planned to turn it into a banana ripening warehouse. A similar fate had befallen the 1772 Theatre Royal in Liverpool, which served as a warehouse for over 80 years before its demolition in 1970. 1 May 1942 An appeal was mounted to save the theatre. At a crowded public meeting, a cannonball was released down the 18th century thunder run to rally support 11 May 1943 Bristol Old Vic Thunder Run – one of only three left in the country and the oldest by 130 years. With support from the Committee for Encouragement of Music and the Arts (C.E.M.A.), the forerunner of the Arts Council, the theatre reopened with a production of She Stoops to Conquer.

1954 – Bristol Old Vic UK premiere of The Crucible, starring Rosemary Harris and Edgar Wreford. Photographer: Desmond Tripp. Courtesy University of Bristol Theatre Collection. 1946 C.E.M.A (soon to become the Arts Council) decided to experiment with the idea of subsidising a regional theatre for the first time by asking the London Old Vic to send a company of actors to the Theatre Royal in Bristol. The first production by the Bristol Old Vic Company was The Beaux Strategem which opened on Feb 19, 1946 – 70 years ago. 21 Oct, 1946 The Bristol Old Vic Theatre School was opened by Laurence Olivier, shortly after the foundation of the Company itself. Celebrating its 70th anniversary this year, past students include Brian Blessed, Naomi Harris, Olivia Coleman, Theo James, Stephanie Cole, Daniel Day Lewis, Jeremy Irons, Patricia Routledge, Miranda Richardson, Greta Scacchi and Gene Wilder. 1951 The theatre closed for redecoration during the summer. A photographic record was made of the backstage areas.

1946-1950s The new Bristol Old Vic Company presented a series of highly successful seasons with a dazzling array of actors including Rosemary Harris, Cyril Cusack, William Devlin and Pamela Brown and a range of hit productions from the British premiere of The Crucible to Salad Days, the most successful musical of its time. 1955 Peter O’Toole joined the company and rapidly came to dominate the stage in a series of memorable roles, notably Hamlet. It was that performance which inspired Sir Richard Eyre (then a schoolboy in the Upper Circle) to pursue a career in theatre. 1966 The theatre’s profile and success continued with West End transfers, European tours and a planned tour of Canada and USA. In 1967 an appeal was launched for funds for a major redevelopment, which included the integration of the neighbouring Coopers’ Hall. Coopers’ Hall was a historic hall built in 1743-44 for the Coopers’ Company. It had subsequently became a public assembly room, a Baptist Chapel and, by the 1970s, it had become a fruit and vegetable warehouse.

1970-72 A refurbishment created more space for scenery and enabled the theatre to transfer shows efficiently to bigger theatres in London. It also included the construction of a studio theatre (the New Vic), making Bristol Old Vic the first regional theatre to have its own studio, and the conversion of the Coopers’ Hall to the theatre foyer. 1977 – Alan Rickman in Dick Whittington, Bristol Old Vic Company at the Theatre Royal. Photographer: Derek Balmer. Courtesy University of Bristol Theatre Collection. 1972 Following the refurbishment, the theatre reopened in January 1972 with a production of Trelawny by George Rowell (based on Trelawny o the Wells by Pinero). From 1972, the Bristol Old Vic Company ran three theatres concurrently in the city, presenting more than 30 plays a year, a unique achievement in British theatre. 30 May 1972 The New Vic Studio opens and becomes renowned for innovative productions. 1973 The longest-serving employee, chief electrician Tim Streader, joined the theatre aged just 17 – he worked there for 43 years!

1989 Bristol Old Vic Theatre School becomes independent from the theatre 1994 Bristol Old Vic Young Company was set up by Sally Cookson and Heather Williams and has today become one of the largest regional youth theatre companies in the UK, with more than 350 members. Multi-award winning, it has brought two productions to the National Theatre. 2007-8 In July 2007, the theatre was closed for refurbishment. Following several packed public meetings in the winter of 2007/2008 a newly formed board of trustees appointed Dick Penny, the director of the Watershed Media Centre, as executive chairman. 2009 Artistic director Tom Morris (War Horse, Swallows and Amazons, The Crucible, Associate Director National Theatre) and chief executive Emma Stenning were appointed to run Bristol Old Vic. Tom and Emma previously ran the Battersea Arts Centre together. Sian Phillips and Michael Byrne – Juliet and her Romeo 2010, credit Simon Annand Their aim was to strengthen and develop the theatre’s reputation for exploration and ambition – looking towards local collaborations and partnerships as well as securing an international reputation for bold, ambitious work.

Their tenure at Bristol Old Vic has been characterised by an inspired mix of classics (The Crucible), innovative new writing (Does My Society Look Big in This?) and a combination of the two (Juliet and Her Romeo). Bristol Old Vic has toured across the US with productions of A Midsummer Night’s Dream; to Hong Kong (Jane Eyre/Faith Healer/A Midsummer Night’s Dream) and also transferred productions to the West End (Swallows and Amazons). Two productions to have originated at Bristol Old Vic – (Peter Pan and Jane Eyre) are also now in co-production at the National Theatre for 2016-17 season. Sep 2012 The first phase of a major refurbishment was completed after a £12 million fundraising campaign. This re-established the original geometry of the Georgian theatre, replaced and reconfigured the audience seating, improved the backstage and created new rehearsal facilities. Bristol Old Vic – auditorium 1 – Credit Philip Vile Feb 2014 Bristol Old Vic’s rude and radical A Midsummer Night’s Dream became the best-ever selling show at the theatre and later went on an international tour, to venues at Hong Kong, Washington, Boston and Seoul.

Feb 2014 Sally Cookson’s bold two-part adaptation of Jane Eyre begins at Bristol Old Vic. Autumn 2015 250th anniversary season announced, featuring a production from each of the four centuries in which the theatre has operated. Highlights include Long Day’s Journey into Night directed by Richard Eyre, starring Jeremy Irons and Lesley Manville, King Lear starring Timothy West, Stephanie Cole and David Hargreaves- a co-production featuring students from Bristol Old Vic Theatre School- and a new musical The Grinning Man directed by Tom Morris. Jan 2016 The theatre’s acclaimed production of Jane Eyre is broadcast across the US with NT Live. Plays produced by the theatre have been performed in 27 cities across 11 countries 12 Jan 2016 The historic Thunder Run was restored and successful test runs completed. It is now set to be used in one of the special anniversary productions in the summer, King Lear starring Timothy West, one of the theatre’s famous alumni, where it will be heard by audiences for the first time in over 70 years.

April 2016 Over 7.5m people have seen a theatre production at Bristol Old Vic since it was established – last year (2015-2016) nearly 123,000 tickets were bought for a Bristol Old Vic production, 36% of them for the first time. May 2016 The 250th anniversary weekend itself will centre on a weekend of celebration over the May Bank Holiday (May 28-30, 2016), including a one-off special performance, the launch of a new digital heritage project and opportunities for community and amateur groups to perform on the Bristol Old Vic stage as part of Bristol Open Stage. The festivities will culminate in a street festival on 30 May, the date of the actual birthday. June 2016 As a major fundraising drive to raise £12.9 million by Bristol Old Vic reaches its final stages, the theatre is about to embark on its next phase of redevelopment. With Stirling Prize winning architects Haworth Tompkins on board, the front of house spaces will be revamped and the Grade I listed Coopers’ Hall returned to its original 18th century form.

Works are due to start in June and completion expected in 2018. Initial support has been secured from the Heritage Lottery Fund for the heritage project which will see Bristol Old Vic’s extraordinary history brought to life. Do you love Britain? Let others know! Bristol Old Vic Theatre marks 250th anniversary - BBC News BBC News Bristol Old Vic Theatre marks 250th anniversary 30 May 2016 Image caption Bristol Old Vic Theatre opened exactly 250 years ago Bristol Old Vic theatre is marking its 250th anniversary. The historic playhouse, which opened on 30 May 1766, is the oldest continuously working theatre in the English speaking world. As part of the anniversary celebrations an 18th Century "thunder run", which recreates the sound of thunder above the auditorium, was recently restored. It will be used for the first time since 1942 in a production of King Lear next month. Media captionSee the 18th Century "thunder run" at Bristol Old Vic Theatre in action Some of the UK's most famous and best-loved actors learned their trade at the Bristol Old Vic.

Graduates of the famous Bristol Old Vic Theatre School include Sir Patrick Stewart, Jeremy Irons, Miranda Richardson, Daniel Day Lewis, Patricia Routledge, Tim Pigott-Smith, Pete Postlethwaite, Mark Strong, Brian Blessed, Olivia Colman, Gene Wilder, Amanda Redman and Naomie Harris. Image caption Sir Patrick Stewart, Olivia Colman, Jeremy Irons and Naomie Harris are all graduates of the Old Vic Theatre School Bristol Old Vic features a Grade I listed auditorium which has recently been restored. Although not a student at the theatre, Peter O'Toole began his stage career there, and described it as "the loveliest theatre in the world". Daniel Day Lewis called it "The most beautiful theatre in England". Image copyright Philip Vile Image caption The auditorium was refurbished in 2012 as part of a £12 million theatre restoration The old playhouse is reputedly haunted. People have reported seeing the ghost of Sarah M'Cready, the theatre manager who worked there 180 years ago, although some say it is in fact the spirit of 18th Century actress Sarah Siddons.

The spirit of a former scenery painter called Richard, who died in an accident in the 1950s, is also said to sometimes move objects around. Image copyright Bristol Old Vic Image caption Some say the theatre is haunted by the ghost of actress Sarah Siddons The theatre was originally built without Royal patent and was therefore technically illegal, so it had to disguise plays as musical concerts and hide its entrance from public sight. It finally got a royal patent in 1778 when it became the Theatre Royal. It became the Bristol Old Vic in 1946 when a company of actors from London's Old Vic was sent there to perform. To mark the 250th anniversary plays from each of the four centuries it has been in existence have been, or will be, performed. Image copyright University of Bristol Theatre Collection Image caption In the 18th Century the theatre was known as the Theatre Royal The original theatre was founded in 1766 by 50 men and women, who each paid £50 in return for a "silver ticket", which granted the bearer the right to watch every performance in the theatre, forever. Investors included local councillors, two future MPs and at least three Quakers.

To mark the 250th anniversary new silver tickets have been minted. Each one has been sold for £50,000 to help raise funds for the theatre's redevelopment. Image copyright Jack Offord Image caption 18th Century investors paid £50 for each silver ticket The theatre has survived for two and a half centuries despite coming near to closure on several occasions. During World War Two much of ancient Bristol was destroyed, but the theatre sustained only slight damage. It fell into disrepair and in 1942 it was sold after a series of failed attempts to revive it. The new buyers planned to turn it into a banana ripening warehouse, but an appeal was launched to save the theatre and it reopened in 1943. Bristol Old Vic: Curtain up on a Georgian time capsule - Telegraph Theatre Features Bristol Old Vic: Curtain up on a Georgian time capsule Bristol Old Vic – the oldest working theatre in Britain – is about to reopen following a major refurbishment.

Robert Gore-Langton reports Artistic director Tom Morris: 'The place reeks of history… it’s a thing of utter beauty.’ Inset: the restored auditorium Photo: Andrew Crowley By Robert Gore-Langton 7:30AM BST 11 Sep 2012 Artistic director Tom Morris is bouncing with Tigger-ish enthusiasm about the refurbished Bristol Old Vic, soon to reopen for business after a major refurbishment. “I am afraid I have lost all sense of proportion when it comes to my inner excitement,” he says on a whistle-stop tour of what is the oldest working theatre in Britain and surely the prettiest. Morris – whose credits include being co-director of the mammoth hit War Horse – is clearly in love with this theatre, which in its early days was briefly known, among other things, as The Old Gaffe. When it was built, in 1766, it was hidden away behind King Street like a speakeasy, with access through a private house belonging to a Mr Foote, on whose door you had to knock to get in. Today, the crumbling theatre is transformed.

The vast fly tower and paint frame — installed in 1970 – have been re-equipped, there are two huge rehearsal spaces, new backstage facilities, and everything gleaming white. But inside the exquisite horseshoe auditorium is a time capsule of wonderment, its feeling of cradled intimacy superbly conserved with the lightest of touches. Incredibly, in 1800 it played to 1,600 people (thanks to fire regulations its capacity is now 540). In its new livery it looks fabulous, or as they say in Bristol, girt lush. The lighting is subtle. There’s a new oak floor with comfortable and elegant seats which have – joy of joys — decent legroom. There’s a cool-air system that bids farewell to the theatre’s summer season impersonation of the Black Hole of Calcutta. The newly painted boxes on the stage are back in business – one of them, incidentally, paid for by Cameron Mackintosh. It has a plaque to Julian Slade, author of Salad Days, which originated in the theatre and is as legendary in Bristol as Peter O'Toole’s 1957 Hamlet.

The original forestage has been exposed and its late Victorian refurbishment — “done by builders who were total rubbish”, says Morris — reversed. You can now see the slot where 18th-century actors got on to the stage, “their greasy fingers visible on the timbers as they waited anxiously for their cue”, says Morris. “The place reeks of history. We found a lovely graffiti of a ship, scratched with a nail by a theatre carpenter in 1863.” Related Articles War Horse at the National Theatre 18 Oct 2007 Bristol’s mid-Georgian theatre is the last of its species. During the refurbishment historians, architects, academics, paint researchers and archeologists prodded, peeled and poked the building’s fabric. What they found was old turnstile slots, Georgian litter, roof carpentry that was the work of local shipwrights, and a blocked-up “pass door” which allowed grandee patrons “freedom of the scenes” – that is, discreet access for a chat and a cuddle with the actresses backstage. The refurbishment has crucially restored the stage to its original position, bringing the actors further into the room.

“You now have the actors surrounded by the audience, the openness of connection waiting for a modern actor to rediscover,” says Morris. “The refurbishment in 1970 was an unthinkable violence to the original architecture of the place. Even If I had nothing to do with this project, I would be really excited about the work that might be created in that space over the next 10 to 20 years.” The opening show is the evergreen Georgian comedy Wild Oats (1791) by John O’Keeffe (William Hazlitt called him “the English Molière”, although he was Irish), which Morris has picked for “the amazing theatrical instinct in the writing”. Mark Rosenblatt directs and the company will follow it up with a devised satirical show in October. Morris — who once ran the Battersea Arts Centre — is keen to hang on to his fringe roots. This has meant some lateral thinking while the Old Vic has been shut — for example, the wildly successful Treasure Island, staged in the street, and Coram Boy revived to vast audiences in the city’s Colston Hall.

Whatever is to come, Morris and his executive director Emma Stenning have reignited the expectations of Bristol’s theatregoers, who for years have been getting their theatre rations at the Bath Theatre Royal, complete with its starry casts. “The thing is we are subsidised theatre, which allows us to be a bit experimental,” says Morris. “We are not reliant on having famous telly names in our shows. That subsidy means we have a responsibility to be accessible to every part of Bristol, to people who have never felt that this is their theatre. That’s why we’ve got an outreach department [under the excellent John Retallack], and why we’ve taken such care to make the gallery seats so brilliant. They’ve got great sightlines, they’re comfortable and they’re just eight quid.” Alongside Wild Oats (top price is £28) there will be weird, wacky and improvised work in the hope of attracting a different crowd. “The theatre was built to have a mixed programme. There was a huge row in 1831 about changing the top price ticket from four to 10 bob when Paganini played here for three nights.

This was both a concert hall and a theatre.” The worry has always been that under Tom Morris the Old Vic wouldn’t do enough plays. He insists we’ll get plenty. “I can tell you I am working on doing a Chekhov and an Ibsen, which we hope will be landmark productions. But the Chekhov may end up being done alongside a new play about Chekhov’s experience as a doctor in a labour camp.” As for the redevelopment, it’s a case of out of the frying pan and into the foyer. The plan is to do some much-needed work to the ugly Seventies front-of-house area, reveal the theatre to the street, and create a foyer where people will actually want to have a drink. The aim is to get the £10 million project completed for the 250th anniversary in 2016. But as for the re-minted Grade I listed auditorium, Tom Morris beams with pleasure. “It’s a thing of utter beauty, completely adapted to the 21st century, and as precise an instrument as a cello.

I simply can’t wait to get my hands on it and find out how it plays.” 'Wild Oats’ opens on September 11 The Oldest Theatres In Britain | BritEvents Next: History and Beauty of Ironbridge Generations of actors have trod the boards in some of the finest theatre buildings all over Britain. Luckily, some of the oldest theatres still remain in use to this day, proving just how important theatre is as an expression of our culture, and as a form of entertainment that is available to all. The following 10 theatres are among the oldest in Britain, but they are still in business today. Hopefully, they'll still be around in another 100 years time. Generations of actors have trod the boards in some of the finest theatre buildings all over Britain. Luckily, some of the oldest theatres still remain in use to this day, proving just how important theatre is as an expression of our culture, and as a form of entertainment that is available to all. The following 10 theatres are among the oldest in Britain, but they are still in business today. Hopefully, they'll still be around in another 100 years time... 1.

Theatre Royal, Drury Lane London's oldest theatre is a spectacular building with a lavish auditorium that is admired by visitors from all over the world. Although it is no longer the original building - built on the same site in 1662 - its grand appearance eclipses most other West End theatres. Mainly staging popular musicals, the theatre today is owned by composer and producer Lord Andrew Lloyd Webber. 2. Bristol Old Vic The Theatre Royal at the Bristol Old Vic opened in 1766 and is famous for being the oldest continually operating theatre in Britain. With its horseshoe-shaped auditorium and sumptuous red and gold decor, the Georgian building is one of the most beautiful in the world. Audiences still enjoy entertaining and inspiring productions every week. From classical theatre to modern plays, the theatre also works closely with the Bristol Old Vic Theatre School, which has turned out brilliant actors like Jeremy Irons and Daniel Day-Lewis. 3. Grand Theatre, Lancaster As the third oldest theatre in England, the Lancaster Grand has been in continuous use since 1782. Damaged by fire in 1908, the interior was rebuilt in the same year.

Seating 457 people on two levels, it is owned by the Lancaster Footlights who began performing in the 1920s and bought the building in 1950 to save it from being demolished. The theatre is now looking as good as it ever has, and presents a wide variety of professional and amateur shows. 4. Theatre Royal, Margate Opened in 1787, the Theatre Royal in Margate claims to be the oldest unrestored theatre in the country, and also has the oldest stage. It has an exciting programme of drama, music, comedy, dance, exhibitions, and talks. With a strong belief in providing artistic inspiration, nurturing talent, and enriching the local community, the theatre is even licensed for marriage ceremonies. 5. Theatre Royal, Bath This theatre is a celebrated example of Georgian architecture and originally opened in 1805 with a performance of Richard III. With three auditoria, including a children's theatre, the theatre holds several festivals each year, such as the Bath Shakespeare Festival, and the Bath International Puppet Festival. With enough seats for around 900 people, many plays debut here before their official London opening. 6.

The Old Vic, London Famous in recent times for appointing American actor Kevin Spacey as its new artistic director, the theatre has always been respected internationally. It is synonymous with the greatest British acting talent, from Laurence Olivier, Peggy Ashcroft, and John Gielgud to Maggie Smith, Judi Dench, Albert Finney, and Peter O'Toole. Established in 1818 as the Royal Coburg Theatre, the present company still attracts the best creative talent from the UK and all over the world. 7. Theatre Royal, Bury St. Edmunds When it was opened in 1819, it was one of the most elegant and advanced theatres of its time. It is now the only working theatre on the National Trust's portfolio of properties. In 2005 the theatre benefited from major restoration to return it to its original design, and today it still runs a rich programme of drama, comedy, music, dance, and children's work. 8. Citizens Theatre, Glasgow First opened in 1878, this is one of the oldest theatres in Scotland and has the most complete working Victorian theatre machinery in the UK.

The Citizens Theatre still has the initiative to bring the arts to the local community in new and exciting ways. It is proud to offer affordable ticket pricing, free previews for every show, and free programmes for audience members. It even runs weekend drama classes for children to improve their confidence and inspire creativity. 9. Grand Theatre, Leeds When it opened in 1878, only those sitting in the best seats were allowed to use the theatre's main entrance. Other people were ushered through side entrances to keep them separate from the upper classes. Today, with room for around 1500 people, it is host to many touring productions, musicians, and comedians. Many talented performers have appeared here, from Julie Andrews to Laurence Olivier. 10. Lyric Theatre, London On Shaftesbury Avenue in the West End lies the famous Lyric Theatre. It is currently the oldest theatre on this famous street, having first opened in December 1888. Unlike many old theatres, it still uses pumped water to operate the iron curtain. With an impressive 967 seats on four levels, it used to stage mainly comic operas. Nowadays it presents comedy, drama, and musicals.

Recent award-winning productions include Blood Brothers and Cabaret. All of these British theatres are part of our cultural and architectural history. As well as supporting the arts in our community today, they have the power to entertain and inspire future generations. Hopefully, with proper financing and continual community support, many of these old theatres will remain in Britain for many years to come. 20 Golden ticket to Britain's oldest theatre firm cashed in after 250 years - Mirror Online News Golden ticket to Britain's oldest theatre firm cashed in after 250 years A ticket has been honoured by Britain's longest running theatre company despite having been issued in Georgian times Share Golden ticket: Theatre Director Tom Morris, Geraldine Menez and Jo Elsworth, Director of the University of Bristol theatre collection (Photo: SWNS) Share Get daily updates directly to your inbox + Subscribe Thank you for subscribing! Could not subscribe, try again laterInvalid Email A rare 'golden ticket' which gives its bearer free lifetime entry to Britain's longest-running theatre has been honoured - 250 years on. The silver coin, gilded in gold, was one of only two ever made to mark the founding of the Bristol Old Vic in 1766.

They were originally presented to a couple called Mr and Mrs Crump who persuaded landowners to allow the theatre to be built. For the "great trouble and expense" the Crumps went to, Bristol Old Vic granted the couple and their family and friends free, unlimited entry to all shows. Heritage: Geraldine Menez who found the coins (Photo: SWNS) One of the golden tickets was acquired by builder Henry Augustine Forse after he helped re-model the front of the building in 1902. They were passed down through the family to his great-granddaughter, Geraldine Menez, who has now dug them out of storage at her home in France. Her niece got in touch with her after hearing the appeal from the Old Vic to track down the remaining coins. In April, Ms Menez came to Bristol to see if she could still use one of the coins and get in the theatre for free. After some confusion, astounded box office staff at the Old Vic gave her the best seat in the house and said they would honour the 'golden ticket' forever. Bristol Old Vic artistic director Tom Morris said: "It is very exciting for us.

Theatre Director Tom Morris with Geraldrine Menez (Photo: SWNS) "To have the coins coming back to Bristol is great - and of course it makes us wonder where the others are. "Even if people don't want to give them back, we want to get an idea of where they all are - they could be all over the world." The Bristol Old Vic was built at a time when theatre was considered a politically-dangerous art form. It was so controversial that access to the original venue was 'speakeasy style' through an adjoining house. Fifty other coins were also given to generous Bristolians who helped fund the historic theatre, but they only allowed free entry to the named bearer himself. The one that Geraldine has grants access to whoever it is given to. The whereabouts of the other one is still unknown. Henry Augustine Forse acquired one of the golden tickets and three of the other coins. Ms Menez has now donated her coins to the University of Bristol, who are appealing for the owners of the other tokens to come forward, as 30 out of 50 of them are currently 'lost'.

She also handed over the hand drawn redevelopment plans which her great-grandfather, who was a keen theatre-goer and stakeholder, designed more than 100 years ago. They will now become part of the University of Bristol's theatre collection. Ms Menez said: "I am giving the theatre plans and silver tickets to the theatre collection in happy memory of my ancestors who are like Gods to me, and of the actors I watched in awe when I was younger." Bristol Old Vic staff have assure Ms Menez that she will still be able to go to the theatre whenever she wants without paying, so long as there are seats available. Like us on Facebook Theatre Royal | VCH Explore Explore England's Past Theatre Royal The Theatre Royal is situated on the quiet cobbled King Street . It is claimed to be Britain's second oldest working theatre and was set up in this street because land here was cheap. It was built to designs by Thomas Paty between 1764 and 1766 and was paid for by a group of businessmen, many of whom were involved in the slave trade or in slave plantations. The interior was modelled, with some variations, on that of the Drury Lane Theatre Royal in London.

The first performance, on 30 May 1766, included a prologue and epilogue by David Garrick. However, the theatre was initially unable to obtain a Royal Licence, and had to advertise its productions as "a concert with a specimen of rhetorick" to avoid prosecution under the Licensing Act 1737. This pretence was dropped after two years, though a touring production playing in the Coopers' Hall in 1773 did run into legal trouble. The auditorium was remodelled with a new sloping ceiling and gallery in 1800. The theatre was managed by William M'Cready from 1819 with little success, but slowly rose again under his widow Sarah M'Cready in the 1850s. After her death in 1853 the M'Creadys' son-in-law James Chute took over, but allowed the Theatre Royal to decline again when he opened the Prince's Theatre in 1867. A new, but still unsatisfactory, entranceway was constructed in 1903.

The threat of closure in 1942 led to a public appeal to preserve the historic theatre, and as a result a new Trust was established to buy the building. The Council for the Encouragement of Music and the Arts leased the building from the Trust and in 1946 CEMA's successor the Arts Council arranged for a company from the London Old Vic to staff it, thus forming the Bristol Old Vic. The Bristol Old Vic Theatre School was also established in 1946. The Bristol Old Vic had its greatest triumph when its 1954 production Salad Days transferred to the West End and became the longest-running musical on the London stage. The Arts Council remained involved until 1963 when their role was taken over by the City Council. The present theatre complex, designed by Peter Moro, was completed in 1972. The entrance building was demolished, as were a number of surrounding buildings and, more controversially, the stage area of the 1766 theatre. A new stage and fly tower were built along with technical facilities and offices.

The 150-seat New Vic Studio Theatre was built in place of the old entrance, and the Coopers' Hall provided the theatre with the grand façade and foyer area it had previously lacked. Content generated during research for the paperback book 'Bristol: Ethnic Monorities and the City 1000-2001' (ISBN 13 : 978-1-86077-477-5 ) for the England's Past for Everyone series Do the shake and Vic | From the Observer | The Guardian The Observer Do the shake and Vic For years Bristol's Old Vic was in decline. Now Britain's oldest theatre is in recovery, with new artistic directors who want to make it the National of the South West. Kate Kellaway reports Share on Messenger Close I am so glad I saw the theatre before I met the men running it. The Bristol Old Vic is the oldest working theatre in Britain, its main house, originally the Theatre Royal, built in 1766 by William Halfpenny. You happen upon it like a jewel that has strangely parted company from a ring (its setting a sprawling Seventies foyer and gallery).

Inside, the colours are jade, gold and sealing-wax-red. And - in the midday emptiness - it was as if every play that had ever been performed there, if not quite present, was implied by the space. A seagull wheeling above the theatre could be heard; hidden away in the roof space an eighteenth-century 'thunder-run' can still make a good and stormy din. But the gilt is frail (carved vines climb towards the gods from the stalls) and sometimes pieces of plaster fall off onto the heads of theatre-goers, or children pick at the mouldings as if they were scabs. When the theatre was last restored, 10 years ago, workmen found clay pipes and petrified, eighteenth-century orange peel. But dilapidation - however severe - is not the theatre's most pressing concern. For the truth is - although everyone is too polite to be forceful about it - that the Bristol Old Vic has been an artistic casualty for years now, suffering from underfunding and weak leadership. For a decade, the theatre has been in dire financial straits (a collection bucket routinely passed round at the end of shows).

And for the past two years, since artistic director Andy Hay left, there has been no experienced director at the helm. Demoralised audiences have either made tracks for Bath or stopped going to the theatre at all. Now the Old Vic, along with a number of other regional theatres, is (rather like a school on 'special measures') in 'recovery', the Arts Council term which means that at last its purse is plumper. Money - a million a year - is coming its way (as opposed to £640,000 in 2001/2) and two new artistic directors - I nearly said doctors - David Farr and Simon Reade - have been appointed. There is a lot of faith, as well as funds, invested in them. According to Farr, the Arts Council made it a condition that they approve the appointment of the artistic directors before agreeing to the grant (an Arts Council representative was on the interviewing board). David Farr is a director (most memorably of an RSC Coriolanus ) and a sparky playwright (Elton John's Glasses, Night of the Soul ).

He is a protégé of Stephen Daldry and, like Daldry, ran the Gate Theatre in London (in 1995). Simon Reade is able and versatile, a literary manager, adapter and producer who has worked for the RSC, the BBC and also for the Gate (where the men became friends and collaborators). Their plan is to cure the theatre, find new audiences and make sure that the theatre's programming is lively and entrancing - never the equivalent of petrified orange peel. I ran into the two men in the foyer. The local press describe them as 'refreshingly' young. And, at first sight, they do look like a couple of schoolboys bunking off class. But they are not as young as all that: Simon Reade (36) looks like an alert and friendly owl. Farr (33) is dark, intense, benevolent - and reminds me, distractingly, of Mr Tumnus, the hospitable faun in The Lion, the Witch and the Wardrobe .

A little later, sitting at a glossy conference table with them - and with Sam West who is directing their opening production, Les Liaisons dangereuses - I felt as if I were interviewing them for their jobs and could see exactly why they had been appointed. Even if you knew nothing of their track record, they appear to be an exceptionally engaging and persuasive duo. But neither has run a mainstream theatre before. This is a wobbly time.They have been at the theatre for only two months. Both have moved to Bristol with their families (they have five little daughters between them). Farr is living just outside the city where he can 'feed the pheasants' before work; Reade has chosen a more urban base. Neither has had any connection with Bristol until now. Farr leaps in straight away with the two words he has coined to sum up their approach: 'Radical Classicism'.

This might sound an optimistic sandwich of a phrase but Farr explains: 'We want to put on work which is classical in spirit - which celebrates a joyfully extensive repertoire - but we want the thinking behind it to be modern and radical.' I had been going to ask whether Les Liaisons dangereuses (Christopher Hampton's adaptation of the Choderlos de Laclos novel) was actually 'Liaisons Safe', a shrewd but far from radical curtain-raiser. Farr must have read my mind. He made it clear that artistic direction must partly be dictated by place, that plays that were perfect for the Gate Theatre in London would not automatically work in Bristol. Commissioning must include a sensitivity to the 'beautiful main house'. Reade made the pleasing point that Les Liaisons dangereuses (1782) is of the same period as the theatre. This is not to imply that they will now confine themselves to period pieces. But what will govern artistic decisions? They do not pay dreary lip service to political correctness. As Farr firmly puts it: 'Artistic directors should direct artistically.' They will be the arbiters of taste. But who are they aiming at?

Bristol has a theatrical history and has launched many names: Daniel Day-Lewis, Jeremy Irons, Peter O' Toole and Jane Lapotaire (some of whom trained at the famous theatre school nominally associated with the Old Vic). It has some great alternative performance spaces such as the Tobacco Factory and its own circus school. Reade describes Bristol as an 'incredibly sophisticated and cultured place'. It is a city with a population of half a million and a varied constituency ranging from working class dockers to the middle classes living in big houses in Clifton. There is an academic community and a growing population of professional Londoners in flight from the capital. Once, the 'typical Bristolian', Farr says, would have described himself as 'on the back foot, not quite fast enough'. But this has changed: 'Getting onto the 2008 European Capital of Culture short list gave the city a tremendous boost.' Today, there is no audience that Farr and Reade do not seek to catch. They intend to say goodbye to repertory theatre with all its tired connotations, its 'cynical programming' and its 'second-division versions of what runs in the West End'.

The mistake in repertory programming is that it 'assumes an innate conservatism in a non-London audience' - an antediluvian assumption. Farr cites many British theatres now regenerated - Leeds and Birmingham, with Sheffield leading the way - and says such attitudes are no longer 'tenable'. They believe regional theatres should 'instead of being receiving houses, or doing two-handers four times a year, be creative power houses with dedicated teams'. The model they hold in their mind's eye is European: in Germany, for example, theatres do not need to be in capital cities to make their mark. They would love to see Bristol Old Vic as a National Theatre for the South West. The Boyden Report on theatre was the first step to helping the Bristol Old Vic to recover. It recognised the value of its education department and youth theatre which, until now, Farr says, have been 'semi-detached from the artistic operation'. They feel passionately about running an integrated theatre that will appeal to the young as well as to the old - and bring in families.

On the advice of his daughters ('They take a percentage,' jokes Sam West), Reade has adapted Jill Tomlinson's comforting tale The Owl who was Afraid of the Dark which will run during the Easter holidays. Simon Reade is not known as a champion of literature for the under-fives. His gift has been to 'drag difficult and obscure plays into the mainstream.' He knows he can 'spot things - and make people love them.' Working in television, he became 'disillusioned with the industry' because of what he saw as the mediocrity of mainstream commissioning. But how - or where - will he accommodate the difficult and the obscure in Bristol? He sees the Old Vic studio (which seats 60-100 people) as the place for 'subversive work', a provocative presence 'rubbing up against the main house'. (His first season beckons with Ferdinand Bruckner's Pains of Youth, Simon Armitage's Eclipse and a new play by - you guessed it - David Farr). He has a modest budget for new work and at the moment is focusing more on adaptations than 'pure' new work.

The first of these will be Farr's version of Great Expectations - a bold, exciting reworking of the novel. Eventually the building itself - at least the Seventies carapace surrounding the theatre - will need reworking too. Architects are already submitting proposals but the theatre's executive director, Sarah Smith, explains that until the theatre is thriving artistically and its financial health is more robust, plans to refurbish will have to wait. The work needs doing urgently though. The theatre does not meet modern requirements (there is no disabled access for example). Farr does not want to dwell on any of this now. 'Refurbishment,' he laughs, 'is such a heart-sink of a word.' Sam West chips in - quick as a knife - to say that in Les Liaisons Dangereuses 'refurbishment' is a hideous euphemism for a miscarriage ('Not so much an illness, more a refurbishment'). He is immersed in the play, you can see it. It is his first main house production and he is exhausted, preoccupied and occasionally radiant (when he smiles).

He is suffering from 'Director's Shoulder' (thespian cousin to housemaid's knee) but is enjoying directing (Dervla Kirwan plays the Marquise de Merteuil; Rupert Penry-Jones is Valmont). The play is 'robust and complicated in good, modern, sexy ways'. His direction sounds fun: there is a bell, he says, that may be tolled by the cast if any actor is caught talking about his character in the third person. The bell may toll for Sam, too, if he is deemed by the cast to have been talking too long. Unsurprisingly - he is, after all, one of our finest actors - he is now starting to feel envious of the cast. But he sees this as a good thing. He talks about 'uncertainty' - and sounds enthusiastic about that too. Is uncertainty fun? 'Oh God, yes,' he replies, and I have the sense that he is answering for everyone at the table, 'that is why you do it.' It is difficult to leave the theatre - and not only because I have enjoyed myself so much.

The upper landing, beneath Georgian sash windows, has been cordoned off and I watch a ferocious duel taking place between two actors - a final flourish of an image with which to leave a theatre fighting for its life. Box Office: 0117 987 7877 Bristol Old Vic revamp uncovers secrets - BBC News BBC News Bristol Old Vic revamp uncovers secrets By Rhiannon Beacham BBC News, Bristol 27 August 2012 Close share panel Image caption The theatre originally had a 'thrust' stage which has now been recreated Stripping back Britain's oldest continually working playhouse has revealed some hidden secrets as well as ending guesswork about its history. The first phase of the Bristol Old Vic refurbishment is being completed, 11 years after plans for it were first put in place. The project, which has so far cost £12m, began in earnest in 2009 when Tom Morris took over as artistic director and Emma Stenning became executive director.

Their aim was to celebrate the unique shape of the 18th Century theatre while bringing other aspects into the 21st Century - it finally has the new seats first promised in 1962. There were no original designs to work from, so a team of historians was appointed to advise and discover the peculiarities of the building. Cannon balls One of the greatest discoveries was that the theatre originally had a "thrust" stage - a stage which protrudes into the middle of the audience - the front of which was "hacked off" in 1881. This has now been recreated. They have also opened up a previously hidden proscenium entrance to the side of where the stage had been. "It wasn't used from 1880 - until March. It's a really thrilling space," Mr Morris said.

The Bristol Old Vic's past The theatre was built in 1766 It was sold in 1942 and narrowly escaped being turned into a banana ripening warehouse It is the only surviving example of the 18th Century horseshoe-shaped theatre The average lifespan of a theatre in the 18th and 19th Centuries was 17 years In the 1970s the theatre underwent a major refurbishment but money for the works ran out and parts of the building were left in disrepair Sixty per cent of funding for the project has come from Arts Council England, bolstered by a major contribution from Bristol City Council, other substantial grants and generous donations The building was not called The Old Vic until after 1946 Previous names in its history including Bristol Theatre Royal, King St Theatre and The Old Gaffe. "It's still got prop hooks in it and is impregnated with 18th Century grease paint from actors leaning against it waiting to go on stage. "There's also some graffiti from 1863 by a man called EJ Harwell, a ship's carpenter and theatre carpenter.

"Under his name there's a beautiful sketch of a schooner in sail, done with a nail presumably while bored." During the works, a gutter was revealed in the attic along which cannon balls would have been rolled to create the sound of thunder in the days before electronic sound effects. Other finds include a blocked door leading from the box above the stage to the back-of-house areas. Archaeologist Cai Mason said: "This door is likely to have been used to provide aristocratic patrons of the theatre with what was known as 'freedom of the scenes'. "This allowed rich men to meet the performers, or more specifically the actresses, in private." There are three tiers of seating in the auditorium which now has seats for 540 and standing room for 40. Mr Morris said the pit, more commonly known as the stalls, had sat 2ft 6ins (75cm) lower when the theatre was built. 'Breathless with excitement' "Even though there were benches in the pit, in order to see the audience would have had to stand up," he said. "From the early 19th Century there were frequently promenade concerts.

All benches in the pit were removed so they could ram the place with people standing." Image caption There are places where the original beams and stone work have been allowed to show through He said the front few rows could also now be moved under the stage to leave standing space and "allow us to recover some of the atmosphere of the original design". He described the restructuring as "like finding a broken Stradivarius cello and building a new semi-electric instrument without spoiling the design". Theatre historian John Earl said: "I expected to see a few fragments that, with luck, might offer a footnote or two on the history of the place. "What I actually saw left me breathless with excitement. "The dig has uncovered an astonishing amount of 18th Century fabric and has shone a brilliant light on the original 1766 theatre, revealing facts previously unknown or only guessed at." It will not be known if the foundation stone, laid in 1764, has been discovered until phase two of the renovations is under way - at the front of the building. 'Hushed breath moment' "We've found what we think is the foundation stone but don't know yet because we can't see the other side of it.

There may be writing on the other side," Mr Morris said. Funds are already being raised to renew the front and plans are expected to be announced towards the end of the year. "We plan to deliver both halves of the theatre in time for our 250th anniversary in 2016," he added. Mr Morris said the theory that there is an audience for the theatre in Bristol had been borne out by continued attendance at a programme of events during renovations. "Even during the refurbishment we put Treasure Island on in a street play to over 23,000 people - we think the biggest audience for any Old Vic show since 2000," he said. The theatre is due to reopen on 5 September with a production of Wild Oats, a comedy by John O'Keeffe. "It's a hushed breath moment for us being able to get our hands on the stage and make shows, Mr Morris said.

"The thrilling bit is what happens next." Bristol Old Vic | Bristol Old Vic announces 250th anniversary programme My Account Basket Bristol Old Vic announces 250th anniversary programme New productions include ultimate 20th century classic Long Day's Journey Into Night directed by Richard Eyre, starring Jeremy Irons and Lesley Manville Jeremy Irons, Lesley Manville and Sir Richard Eyre launching Long Day's Journey Into Night Today (Sept 23) marks the start of the 250-day countdown to Bristol Old Vic's milestone anniversary in 2016 Unique milestone to be marked by a year-round programme of productions from each of the four centuries of theatre's operation, together with Shakespeare play to mark 400th anniversary of his death Birthday to be celebrated with an open-house weekend, paying tribute to people of the city who built theatre in 1766 and who have fought for its ongoing survival through ever since 250th anniversary also heralds final stage in the redevelopment of Britain's oldest theatre, whose matchless auditorium was refurbished to wide acclaim in 2012 "The most beautiful theatre in England" - Daniel Day Lewis "The most exquisitely designed theatre in Europe" - David

 Garrick "The loveliest theatre in the world" - Peter O'Toole Bristol Old Vic, the UK's oldest working theatre, is revealing the first details of its 250th anniversary programme today, as the 250-day countdown begins to this important milestone and unique moment in British theatre history.

To celebrate the past 250 years of Bristol Old Vic's history and its vision for the future, the special anniversary programme will feature five world-class productions - one from each century of the theatre's life - as well as a production of a Shakespeare play to mark the 400th anniversary of his death. Tom Morris, artistic director at Bristol Old Vic, said: "With the average lifespan of an 18th century theatre being just 17 years, 2016 represents a momentous year for the British theatre world and Bristol Old Vic. Since it first opened, this historic playhouse has been celebrated for its remarkable design and as a place where countless artists, from Sarah Siddons and Henry Irving, to Peter O'Toole, Daniel Day Lewis, Miranda Richardson and Jeremy Irons, have found their voices. Its survival is a result of extreme good fortune and its amazing capacity to inspire loyalty in its artists, staff and public. This unique anniversary will celebrate the passion of those people over the last 250 years and the visions we might bring to the next 250.

"Our artistic programme will include work from Europe, the US and from Bristol, new writing, classic text, devised work and musical theatre; it will celebrate the diversity, innovation and talent that has shaped Bristol Old Vic into the globally-renowned theatrical institution that it is today; a place where the future potential of theatre is thrashed out and discovered." The 20th Century will be celebrated through Richard Eyre's staging of the classic Long Day's Journey Into Night, starring British actors Jeremy Irons and Lesley Manville. This is the first time that the acclaimed British film, theatre, television and opera director has directed a production at Bristol Old Vic, the place which inspired him as a schoolboy to work in theatre after seeing Peter O'Toole play Hamlet in 1957. Speaking about the production, Richard Eyre said: "The first play I ever saw - at the age of 15 - was at Bristol Old Vic. That evening ignited a lifetime's attraction to theatre. To be back here over 50 years later to direct a play during the 250th anniversary is a real thrill.

To direct Long Day's Journey Into Night - one of the greatest (and saddest) plays ever written - is a real privilege." A thread of 21st century work running throughout the year will be launched with the return of Pink Mist, the critically acclaimed Bristol Old Vic production written by poet Owen Sheers, and continues with a new co-production with Kneehigh in June and a major new musical in November, details of which will be announced later in the year. The 19th Century is represented by the return of Bristol Old Vic's smash hit Jane Eyre and the opening of the theatre in 1766 will be celebrated in a major revival of an 18th Century classic, with further announcements to follow. 2016 also marks the 70th anniversary of the Bristol Old Vic Theatre Company, the first experiment in subsidised theatre outside London, and the Bristol Old Vic Theatre School, which was founded at the theatre in the same year. Shakespeare will be celebrated in a bold, summer collaboration with Bristol Old Vic Theatre School, details of which are to be announced soon.

The anniversary programme will also feature work by Bristol Old Vic's pioneering artist development programme, Bristol Ferment; its award-winning Young Company; Mayfest, and the many other pioneering arts organisations which have won such a powerful creative reputation for the city in recent years. The birthday itself will centre on a weekend of celebration over the May Bank Holiday (May 28-30, 2016), including a one-off special performance, the launch of a new digital heritage project and opportunities for community and amateur groups to perform on the Bristol Old Vic stage. The festivities will culminate in a street festival on the birthday itself, May 30. New beginnings in 2016 Bristol Old Vic is currently gearing up for its next phase of redevelopment works, as well as preparing to transform itself into a major heritage destination. This phase of work will connect 250 years of theatrical heritage, represented both by Bristol Old Vic's exquisite 18th century architecture and its extraordinary archive. The results will be a new visitor attraction, animating the organisation's unique story like never before. Fundraising for the next phase of redevelopment works is going well and building is set to start in summer 2016.

This will transform the front of house spaces, create a new studio theatre, modern bar and restaurant facilities. The works will also see the return of the Grade 1 listed Coopers' Hall to its original 18th century use as a ‘Grand Hall'. The redevelopment will open up new streams of income for Bristol Old Vic, from heritage tours, to catering and events spaces, all of which will help safeguard the financial future of this historical and cultural gem. Emma Stenning, chief executive of Bristol Old Vic, said: "We have devised a special programme for the year to mark a milestone that is important not just for Bristol Old Vic but for the city of Bristol and the wider theatrical community. It will include theatre of the highest calibre, exciting events and activities to engage the public in our celebrations, as well as collaborations with the community to build on our ethos of enabling access for all to this historic and beautiful theatre.

It will also be exciting to see our redevelopment plans taking shape and the theatre transformed into a true heritage offer, heralding a new era for the playhouse and the city of Bristol." Dame Liz Forgan, chair of Bristol Old Vic Trustees said: "The Bristol Old Vic Trustees and I are tremendously excited about reaching this major moment in the history of UK theatre. The programme of work during the year and the redevelopment works will act as a catalyst for the future success of this organisation." Further 250th anniversary productions will be revealed in November 2015. Jane Eyre 21 Jan - 6 Feb 2016 (already on general sale) Pink Mist 16 Feb - 5 Mar 2016 (on general sale Wed 30 Sep) Long Day's Journey.. 23 Mar - 23 Apr 2016 (on general sale Wed 30 Sep) Tickets 0117 987 7877 |

Question: Britain's oldest working theatre, built in 1766, is called the 'Old Vic', in which city is it?
Answer: Bristol