Birmingham Rep
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The Rep in February 2014, showing the new connecting wing linking to the Library of Birmingham (right)
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Centenary Square, Broad Street Birmingham England |
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| Coordinates | 52°28′46″N 1°54′34″W / 52.479417°N 1.909414°W |
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| Opened | 1913 |
| Rebuilt | 2013 |
| Architect | Graham Winteringham |
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Birmingham Repertory Theatre, commonly called Birmingham Rep or just The Rep, is a producing theatre based on Centenary Square in Birmingham, England. It is the longest-established of Britain's building-based theatre companies and one of its most consistently innovative.
Today The Rep produces a wide range of drama in its three auditoria – The House with 825 seats, The Studio with 300 seats and The Door with 140 seats – much of which goes on to tour nationally and internationally. The company retains its commitment to new writing and in the five years to 2013 commissioned and produced 130 new plays.
The origins of The Rep lie with the 'Pilgrim Players', an initially amateur theatre company founded by Barry Jackson in 1907 to reclaim and stage English poetic drama, performing a repertoire that ranged from the 16th century morality play Interlude of Youth to contemporary works by W. B. Yeats. Over the next five years the company staged a total of 28 different productions, aiming to "put before the Birmingham public such plays as cannot be seen in the ordinary way at theatres", but also performing as far afield as London and Liverpool. Their success and reputation led them to turn professional and rename themselves the 'Birmingham Repertory Company' in 1911. By September 1912 Jackson had bought a site in Station Street in Birmingham City Centre and appointed an architect to design what would become Britain's first purpose-built repertory theatre. Construction started the following month and the building – now the Old Rep – opened with a production of Twelfth Night only four months later, on 15 February 1913.
The Rep's stated mission was "to enlarge and increase the aesthetic sense of the public ... to give living authors an opportunity of seeing their works performed, and to learn something from the revival of the classics; in short to serve an art instead of making that art serve a commercial purpose". There had been earlier repertory theatres in Manchester, Glasgow and Liverpool, but the Birmingham project was unique. Previous companies had taken over large commercial theatres and been governed by Boards of Directors; the Birmingham Rep occupied a small-scale auditorium that seated only 464 and was under the sole control of Jackson, whose combination of the roles of patron and artistic director was unique in British theatrical history, allowing the development of a far more imaginative and eclectic programme. Instead of focusing on established star names and popular plays, Jackson's Rep was built around an ensemble cast of young emerging acting talent, performing a repertoire that mixed classics, new writing, experimental productions and the revival of rarely performed works. This was a pivotal development in the establishment of the modern British theatrical landscape, setting the pattern that would later be followed by post-war companies such as the National Theatre and the Royal Shakespeare Company.
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