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Autumn 2006Performance ReviewThe mostpopulartheatre inthe UK?Welcoming audiencesaveraging almost1/2 million per year,Birmingham Hippodrome can layclaim to the highest regularannual attendance of any singletheatre in the country.The city centre venue, which is celebrating the 5thanniversary of its re-launch following its awardwinning£35m redevelopment, has enjoyed seeingever-increasing numbers of people return over thelast few years and is drawing audiences from anincreasingly broad geographical and sociodemographicspread.Many new people are enjoying some of the finestproductions in the world alongside long-standingsupporters, with up to half the audience enjoying ashow at the Hippodrome for the very first time.“Its been a tough few years putting theHippodrome back on the map,” comments StuartGriffiths who stepped into the limelight as ChiefExecutive barely ten months after the 107-year-oldtheatre re-opened.“Getting the most from our vastly expandedfacilities has been an uphill struggle, especially whenthe costs of operating have increased by 50%.“But the challenges have galvanised the wholeteam and with a strong and supportive Board ofTrustees, together with the key support of the CityCouncil and the Arts Council, we have strengthenedour business considerably.“We can look forward now from a stable positionto an exciting future with some ambitious plans.”“We can lookforward now froma stable positionto an excitingfuture with someambitious plans”An independentacademic studycommissioned byArts Council England,found that theatre in the WestMidlands contributed £148m tothe national economy. It isestimated that BirminghamHippodrome generates over£30m for the local economy.John Crabtree, the theatre’sChairman comments: “Whenwe have a big show such asChitty Chitty Bang Bang orMiss Saigon, local restaurants,shops and hotels, even carparks tell us how much busierthey are.“As Birmingham Hippodromelooks forward to a thrivingfuture, so the local economybenefits as well. The place ofculture in the economicsuccess of a city such asBirmingham has not alwaysbeen recognised as much as itshould be, but now we havethe evidence to prove it.“The cultural and creativeindustries will play anincreasingly important part inthe success of Birminghamand the West Midlands and weare proud to be a thriving partof that sector”.

contentscontents04 Interview: Stuart Griffiths,Chief Executive06 Trustees07 Interview: John Crabtree,Chairman08 Recent productions10 Where the money goes12 An International Dance Hub13 Conferences & Hospitality14 How you can help15 Behind the scenes“BirminghamCity Council hasgiven significantsupport toBirminghamHippodrome,enabling theredevelopmentof this historictheatre as one of the leading artsvenues in the UK. The Hippodrome ishome to Birmingham Royal Ballet,attracts world-class internationalcompanies, has the largestpantomime season, and presents thebest in arts and entertainment for thebenefit of Birmingham citizens and theregion.The Hippodrome is a vital part ofthe city's cultural offering and we areproud of the role it takes in makingBirmingham a great place to work andplay.”Councillor Ray Hassall, CabinetMember for Leisure, Sport andCulture, Birmingham City CouncilBIRMINGHAM HIPPODROME THEATRETRUST LTDChairman: John CrabtreeTrustees: Paul Bassi, Anita Bhalla, Bridget Blow, Ronnie Bowker, SirDigby Jones, Cllr. David Roy, Ian Squires, Cllr. Ian Ward, Ray Way,Steve WellingsBIRMINGHAM HIPPODROME THEATREDEVELOPMENT TRUSTChairman: David RichardsonTrustees: Fiona Alexander, John Crabtree, Keith Dennis, Stuart Flint,Jayne Herritty, Derek Inman, Michael Kuo, Jeremy Millington, JohnMinards, David Richardson, Mark Smith, Kathrine Ohm Thomas, JuliaWilloughbySENIOR EXECUTIVEChief Executive: Stuart GriffithsDirector of Finance & Resources: Helen BatesDirector of Marketing & Development: Rob MacphersonDirector of Operations: Michael BradfordHead of Customer Services: Jonathan ThompsonAssistant to Chief Executive: Kate WarnabyAdministration Assistant: Kate HawkesfordCUSTOMER SERVICESCustomer Services Managers: David Eden, David HartlandCustomer Services Supervisors: Mark Brooks, David ChantryCashier: David FaulknerCustomer Services Assistants: Rachid Choukoukou, Graham Handley,Jackie Harris, Mishelle Keany, Nicola Miller, Ruth White, AnneMcFadden, Sally Staff, Donna CoughlanSECURITY/RECEPTIONSecurity Manager: Tim TurnerSecurity Supervisors: Brian Garrington, Tom Phipps, Brian TaylorReceptionist: Carol CrathorneCONFERENCE & EVENTSConference & Events Manager: Judith CartwrightConference & Events Co-ordinator: Damien VincentConference & Events Sales Co-ordinator: Lauren BakerCATERINGCatering Manager: Catherine ClavéRestaurant Supervisor: Paul BramleyBar Supervisor: Simon AttwaterHospitality & Events Supervisor: Guy AgnewBack of House Supervisor: Michael CollinsHead Chef: Donald DeansSous Chef: Dominic GreenChef de Partie: Nick ClarkeCommis Chef: Victoria WongGreen Room Manager: Jason LaneMARKETING & DEVELOPMENTDevelopment Manager: Carolyn PughEducation and Audience Development Manager: Liz LeckPress & Public Relations Officer: Mandy RoseDevelopment Officer: Poppy Ben-DavidMarketing Assistant: Hannah SilvesterA top five attractionBirmingham Hippodrome is the busiest attractionin the city centre and one of the top 20 paid visitorattractions in the country. This fact is sometimesoverlooked, but as London’s West End is oftenseen as one of the main reasons that people visitthe capital, Birmingham’s cultural attractions canalso play their part in the visitor economy.With world class venues such as BirminghamHippodrome and Symphony Hall presenting worldclass companies such as City of BirminghamSymphony Orchestra and Birmingham Royal Balletalongside its other cultural jewels such as the Rep,mac, the Ikon Gallery and the Barber Institute,Birmingham has more culture to offer than anyother UK city outside London.Visits to Midlandsattractions 2005(charged admission)Alton Towers 2,500,000Drayton Manor 1,103,700Cadbury World 534,677Birmingham Hippodrome 479,874*Shakespeare’s Birthplace 373,654(Source: Association of Leading Visitor Attractions 2005,individual attractions includes some estimates; * averageannual attendance since 2001)FINANCE & RESOURCESFinance Manager: Raj SangheraFinance Officers: Sue Burden, Mohammed Nadim, Brian TonksH.R. Manager: Glen IvisonH.R. Administrator: Julie BellINFORMATION & SALESInformation & Sales Manager: Stephen EbanksSystems Administrator: Ben MagsonDeputy Information & Sales Manager: Marie MilesInformation & Sales Supervisors: Marina Gilmore, Debbie SanghaInformation & Sales Assistants: Deborah Bradley, Sandra Daniels,Carla Griffin, Audrey Guest, Sarah Morris, Tom Stevens, Richard WoodGroup Sales Assistants: Gaye Hill, Donna ScottTECHNICAL SERVICESTechnical Manager: Paul MooreFacilities Manager: Mike CrokeTechnical Co-ordinator: Simon CreedSenior Technicians: Gareth Bennett, Paul Hinde, Martin PickardTechnicians: Alex Duggan, Paul Keogh, Paul Payne, Phillip Pearsall,Frank Spencer, Ian Wallace, James WorrallMaintenance Assistant: Lee KnottBirmingham HippodromeHurst Street, Birmingham, B5 4TBBox Office: 0870 730 1234tickets@birminghamhippodrome.comwww.birminghamhippodrome.comPublished by The Business Development Unit, Trinity Mirror MidlandsBirmingham Hippodrome photographs: Stewart HelmleyBirmingham Hippodrome Performance Review 20063

Interview Stuart Griffiths, Chief ExecutiveCurtain upon a new eraIt’s been a busy but excitingfive years for Stuart Griffithsand his team sinceBirmingham Hippodromereopened – and, as heexplains to Birmingham PostArts Editor Terry Grimley,they’ve only just begun...Five years after it reopened following its £35mredevelopment, Birmingham Hippodrome ison the threshold of a new and exciting era,according to Chief Executive Stuart Griffiths.The development transformed BirminghamHippodrome into one of the best-equippedtheatre complexes of its kind in Europe, withvastly improved public spaces, a new studiotheatre and impressive dance facilities sharedwith the two partner organisations based onsite,Birmingham Royal Ballet andDanceXchange.But the unforeseen complications whichgreatly extended the period of closure weretraumatic, and left the theatre with financialconsequences which it has only just beenable to overcome.“A lot of things have come together and setthe seal on the five years since we reopened,”says Griffiths. “In the last year or so we’vecome to a point where we managed to dealwith the financial difficulties and otherproblems any organisation this size has todeal with when it comes out of any majordevelopment. So we can now almost draw aline and say we are back on track again andable to look forward with more creativeambitions to the next few years.”It has, he admits, been a long and arduousprocess, involving key partners like the ArtsCouncil and City Council, whose contributionsto clear a shortfall on the cost of thedevelopment proved decisive in turning thetheatre’s fortunes round.“In this last year three things have droppedinto place. The first was further support fromthe Arts Council, and the second and mostcrucial is the support from the City Council.4 Birmingham Hippodrome Performance Review 2006

Stuart Griffiths, Chief Executive InterviewThe third was a much better rate of tradingover the last year or so.“Our trade has moved up a lot more quicklythan we anticipated, for a number of reasons.One was that we brought catering in-house,and the targets for three to five years were metin one to two. We’ve had a particularly goodyear at the box office as well, so all thesethings have come together and we were ableto make up the ground more quickly thananticipated.”He adds: “Our negotiations with the CityCouncil took two or three years but theyreached a conclusion in this last financial year.A big part of that process was persuading thecity that what we offer is highly significant andwe were worthy of support. Times havechanged, and I think there’s moreunderstanding now of the part arts andentertainment organisations play in the widereconomy. About half of what we do is notavailable at any other venue in the city orwider Midlands area, say between Londonand Manchester.”Now that the theatre’s financial position hasstabilised, however, the aspiration is not just tocontinue with business as usual but to take itto another level.“We don’t want to look like every othertheatre of this scale round the country, wewant to be distinctive,” he says."We want to have a programme with uniqueelements that will excite people and attractthem into the city. Given that we are the scaleof organisation that we are, we’re very keen touse our present healthy position to pushforward and not rest on our laurels. For thefirst time in my 20-year career runningtheatres, I’m running an organisation which isnot simply trying to survive and do interestingthings at the same time. We’re now in analmost unique position where we can havesome kind of cultural enterprise on a scaleappropriate to a city the size of Birmingham.”Birmingham Hippodrome’s success inbuilding a diverse dance audience in the lastfew years provides an indication of how hewould like it to develop.“We’re very pleased with some things we'vebeen able to put on the stage in the last fewyears. We brought the Bolshoi Ballet back toBirmingham after 17 years in the spring tostart our international programme and it soldout. That was only two weeks after aBirmingham Royal Ballet season which wasone of the most successful ever, and we hadMatthew Bourne’s Edward Scissorhandsaround the same time which also sold out.“That suggests we should be less worriedthan we thought we should be a few yearsago about stretching the audience. With areasonably astute eye on the repertoire it’spossible to sustain that sort of programme.Audiences are responsive to a wider range ofcompanies than we give them credit for.”This means the Hippodrome will be lookingfor more opportunities to bring internationalwork to Birmingham to complement therelationships with Birmingham Royal Balletand Welsh National Opera as well as thesmall-scale dance programmed byDanceXchange in the 200-seat Patrick Centre.“I’m very pleased that we've been able tobring international companies and they havefound audiences. When we first presentedDeborah Colker from Brazil two years ago it’sfair to say there were very few people who hadheard of her, but now she has a following.That’s one of the things we’re very keen to do– we don’t just want to present a programmederived from the UK, so we need to buildnetworks. We’ve gone a long way towardsdoing that with dance and we want to developit so that the best of the world's performingarts network finds Birmingham is a stoppingoffpoint. A lot of exciting work is made forlarge stages and festivals. If you look at theprogrammes of the Barbican and South Bankthere’s no reason why Birmingham can’t bepart of that as well.“We want to havea programme withunique elementsthat will excitepeople and attractthem into the city.We’re not restingon our laurels”“We want to demonstrate that we canpresent the best. We’re talking about NewYork City Ballet, the National Ballet of China,Nederlands Dans Theatre main company.We’re talking to Cape Town Opera about theirproduction of Porgy and Bess which we’relooking to bring here in about 18 months time.I’m also aware that it's been a long time sincethere was a Ring cycle here.”But rather than simply wait for suchopportunities to come along, the theatre isnow more likely to take the initiative. Thatmeans finding a realistic way to spread costsby working in partnership with other venues.“The plans are in development, but the wayto achieve them is through morecollaborations and stronger links with otherorganisations. By combining with others it’sbeen possible to bring interesting dancecompanies to Birmingham, and we want totake that model and do that in other art formsas well. I don’t want to wait for it to happen outthere, we want to play a more pro-active part,saying this is what we want, where are wegoing to find it and how are we going to makeit happen.”Of course, it’s not all about opera, balletand cutting-edge dance. Pantomime andpopular musical theatre, like this summer'ssuccessful ten-week run of Chitty Chitty BangBang, will continue to be an essential part ofthe Hippodrome mix.“We are really unusual in that we try to openright through the summer, whereas I think it’strue to say the majority of theatres have somedark period in the summer months. There aretwo reasons for that: firstly, we’re always betteroff open than closed because of the highcosts of running this building, and secondly,given our commitment to people like BRB andWNO, the only time we can have a good longrun is in the summer months, when shows likeChitty Chitty Bang Bang, Miss Saigon or, inthe future, Mary Poppins, can sit down in oneplace for ten weeks or more. That’s alwaysgoing to be a key part of what we do.”Still, even here Stuart Griffiths believes thereis the potential for taking a more interventioniststance.“Whilst I enjoy my relationship withproducers like Cameron Mackintosh and BillKenwright, it’s a deep frustration that you’realways waiting to see what they’re going toproduce. One of the specific things we’retrying to do at the moment is to produce somework that has appeal for a more diverseaudience. Bombay Dreams is an example of ashow which drew a large audience in Londonbut never came out on tour becausecommercial producers were too wary anddidn’t feel it could sustain an audience. Butsomewhere like Birmingham would definitelyfind an audience for a show like that.“I don’t want the Hippodrome to become aproducing house, but I think we have anopportunity now to take some more risks.That’s a very exciting prospect, to be able tolook around the world and help create thekind of things that we want, rather than justwaiting for them to turn up.”“BirminghamHippodrome in itsprogramming of worldclass performancesbrings to this city andregion a quality anddiversity of culturalexpressions. In particular, we recognisethat through its relationships withBirmingham Royal Ballet andDanceXchange, the National DanceAgency based in the West Midlands, theHippodrome provides a level ofinfrastructure for dance that supports ourregional ambitions for professional andcommunity involvement in dance throughseeing, making and participating.”Sally Luton, Director, Arts CouncilEngland, West MidlandsBirmingham Hippodrome Performance Review 20065

TrusteesThe supporting castBirmingham Hippodrome, an independent charitable trust, relies on the guidanceand expertise of a team of voluntary Trustees, chaired by John Crabtree.John Crabtree, ChairmanUntil recently Senior Partner at Wragge & Co.and currently both President of BirminghamChamber of Commerce and High Sheriff of theWest Midlands, John has served the theatresince 1994, previously chairing theDevelopment Trust.Ray WayDeputy Chairman of the Theatre Trust, Ray waspreviously Chairman of Hampson Industries.Sir Digby JonesSince he stepped down as Director-General ofthe CBI, Sir Digby has been lending hissupport to several new initiatives and makingnew contacts for the theatre.Paul BassiExecutive Chairman of Bond Wolfe andRegional Chairman and UK StrategyAdvisor to Coutts Bank.Councillor David RoyRepresenting Vesey Ward, Sutton Coldfieldsince 1988, David is a past Lord Mayor of theCity of Birmingham.Anita BhallaThe BBC’s Head of Political and CommunityAffairs – English Regions, Anita is a longstandingsupporter of the arts in the region andis also Chair of the Midland Arts Centre (mac).Ian SquiresManaging Director of ITV in the Regions, Ian isalso chairman of Birmingham RepertoryTheatre.Bridget BlowWell known in the region for her work withITNet, and as a non-executive on the Court ofthe Bank of England.Ronnie BowkerManaging Partner at Ernst & Young’sBirmingham office and Chairman of Arts &Business West Midlands.Councillor Ian WardDeputy Leader of the Labour Group onBirmingham City Council, Ian has longbeen a supporter of the arts in Birminghamand the West Midlands. He is also a boardmember of Culture West Midlands theRegional Cultural Consortium.Steve WellingsDirector of Resources at Telford and WrekinCouncil and formerly Deputy Treasurer ofBirmingham City Council.Birmingham Hippodrome Theatre Development TrustDavid Richardson, Head of Large Corporate at Lloyds TSB (left), has chaired the theatre’s Development Trust for the last twoyears. He coordinates a sizeable team of fellow Trustees including Fiona Alexander (University Hospital Birmingham), KeithDennis (Education Consultant), Stuart Flint (Knight Frank), Jayne Herritty (Calthorpe Estates), Derek Inman (BirminghamForward, Nechells Regeneration), Michael Kuo (ENT Partnership), Jeremy Millington (Wragge & Co.), John Minards (PwC),Mark Smith (PwC), Kathrine Ohm Thomas (Radisson SAS) and Julia Willoughby (Willoughby PR).6 Birmingham Hippodrome Performance Review 2006

John Crabtree, Chairman InterviewPlaying a leadingrole in BirminghamChairman John Crabtree tells BirminghamPost Business Editor John Duckers how thetheatre plays a major role in Birmingham’screative and cultural communityBirmingham Hippodrome is not just about the arts – it is integral to thecity’s regeneration.So insists chairman John Crabtree, businessman and former seniorpartner of law firm Wragge & Co. But not enough people realise it.There is a complicated way of working out these things, taking in thelikes of visitor spend, but in pure cash terms it is reckoned that thebest-attended single theatre in the UK brings in some £31 million intoBirmingham’s coffers.They may stay the night in a hotel, go for a meal, perhaps do a spotof shopping in the Bullring. Ultimately, it all means extra jobs.And Mr Crabtree says having such major arts organisations as theHippodrome, CBSO and the Rep is critical in attracting, recruiting andretaining professionals such as lawyers and accountants.The professional sector is vital to Birmingham’s renaissance asmanufacturing has declined and continues to decline.Indeed, as Mr Crabtree found out with Wragges, it is not always easyto pull in top candidates, particularly from London.“People won’t come to Birmingham if they think it is a dump,” hecautions.But explain to them there are top quality arts organisations, excellentrestaurants and a broad range of other leisure facilities and they areimpressed. No doubt they would be impressed too with the highpowered Hippodrome board. It includes such leading Midlandsbusinessmen as Sir Digby Jones, Paul Bassi, Ronnie Bowker, IanSquires and Ray Way. Mr Crabtree highlights how the theatre plays itspart in what he calls Birmingham’s “export” effort – where Birminghampulls in work and visitors from without the region.The legal and accountancy community have long attracted inbusiness from the rest of Britain and the rest of the world. Similarly 40per cent of Hippodrome customers come from outside the WestMidlands. Then think of how much production companies spend in thecity – when the Bolshoi Ballet recently visited it meant nearly 200performers staying at the Radisson SAS hotel for a week. Plenty ofroubles!And Mr Crabtree points out that Birmingham Hippodrome is acharitable trust which gets no day-to-day subsidy from the City Council.Though the council has helped considerably with capital spending onrefurbishing the theatre, it does not provide revenue aid.“It is one thing Birmingham does well,” he says. “We survive off ourwits – that is the Brummie way.”Not that there aren't a few financial headaches. BirminghamHippodrome has big overheads and needs to get plenty of bums onseats. It has over 100 staff on the payroll plus around 100 more on atemporary basis. It would be all too easy to make a mistake here, puton an unpopular show there, and suddenly there is a crisis.Credit to the theatre then that it made a solid surplus in the year to theend of March on turnover of nearly £14 million. Important though thatthe business community gets behind the theatre, and they do. It hasaround 60 corporate partners. That money goes towards improvementsdesigned to keep the theatre at the forefront. Right now it is looking toJohn admires Liz Rideal’s ‘Light Column’ in Birmingham Hippodrome foyer.The specially commissioned artwork formed part of the theatre’s redevelopmentdo something about its website – almost 50 per cent of the audiencebuy their tickets online. But the system is creaking.Mr Crabtree says: “At present the Hippodrome has a restricted webpresence, which has an effective but limited impact. The website coulddevelop an innovative, interactive format providing, for example, livelinks to performances, film and sound clips of forthcoming events,interactive features including online interviews with artists, which wouldtarget new visitors in particular. Investment could significantly enhancethe site’s capability for on-line sales, encourage deeper interest andprovide far more information for potential customers.”Those new customers are likely to be more and more cosmopolitan.Mr Crabtree says the theatre has been looking to attract a growingmulti-cultural audience “rather than just the traditional white middleclass”.With Birmingham's ethnic mix becoming ever more distinctive thetheatre wants its audiences to reflect the city's diverse population. Inthat regard it has had some successes – audiences were more than 50per cent Afro-Caribbean when the Dance Theatre of Harlem came totown. Attendances now exceed half a million, with almost 70 per cent ofvisitors arriving from outside the city boundary.And the Hippodrome claims to be the fourth busiest paid visitorattraction in the West Midlands behind Alton Towers, Drayton Manorand Cadbury World.Not surprising then that the Hippodrome seeks to emphasise to thelikes of regional development agency Advantage West Midlands,Birmingham Chamber of Industry and Commerce, and other leadingpressure groups, that it is playing a major role in Birmingham’s culturaland creative community, considered an essential element inBirmingham's ongoing transformation and economic future. Some wouldsuggest the Hippodrome has been one of Birmingham's best-keptsecrets; now it is determined to enhance its profile around the world.Birmingham Hippodrome Performance Review 20067

“ BirminghamHippodrome continuesto be one of the mostimportant dance venuesin the country and hassome of the best facilitesfor dancers. I amprivileged and thankfulto have such a strongrelationship with all atBirminghamHippodrome and theaudiences who havebeen so supportive ofmy work and myCompany.Matthew Bourne, ”creator of Nutcracker,Swan Lake and EdwardScissorhandso EdwardScissorhandsDirected by theacclaimed MatthewBourne, a sell-outweek of thisoutstandingproduction wasenjoyed by audiencesyoung and old in 2006.o Carlos AcostaCuban born RoyalBallet star CarlosAcosta dancing onstage at BirminghamHippodrome in hisacclaimed Cuban balletTocororo. Part of theWideWorld InternationalPerformance season.p The World’sBiggest Panto!Brian Conley andShobna Gulati with theUgly Sisters during thelaunch of Cinderella,the 2006/07 pantomime.This production has thehighest budget and willbe seen by morepeople than any otherpanto in the UK (andthe world!).o RebeccaNigel Havers in Daphnedu Maurier’s classicmasterpiece Rebecca –a phenomenal £300ksell-out season inSeptember 2005,understood to be thehighest grossing weekof drama everpresented in the UK.“I have a great affection for the fabulousBirmingham Hippodrome. It is a truly wonderfultheatre and I am delighted to have appearedhere so many times during the last 50 years.The‘new’ Birmingham Hippodrome has blossomedinto a beautiful, glamorous and glorious theatreof which the Midlands must be justifiably proud.I was so honoured to have laid the foundationstone of the new building (left) and I am reallylooking forward to our next engagement in May2007. Long may the Hipp continue to presentthe very best in live entertainment.Ken Dodd, OBE”“It was a delight to be atBirmingham Hippodrome. Theywere incredibly supportive everystep of the way on what was adifficult and controversial tour.Birmingham Hippodrome is aclassy, elegant joint run byclassy, elegant people.Richard Thomas, ”Composer, Co-writer,Jerry Springer The Opera.n Chitty ChittyBang BangGary Wilmot asCaractacus Potts in thehit West end musicalChitty Chitty BangBang, summer 2006.One of the biggestshows to be staged atthe theatre it saw125,000 patrons streamthrough the doors withover £4 million taken atthe box office.p My Fair LadyAmy Nuttall as ElizaDoolittle in CameronMackintosh’s lavishproduction of My FairLady November 2005.o Jerry SpringerThe OperaThe controversial OlivierAward winning showwas staged atBirminghamHippodrome in February2006. Acclaimed “themost explosive theatricalevent for years” by TheObserver .Chitty ChittyBang Bang“ Stunning.Full sized WestEnd quality inBirmingham”Ed Doolan, BBCRadio WM8 Birmingham Hippodrome Performance Review 2006

o Jack and theBeanstalkJoe Pasquale had justwon ITV’s I’m aCelebrity… Get Me Out ofHere and fans flocked tosee him in the show,attracting massivenational press coveragefrom The Sun to TheFinancial Times.o KnotCompanhia de DançaDeborah Colker,returning by populardemand, performedKnot in May 2006 aspart of the city’sacclaimed FierceFestival.p Bolshoi BalletSales for their Springtour at BirminghamHippodrome in March2006 with Spartacusand Swan Lake reachedan all-time Hippodromerecord of £515,000 withover 1,000 newcomersto the theatre.“Qdos Entertainment has enjoyed many yearsworking with Stuart Griffiths and his team atBirmingham Hippodrome where, each year, westage our biggest – and indeed the country’sbiggest – pantomime. The results of their hard workand determination show in the exceptional resultsachieved for our shows at the box office. Wecongratulate them for another outstanding year andwish the team every success for many years oftheatrical brilliance to come.Nick Thomas, Chairman, Qdos Entertainment”m Joan CollinsJoan supported a LadiesLuncheon attended bymembers of the localbusiness community.She was performing atthe theatre in Full Circle,and was guest of honourat the luncheon whichraised £2,000 towardsthe theatre’s increasingEducation work.“ BirminghamHippodrome means somuch to my company. Itwas the first home of ourrecord breaking tour ofBlood Brothers over adecade ago; the first homefor our Whistle Down TheWind tour immediatelyafter your magnificentrefurbishment; and the firstdate that we look forwhenever we present anymajor musical – fromJoseph to Superstar.Bill Kenwright, Producer”m Joseph and theAmazing TechnicolorDreamcoatThis perennial favouritedazzled audiences in2004 with H from Stepsin the title role.n Blood BrothersA regular box office hit atBirmingham Hippodromefor over ten years.“Unbelievably, it is nearly 40 years since I firststarted bringing shows to Birmingham and in thattime, I’ve seen both the city and BirminghamHippodrome achieve an extraordinary transformation.My shows have always enjoyed great success at theHippodrome and this year, My Fair Lady and MissSaigon have been two of the biggest hits there – somany thanks to the people of Birmingham andeveryone at the theatre. I look forward to bringingmany more productions in the future.Sir Cameron Mackintosh”o Miss SaigonCameron Mackintosh’sblockbuster markedthe return of the bigsummer musical toBirmingham in 2003,and played to virtuallycapacity business overa 15-week season.p Bryn TerfelWNO’s new production ofWagner’s The FlyingDutchman enjoyed selloutperformances atBirmingham Hippodromein March 2006. Theproduction starred themost renowned bassbaritonein the world, BrynTerfel, who onlyperformed the work inCardiff, Birmingham andLondon.“Welsh NationalOpera has long had aspecial relationship withthe city of Birmingham.Last year, nearly 18,000people attendedperformances byWNO at BirminghamHippodrome, anextraordinary displayof loyalty that thecompany valueshighly.Carlo Rizzi, ” MusicDirector of WNOBirmingham Hippodrome Performance Review 20069

Conference & Eventsturnover2%Transaction charge& box office handling4%Customer services5%INCOMEOther income2%Wherethe moneygoesCatering turnover9%EXPENDITURETicket sales78%These statements are a summary of information taken fromthe statutory accounts of Birmingham Hippodrome TheatreTrust Limited, approved on 19 October 2006. The fullaccounts, from which these summarised financial statementsare derived, have been audited by Baker Tilly and their reportis unqualified. The full audited accounts can be obtainedfrom Helen Bates, Director of Finance & Resources on 0121689 3051 or at helenbates@birminghamhippodrome.com.The Trustees’ Annual Report and accounts will be submittedto the Charity Commission in due course.Signed on behalf of the TrusteesMarketing, friends& education3%Depreciation of tangible Fixed Assets5%Technical services7%Other costs8%John Crabtree, ChairmanINDEPENDENT AUDITORS’ STATEMENT TO THETRUSTEES OF BIRMINGHAM HIPPODROME THEATRETRUST LIMITEDWe have examined the summarised financial statements setout on page 11.Respective responsibilities of trustees and auditorsCatering costs8%Salaries & wages(excluding catering)11%PERFORMANCESProduction costs58%The trustees are responsible for preparing the summarisedfinancial statements in accordance with therecommendations of the Charities SORP.Our responsibility is to report to you our opinion on theconsistency of the summarised financial statements with thefull financial statements, on which we reported to you on1 November 2006 and annual report. We also read the otherinformation contained in the summarised annual report andconsider the implications for our report if we become awareof any apparent misstatements or material inconsistencieswith the summarised financial statements.International dance5%small scale work3%Concerts/comedy4%WNO4%BRB14%Drama2%Basis of opinionWe conducted the work in accordance with Bulletin 1999/6“The auditors’ statement on the summary financialstatement” issued by the Auditing Practices Board for use inthe United Kingdom.OpinionIn our opinion the summarised financial statements areconsistent with the full financial statement and the AnnualReport of Birmingham Hippodrome Theatre Trust Limited forthe period ended 1 April 2006.BAKER TILLY, Registered Auditor, Chartered Accountants, CityPlaza, Temple Row, Birmingham B2 5AFPanto18%Musicals50%3 November 200610 Birmingham Hippodrome Performance Review 2006

SUMMARISED FINANCIALSTATEMENTSBIRMINGHAM HIPPODROME THEATRE TRUST LIMITED Period ended Period ended1 April 2006 31 March 2005£ £CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIESINCOMING RESOURCES FROM GENERATED FUNDSIncoming resources from generated funds:– voluntary income 139,207 95,280– activities for generating funds 2,190,326 1,923,061– investment income 116,010 36,664Income from charitable activities 11,211,954 9,346,565TOTAL INCOMING RESOURCES 13,657,497 11,401,570RESOURCES EXPENDEDCost of generating funds 2,056,184 2,080,681Charitable activities 11,324,268 9,908,831Governance costs 88,500 85,107TOTAL RESOURCES EXPENDED 13,468,952 12,074,619NET INCOMING/(OUTGOING) RESOURCES 188,545 (673,049)Fund balances brought forward at 1 April 2005 31,808,733 32,481,782CONSOLIDATED BALANCE SHEETFIXED ASSETSTangible assets 35,721,862 36,354,454CURRENT ASSETSStock 51,410 52,470Debtors 916,449 1,041,859Cash at bank and in hand 4,654,353 1,405,7045,622,212 2,500,033CREDITORS:Amounts falling due within one year (6,451,628) (4,165,142)NET CURRENT LIABILITIES (829,416) (1,665,109)TOTAL ASSETS LESS CURRENT LIABILITIES 34,892,446 34,689,345CREDITORS: Amounts falling due after more than one year (2,895,158) (2,880,604)NET ASSETS 31,997,288 31,808,741RESTRICTED FUNDS 32,072,855 32,690,817UNRESTRICTED FUNDSNon designated (425,577) (882,084)Designated 350,000 0Share capital 10 8Total Unrestricted Funds (75,567) (882,076)Total Funds 31,997,288 31,808,741Birmingham Hippodrome Performance Review 200611

DanceAn international dancehub for the regionOne of the main drivers behind theredevelopment of Birmingham Hippodromewas its place as the home of BirminghamRoyal Ballet and the national dance agency,DanceXchange. Together, the threeorganisations create a dance hub that isunique in the country, with more danceactivity and better facilities in one buildingthan anywhere else.Birmingham Royal Ballet is a companycommitted to the creation of new dance on ascale beyond any other ballet company inthis country and all their work is made here inBirmingham. DanceXchange are also in thebusiness of creating new dance. Their owncompany, Bare Bones, has enjoyed greatsuccess and critical acclaim. Our studiospace, The Patrick Centre, was generouslyendowed by a grant from The Patrick Trustand is a powerhouse of dance helpingregional, national and internationalcompanies nurture their work to excellence.DX also provide thousands of opportunitiesfor local people to participate runninghundreds of classes every year andoperating a thriving outreach programme.Recently, Channel 4 broadcast "Ballet Hoo!Ballet Changed My Life" which showed howdance can literally change the lives ofdisadvantaged young people. This acclaimedseries, pictured right, provided a snapshot ofan immense, two-year project whereBirmingham Royal Ballet did something noother company has done before. It tookdisadvantaged, disenfranchised youngpeople and introduced them to the disciplineand creativity of ballet with startling andemotional results.The three organisations are togetherplanning to take dance to a new level inpeople's lives. Dance can change lives for thebetter and it is happening here in Birmingham.Under the Wide World banner, BirminghamHippodrome has been bringing some of thebiggest names in international dance to thecity. In the last three years Dance Theatre ofHarlem (USA), Compagnia de DançaDeborah Colker (Brazil), Alvin Ailey AmericanDance Theater (USA, pictured left),Compagnie Kafig (France), Grupo Corpo(Brazil), Mark Morris Dance Group (USA) andthe Bolshoi Ballet (Russia) have all been partof our Wide World season.Chief Executive Stuart Griffiths iscommitted to this for future planning: "I'vealways said that, as the public investment inthe Hippodrome created facilities to stageanything, we should be looking toprogramme from a global range of showsand companies, not just limited to our ownshores. I want to make the Hippodrome aworld stage, so that homegrown talentstands alongside the best anywhere."“Following BirminghamHippodrome’sredevelopment in 2001,Birmingham Royal Balletproudly boasts some ofthe best facilities for adance company in theworld and thereforeattracts some of the most talented dancersto the city. The purpose-built facilities havecreated a unique partnership betweenBirmingham Hippodrome,Birmingham Royal Balletand DanceXchange. Theground-breaking JerwoodCentre for the Preventionand Treatment of DanceInjuries provides unrivalledpreventative care andtreatment for dancers aswell as undertaking research to advancetheir long-term fitness, whilst the PatrickCentre provides a space for aspiringchoreographers within the company todevelop and show their work. BirminghamHippodrome is very much our ‘home’theatre and we are rightly proud of it; thebeautiful refurbished auditorium provides aperfect setting for our loyal audiences toenjoy our repertory before it is taken ontour across the UK and internationally.”David Bintley, Artistic Director,Birmingham Royal BalletDanceXchange (dx) is a power house ofdance dedicated to the production anddistribution of high quality dance. Apartner organisationwith BirminghamHippodrome andBirmingham RoyalBallet, dx is housed inthe theatre complexand creates exciting opportunities forpeople of all walks of life to engage indance, either as a participant, performer oraudience member. “Over the past fiveyears, dx has achieved an enormousamount in dance development terms,which has in part been down to the uniquepartnership buildingit is proud to be apartner in. Therelationship withBirminghamHippodrome is oneof mutual supportand admiration and, when possible,creative collaboration. I am sure there ismore to come that will make thatrelationship even more special.”David Massingham, Artistic Director dx,choreographer Bare Bones12 Birmingham Hippodrome Performance Review 2006

Conferences & HospitalityThe place to do businessBirmingham Hippodrome has alwaysenjoyed a reputation for bringing the biggestand best productions to its stage. But sincethe successful redevelopment we have alsobeen able to provide a unique venue forcorporate conferencing and hospitality.In 2004, the theatre took direct control ofthe catering facilities. As a result, thecombined in-house catering and technicalteam is even better positioned to service awide range of clients all with exactingstandards and varied requirements. Nochallenge is too great for us, and flexibility isour watchword!Photography © Craig HolmesHead Chef Donald DeansConference and hospitality clients include:Learning & Skills CouncilAdvantage West MidlandsVirgin TrainsMary Kay CosmeticsBirmingham City CouncilBirmingham ForwardLloyds TSB CorporateCentroBBCArts CouncilTMAKeynote EducationalSenseNational TrustMarketing BirminghamWest Midlands PoliceBirmingham PostMuscular DystrophyMake it an evening to rememberMany patrons now enjoy world-class live entertainmentcomplemented by award-winning cuisine and exclusive VIPservice with the theatre's popular Hospitality Packages.Private Dining, Group and Buffet Packages are all available,and post-show theatre tours add that final memorabletouch. With the capacity to entertain from 10-200 guests,and flexible catering solutions to suit most budgetsBirmingham Hippodrome now provides an ideal alternativefor corporate occasions, anniversaries or any celebration.Creative ConferencingThousands of delegates have already enjoyed theconference facilities at Birmingham Hippodrome forseminars and training through to larger product launchesand presentations. Event organisers can select from ourmany hospitality rooms, our studio theatre, our foyerspaces or spectacular 1,850-seat main auditorium. Spacecan be tailored to suit the event, with internet accesssupplied, and themed events serviced by an experienced,creative and dedicated team.• For further information and to discuss yourrequirements, please telephone 0870 730 2050 oremail: events@birminghamhippodrome.comTaste of Birminghamn Birmingham Hippodrome Restaurant is one of 18venues featured in the new Taste of Birminghamvolume III hardback book which showcases over 50recipes from the city’s top chefs. Priced £15, it isavailable from Birmingham Hippodrome orwww.tasteofbirmingham.co.ukBirmingham Hippodrome Performance Review 200613

Fundraising/EducationPlay your partin our successTo be independent and survive on your wits means that you have to begood at what you do, without the aid of a safety net. Capital support fromBirmingham City Council, Arts Council Lottery and many generous privateand commercial supporters has helped us to rebuild the theatre andcreate an asset for the city that will still be enjoyed in a hundred years.But Birmingham Hippodrome receives no revenue funding from any publicsource and we need your help to continue achieving our ambitions.Centre stagefor businessThe theatre’s popular Corporate Partnershipschemes allow companies to mix businesswith pleasure through the array of benefits onoffer, from ticket allocations and use of thesuperb hospitality suites, right the waythrough to ‘added extras’ for staff. Around 60companies currently support the theatre inthis way and new opportunities to work withthe corporate sector are always welcomed.Save and supportwith FriendsFrom great ticket deals to discounted theatredining, Birmingham Hippodrome Friendsenjoy rewards whilst ensuring that the theatrestays one of the biggest and best in the UKfor years to come. Generous individuals whoshare the Hippodrome’s passion forperformance can further enhance theirmembership and help make even more of adifference by becoming a Special Friend or aSilver or Gold Partner. Friends membershipstarts from £30 p.a.Birmingham Hippodrome’s Development Funds enable donorsto assist the work of the theatre in three main areas of activity:Education– an investment in the future...The theatre’snewlyrevitalisededucationprogramme,generouslysupported byThe PatrickTrust, is goingthrough anexciting periodbringingfamilies andschoolstogether with artists, actors andtechnicians in a range of stimulating andcreative projects.With funding from BirminghamFoundation, Queensbridge School enjoyeda week long summer school of dance, artand design creating fantasy vehicles basedon Chitty Chitty Bang Bang; and a groupfrom Park Hill Primary attended half-termstory telling and art workshops prior toBeauty and the Beast. Artsites haveinitiated a number of enhanced theatrevisits for local community groups.Creative Partnerships and the VCTCharitable Trust have jointly facilitated anexciting new project based on Slava'sSnowshowworking withtwo groups ofspecial needschildren andThe ShystersTheatreCompany. Technical training sessions,careers days with the Connexions agency,backstage tours and ‘inset’ training daysfor teachers are all proving incrediblypopular with schools.n To find out more about how you canbecome involved in an education project– or how we might work with you as asponsor – please contact Liz Leck,Education & Audience DevelopmentManager on 0121 689 3064.ACT!ON FUND:Vital to our education and accessprogramme, the ACT!ON Fundhelps the theatre developrelationships with local schoolsand communities, as well asproviding new opportunities fortheatregoers, whether young orold.NEW PERFORMERS FUND:This helps to ensure that thetheatre continues to live up to itsreputation of being “a stage forthe best in the world” by attractingthe very best performers andproductions from around theglobe and maintaining its proventrack record for successful andambitious programming.BEHIND THE SCENES FUND:Since its 2001 redevelopmentBirmingham Hippodrome is asignificantly larger building,meaning huge operational costsand an ever-changing list ofcapital assets to be maintained,updated and improved. OurBehind The Scenes Fund is vitalto assisting infrastructure costs.n To find out more aboutsupporting BirminghamHippodrome, contact CarolynPugh, Development Manageron 0121 689 3082 or emaildevelopment@birminghamhippodrome.com.For a full list of currentsupporters, see page 16“Birmingham Hippodrome hasdemonstrated a firm commitment tosupporting young people's learning. Theyhave established a dynamic creativeprocess with a range of partners which haswon the trust of schools and engagedchildren from less affluent areas of the city,including those with disabilities, in anexciting learning process. CreativePartnerships is delighted to haveestablished such a positive partnership.”Vivien Hampson, Creative Partnerships14 Birmingham Hippodrome Performance Review 2006

Backstage diaryChitty Chitty Bang Bang was one of the biggest shows to be seen at BirminghamHippodrome this summer. When the run ended after 10 weeks, the enormous sethad to be completely dismantled and driven to the next venue – in double quick time.Simon Creed, Technical Co-ordinator and the team rose to the challenge:Sat Sep 222.00 It’s Chitty’s final flight out of BirminghamHippodrome. The three-month run ends with awell deserved standing ovation out front and afew tears backstage. We’ll all miss Chitty! Assoon as the iron (safety curtain) comes in, the48-hour ‘get-out’ begins. Props packed away,cables removed. As I’ve worked the final show,my shift ends – back in at 9am sharp tomorrow.Sun Sep 309.00: After ten weeks of matinee and eveningshow calls 9am is an early start for me. As theovernight crew finish off, I start de-rigging thelighting ladders. Luckily these are hung onmotors, not on hemp line, so that makes life alot easier. Electrics, Automation and StageCrews work hard as a team and graduallyChitty’s raked stage is taken apart.11.00: A well-earned cuppa – the fuel ofBritain! We’re on time and the pace is relaxedwhich is a good thing due to the amount ofexpensive equipment and the weight of certainpieces, not to mention the most expensiveprop in theatre history – the car itself.11.20: At last our stage is seen for the first timein over three months. All is well.13.00: After lunch the only remaining part isthe hydraulic arm that helps Chitty move andfly. We start to move three tonnes ofcounterweight underneath the stage.14.30: Time to retract and coil 100 metres ofmulti-core cable from down stage to thecontrol booth at the rear of the stalls, runningunder the auditorium floor along a dark andnarrow tunnel. The touring stage and hydraulicparts are loaded onto the truck.19.00: Following a meal break we wait forflying pieces to come in so we can de-rig allthe electrical components. In the meantime, Ireinstall the standard front of house lighting,clean and tidy the lighting control booth andthe orchestra pit.20.00: The first flying piece to be de-rigged isthe portcullis set; appropriately enough sceneof the show’s rousing “Teamwork” song! It’s allhands on deck for the final two hours of theday shift.21.00: The overnight technical crew arrive andit feels like a relay team handing over the‘Chitty’ baton. More tomorrow.Mon Sep 409.00: 9am comes around very quickly!! WhenI arrive the night shift are nowhere in sight. Thenight had been a great success and the crewwere sent home slightly early. As there was nolighting left to get out I decide to give the stagecrew a hand de-weighting the counter weightsystem under the stage in the orchestra pitstoreroom. There’s nothing like an earlymorning workout to get the heart pounding!!09.45: Three tonnes of weights are on stageand have to be manoeuvred to the lorry lift atthe back of the stage. Luckily the lift can takeforty-five tonnes! At street level (Inge St)manual labour is replaced by a forklift truck,which then loads an articulated lorry bound forLiverpool.12.00: “Let the sweeping commence!” Stagecrew embark on the final job of any get out –cleaning the stage and back dock area. Thefinal truck is loaded at 13.30. BirminghamHippodrome is lucky to have such greatfacilities and an extremely skilled andcompetent team of technicians. The crew inLiverpool have a full day ahead!13.45: I say my final farewells and wish goodluck to the touring crew. The Chitty get out isover – 40 hours after the curtain came downon her final Birmingham flight!Birmingham Hippodrome Performance Review 200615

WE ARE VERY GRATEFUL FOR THE SUPPORT WE RECEIVE FROM THE FOLLOWING ORGANISATIONS AND INDIVIDUALS.CONTACT CAROLYN PUGH, DEVELOPMENT MANAGER, ON 0121 689 3082 TO FIND OUT MORE OR SEE PAGE 14.BENEFACTORS, SPONSORS AND MAJOR DONORSTHIS PROJECT IS BEING PART-FINANCEDBY THE EUROPEAN COMMUNITYEuropean Regional Development FundMany of our Major Donors are also active Performance Partners.PERFORMANCE PARTNERStwentyfirstcenturydesignASSOCIATE PARTNERSMEDIA PARTNERSBaker Tilly Calthorpe Estates The Ear, Nose & Throat PartnershipFrancis Graves/Naismiths HBJ Gateley Wareing Morgan Stanley QuilterLordswood House Medical Practise N M Rothschild & Sons Ltd Rubery Owen HoldingsShoosmiths Thomas Walker plc West Bromwich Building Society Willoughby PRASSOCIATE MEMBERSCHARITY PARTNERSGOLD PARTNERSAssociated ArchitectsMark Drury & Barbara Drury Cecil DuckworthDr Peter Gittins & Miss Diane BurnessConnect Utilities LtdSILVER PARTNERSLainey Dickens Ernest & Pat PetrieMiss M J Powell Julie & Dorothy WainwrightACT!ON FUNDSPECIAL FRIENDSStan & Sylvia Barnes Paul & Priya Bassi Christine Susan Baylis Bridget BlowMark DruryThe VCT Charitable TrustAlan & Maureen Breeden Gillian Bridges John & Diana Crabtree Stephen CurranMark & Angolia Depew Eileen Doyle Mr B Field Roger & Jennifer GouldCraig & Louise Griffin Drs David & Karen Hegarty Mark & Wendy HughesDarren James & Allen Yates Lisa Thomas & Alma Jones Maureen & Alan LathamADDITIONAL SUPPORT GRATEFULLY RECEIVED FROM:The Bernard Piggott Trust The Bigbury Trust The Chatwin TrustFellows & Sons The Graeme Hick 100 Club Menzies Nunn The Millichope FoundationM W Electrical Services Peters Booksellers Rosie’s Helping HandsAndy Le Marr MHC Midlands Ltd Mr P I Murray Andrew Priestnall & David RollasonShepherd Engineering ServicesThe E H Smith Charitable TrustDavid & Jenny Roy John & Lyn Sales Richard UsmarThe Stanley Smith Charitable Memorial Fund Weir Waste Services The Wilmcote Charitrust