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74-618: Iain Mackintosh , Richard Cottrell and Elizabeth Sweeting formed Prospect Productions in 1961 to present a summer season of plays at the Oxford Playhouse . A successful first season led to a further season in 1962. The following year, when the Playhouse closed for renovations, Prospect became a touring company associated with the Century Theatre . Toby Robertson directed the last play of

148-570: A National Hero’. In 2006 the Victoria & Albert Museum London acquired Downfall of Shakespeare Represented on a Modern Stage (sic) by William Dawes, 1763-1765, and asked Mackintosh to research it. Mackintosh published his findings in an article in Theatre Notebook , Volume 62 Number 1, 2008, pp 20 – 58 plus seven plates. In 1982 the Curtains!!! Committee, formed by Mackintosh in 1976, published

222-452: A certain familiar sort, and of realising the vision of Toby Robertson". Robertson was in effect fired from the post of artistic director in 1980 while he was abroad with the company in China, Timothy West replacing him. The following season, West's first as Robertson's successor, saw Macbeth with Peter O'Toole , The Merchant of Venice with West as Shylock, and a gala performance presented to

296-832: A conference in celebration of the Society for Theatre Research’s sixtieth anniversary, held at the Georgian in 2008. In 2003, on behalf of the Scottish Arts Council, Mackintosh and Sir James Dunbar-Nasmith (with whom he had worked on the Festival Theatre Edinburgh), supervised the reconstruction of the complete auditorium of the Opera House at Dunfermline, Scotland, within a new building in Sarasota, Florida. Built in 1921 by architects Swanston and Davison, it had been dismantled in

370-461: A designer of theatre space and in collaboration with many architects in the UK, USA, and Canada, and with colleagues at Theatre Projects designed many significant theatre spaces. From 1975 he curated or contributed to several exhibitions of theatre paintings and architecture. He has campaigned for the retention and return to working life of many historic theatres. In 1962 Sweeting and Mackintosh were joined on

444-530: A final tour of Europe, giving its last performance in Rome on 14 June before disbanding. Iain Mackintosh Iain Mackintosh (born 1937) is a British practitioner of theatre combining four interwoven careers as theatre producer, theatre space designer, curator of theatre painting and architecture exhibitions, and author and lecturer on both modern and eighteenth century theatre. He has campaigned for

518-566: A four-month season from September to December presenting The Rivals , The Lady's Not for Burning with Atkins, and King Lear with Anthony Quayle in the title role. In December that year, the governors of the Old Vic agreed to a five-year contract with Prospect, announcing to the press on 23 April that henceforth they would be styled "Prospect Productions Ltd., trading as the Old Vic Company". Unfortunately Prospect's touring commitments kept

592-400: A nominal sum the limited company Prospect Productions Ltd. from lawyer Laurence G Harbottle (1924–2015). Harbottle had earlier created Prospect for a single summer season at Deal, Kent, to gain theatre experience before becoming the most distinguished entertainment lawyer of his generation and, later, chairman of Prospect in its heyday. Mackintosh joined Theatre Projects Consultants in 1973 as

666-501: A theme strongly reminiscent of the finale of his Emperor Concerto . Other television scores included The Naked Civil Servant (1975), Shades of Greene (1975), The Kiss of Death (1977), Langrishe, Go Down (1978), Prince Regent (1979), Private Schulz (1980), Oppenheimer (1980), Winston Churchill: The Wilderness Years (1981), The Hound of the Baskervilles (1982), The Far Pavilions (1984), The Day

740-413: Is designed to be unfinished in the sense that actor, designer and designer must ‘fill’ the whole space, and the audience complete the furnishings as wallpaper does a room’. The Cottesloe was received enthusiastically by the theatre industry and audiences. ‘It owes more in terms of inspiration to Mackintosh and Theatre Projects Consultants than to Lasdun. It was, in point of time, the second, but certainly

814-488: Is likewise a scaffolded courtyard in an extended hut. Mackintosh’s smallest galleried space is also his only theatre-in-the-round, the 185 seat Orange Tree Theatre in Richmond, London (1991). Mackintosh developed two other forms of flexible theatre spaces, each holding around 450 patrons with three levels of seats around the edges enveloping the central audience area, which can be reconfigured for different stagings. Examples of

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888-687: The Evening Standard Best Actress of the Year Award. 1968 saw the production of Prospect's first "musical" - Gay's Beggar's Opera , which was also the first Prospect show to be televised, and in 1969 the Company appeared for the first time at the Assembly Hall. At the 1969 Edinburgh festival Ian McKellen made his breakthrough performances with the company as Richard II (directed by Cottrell) and Marlowe's Edward II (directed by Robertson),

962-625: The Liverpool Oratorio in 1991. Davis's publisher was Faber Music . Carl Davis was born in Brooklyn , New York, on October 28, 1936, to Jewish parents, Sara (née Perlmutter) and Isadore Davis. He studied composition with Paul Nordoff and Hugo Kauder , and subsequently with Per Nørgard in Copenhagen. He attended Bard College , in Annandale-on-Hudson, New York . His early work in

1036-626: The Arts Council of Great Britain to curate and design ‘The Georgian Playhouse 1730–1830’ at their Hayward Gallery , in the run up to the National Theatre’s opening. ‘This show on the delectable theme of the Georgian playhouse…is important artistically’ wrote Denys Sutton , editor of Apollo. The exhibition comprised 379 oil paintings, watercolours and architectural designs and attracted acclaim from both theatre and art critics. ‘This excellent exhibition … offers much of absorbing interest to both to

1110-530: The Arts Council of Great Britain and Dr. George Rylands , Prospect became a touring company based at the Arts Theatre, Cambridge , with Toby Robertson as artistic director, Richard Cottrell as associate director, and Iain Mackintosh as administrator. Between 1964 and 1966 Prospect staged 15 productions, presenting well-known plays as well as several rarely performed Classics including Vanbrugh's The Confederacy , with Robert Eddison and Hy Hazell , to celebrate

1184-636: The British Council . In the 1960s and 1970s Prospect was one of the most recognised theatre companies in Britain, along with the National Theatre and Royal Shakespeare Company , who at that time hardly toured. Touring Prospect productions and seeing the same show succeed in some theatres and fail in others led Mackintosh to concentrate on the influence of theatre architecture on performance. After working as theatre design consultant to architect Graham Law on

1258-627: The Oakland East Bay Symphony , performing his score live during a presentation of Napoleon in the complete Brownlow restoration at the San Francisco Silent Film Festival in Oakland. The Hollywood documentary series was followed by the documentaries Unknown Chaplin (1983), Buster Keaton: A Hard Act to Follow (1987) and Harold Lloyd: The Third Genius (1989). In the 1980s and 1990s, Davis wrote and conducted

1332-867: The Pittsburgh Ballet Theatre (2019); and most recently the two-act Le Fantôme et Christine , from Gaston Leroux 's 1911 novel, which develops themes he first composed for the 1925 silent movie Phantom of the Opera . This received its premiere by the Shanghai Ballet on May 11, 2023. Other works include: Davis married the British actress Jean Boht on December 28, 1970. They had two daughters, filmmakers Hannah Louise (born 1972) and Jessie Jo (born 1974). Davis also composed music for his daughter Hannah's films Mothers & Daughters (2004) and The Understudy (2008). Davis and his wife were executive producers on

1406-582: The Round House or in the West end, it was felt increasingly desirable that Prospect should once again have a permanent and preferably metropolitan base to sustain its regional work. Looking for a suitable London base, Robertson believed that the Old Vic would best meet the company's needs and would add lustre to its reputation. For two years he sustained a campaign for the Old Vic to make Prospect its resident company. For

1480-405: The 1980s to make way for a shopping mall and after more than a decade in storage was taken to Florida to be meticulously re-assembled as a working professional playhouse. Alongside designing theatre spaces, Mackintosh developed an interest in the history of theatre paintings and architecture and curated several exhibitions, each documented in comprehensive catalogues. In 1975 he was commissioned by

1554-625: The BBC. He conducted the BBC's theme song for its coverage of the 2006 FIFA World Cup , adapted from George Frideric Handel 's "See the Conquering Hero Comes". In the late 1970s, Davis was commissioned by documentarians Kevin Brownlow and David Gill to create music for Thames Television's Hollywood: A Celebration of the American Silent Film (1980). His association with them continued

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1628-567: The British exhibition entry, The Guthrie Thrust Stage: A Living Legacy, 1948-2011 , and wrote its catalogue, published by the Association of British Theatre Technicians (ABTT). After PQ, the exhibition toured the theatres in Britain. Mackintosh’s 1993 book on theatre design, Actor, Audience and Architecture , describes the influence of architecture on the theatrical experience and critiques mid-twentieth-century theatre design. It has been influential with theatre space designers and architects and

1702-668: The Chastity Belt (1971), Rentadick (1972), What Became of Jack and Jill? (1972), Catholics (1973), Man Friday (1975), The Sailor's Return (1978), Champions (1983), King David (1985), The Girl in a Swing (1988), Scandal (1989), The Rainbow (1989), Frankenstein Unbound (1990), The Trial (1993), Widows' Peak (1994), The Great Gatsby (2000), Mothers & Daughters (2004) and The Understudy (2008). Although Carl Davis wrote several substantial orchestral and concertante pieces – including

1776-515: The Devil (1927). On several occasions he conducted these scores live in the cinema or concert hall as the film was being screened. Davis also composed for contemporary films, including the BAFTA and Ivor Novello award winning score for The French Lieutenant's Woman in 1981. His other films included The Bofors Gun (1968), The Only Way (1970), I, Monster (1971), Up Pompeii (1971), Up

1850-581: The Eden Court Theatre, Inverness, Mackintosh started his second career in 1973 as a designer of theatre space, joining Richard Pilbrow at Theatre Projects Consultants. His first project was the Cottesloe Theatre at the National Theatre, London. The National Theatre building on London’s Thames Southbank , designed by architect Sir Denys Lasdun , was then under construction as the new home for

1924-554: The Governors of The Old Vic announced "a marriage that was all but a merger" between the Vic and Prospect. In September Toby Robertson, director of Prospect, was asked to take artistic control of The Old Vic, and Christopher Richards, general manager of The Old Vic, became general manager of Prospect. One major problem, though, was the terms of Prospect's funding by the Arts Council: this was on

1998-670: The National (which had been founded at the Old Vic in 1964). The Cottesloe was the third and smallest theatre, holding up to 400 people. It was located in an abandoned space under the rear of the Olivier Theatre stage. In 1973 this was a huge empty shell served by a partially complete foyer designed for only 200. While the National’s Olivier and Lyttleton Theatres are fixed-format, the Cottesloe can be recast into many arrangements to suit

2072-481: The National Theatre Cottesloe production of The Mysteries , adapted by Bill Bryden (1982). The Lyceum had not been used as a theatre since 1939 and had been partially converted into a ballroom in 1951. In 1982 it was under threat of demolition but The Mysteries focused attention on the building’s history as the theatre of Sir Henry Irving ’s, the renowned Victorian actor-manager. In 1996 the entire theatre

2146-561: The National Theatre in London, then at the Prague Quadrennial of Scenography and Theatre Architecture, followed by a world-wide tour. This exhibition spawned the book of the same name, edited by Ronnie Mulryne and Margaret Shewring. In addition to the catalogue for the thirty featured theatres, the book includes essays by leading actors, directors, designers, architects and playwrights. For the 2011 Prague Quadrennial (PQ) Mackintosh instigated

2220-400: The Old Vic recouped its costs but left no surplus to fund future productions. Further stagings by visiting companies were box office failures and stretched the theatre's finances to breaking point. Yet Prospect continued to draw audiences to the Old Vic where other companies failed. The company played a five-month season from January to May 1978, adding Twelfth Night to their repertory, and

2294-456: The Old Vic, Robertson's overtures proved increasingly hard to resist in the face of poor box office returns achieved by productions staged by other companies at the theatre; against this, Prospect staged a highly successful season which opened in May 1977, including Hamlet with Derek Jacobi, Antony and Cleopatra with Alec McCowen and Dorothy Tutin; and Saint Joan with Eileen Atkins . In July

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2368-887: The Oxford Playhouse: the Oxford University Opera production of Benjamin Britten ’s The Turn of the Screw (only the second production anywhere of this opera), and Prospect’s first production, the premiere of Whiteman by Michael Picardie with Brian Blessed and Prunella Scales (refer Note 1). This stage design experience was to feed back into his later career. Thereafter Mackintosh concentrated on his role as producer for Prospect. He secured international festival engagements for Prospect in Vienna, Austria; Venice, Italy and Adelaide, Australia, as well as arranging many tours Prospect overseas tours with

2442-778: The Prospect board. In these first twelve years eight productions were presented at the Edinburgh International Festival , including the Lila Kedrova Cherry Orchard (1967) and Ian McKellen ’s double presentation of Edward II and Richard II (1968–70). These and many other Prospect productions, such as Timothy West 's King Lear (1972/73), transferred to successful seasons in London West End theatres. Three productions were televised. In 1961 Mackintosh designed settings and costumes for two special productions at

2516-586: The Queen Mother to celebrate her eightieth birthday. On 22 December 1980, four days after the gala performance, the Arts Council withdrew its funding from the Company, sealing its demise. In January the company left for its pre-arranged tour of Hong Kong and Australia. Appeals to the Council for funding to be reinstated were denied. The company gave a final season at the Old Vic staging The Merchant of Venice , then gave

2590-642: The Royal Academy, in celebration of the 250th anniversary of the Theatre Royal , Covent Garden. For the 1987 Brighton Festival Mackintosh curated ‘“An Extravagant and Irrational Entertainment”: Staging the Opera in England 1632 to 1792’. In 2009 at the Orleans House Gallery, Twickenham, Marcus Risdell and Mackintosh co-curated ‘The Face and Figure of Shakespeare : How Britain’s 18th Century Sculptors invented

2664-659: The Suchitra Cinema and Cultural Association director Prakash Belawad. As well as working on new theatres Mackintosh has advocated for the retention and renovation of old theatres. These include the Festival Theatre , Edinburgh (1994), formerly the Milburn Brothers’ Empire Theatre of 1928. As a producer, Mackintosh hired the Lyceum Theatre in London on behalf of Theatre Projects Associates to transfer

2738-496: The Sun . A series of chamber works were commissioned, including Jane McCulloch's The Grand Tour for the Entry into Europe celebrations - an entertainment seen in London, Edinburgh, and the 1974 Brighton Festival. The strain of touring and meeting the increasingly high standards expected by theatre audiences throughout the country began to tell, and even with occasional London seasons either at

2812-652: The US provided valuable conducting experience with organisations such as the New York City Opera and the Robert Shaw Chorale . In 1959, the revue Diversions , of which he was co-author, won an off-Broadway award and subsequently travelled to the Edinburgh Festival in 1961. As a direct result of its success there, Davis was commissioned by Ned Sherrin to compose music for the original British version of That Was

2886-520: The Universe Changed (1985), The Pickwick Papers (1985), Hotel du Lac (1986), Ashenden (1991), Anne Frank Remembered (1995), Seesaw (1998), Coming Home (1998), Upstairs Downstairs (2010), and Brexicuted (2018). Davis also worked for television producer Jeremy Isaacs in providing the original music for the documentary history series The World at War (1973) for Thames Television , and later Cold War (1998) for

2960-543: The Week That Was . Other radio and TV commissions followed and Davis's UK career was launched. Davis achieved early prominence with the title music for the BBC 's anthology play series The Wednesday Play and later for Play for Today . For the critically acclaimed and popular success Pride and Prejudice (1995) Davis used period classical music as his inspiration, in particular Beethoven's Septet E flat major , Op. 20 and

3034-486: The basis of it being a touring company, and the Council - already funding the National Theatre and the Royal Shakespeare Company in London - could not accept a case for a third major company in the capital and repeatedly refused requests to fund any London seasons staged by Prospect. Therefore any London-based productions would have to succeed financially without Arts Council support. Prospect's first season at

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3108-512: The board of Prospect by Richard Cottrell , who was associate director from 1964 to 1969, and by Toby Robertson , who became artistic director in 1964, following his production of The Provok’d Wife with Eileen Atkins. The Provok’d Wife opened at the 350-seat mobile Century Theatre which was parked by Mackintosh in an idyllic setting beside the Thames for the summer of 1963 while the Oxford Playhouse

3182-469: The centre or on a platform stage along three of the ten sides. Mackintosh believed it to be the only performance space in the world with pentagonal geometry. In 2009 Mackintosh worked with architect Robin Snell (also a contributor to Glyndebourne), on the design of the Opera Pavilion at Garsington Opera, which opened in 2011 and won many awards. In 2014 Mackintosh worked in Bangalore, India with architect Naresh Narasimhan on two theatres at Puravankara for

3256-408: The classics at the expense of new work. But alongside several Shakespeare productions the company staged such plays as Thomas Otway 's Venice Preserv'd , Charles Macklin 's The Man of the World , Turgenev 's A Month in the Country (with Derek Jacobi, Timothy West and Dorothy Tutin, who won two major acting awards for her performance), Chekhov's Ivanov , and Peter Shaffer 's Royal Hunt of

3330-409: The company out of the theatre for the first half of 1979, leaving the theatre to sink further into debt. The company returned in July with Jacobi's Hamlet (toured afterwards to Denmark, Australia and China, the first English theatre company to tour that country), followed by Romeo and Juliet , and The Government Inspector with Ian Richardson . The following season, however, proved controversial:

3404-495: The company pioneered a style of production in which stage designs and setting were kept to a minimum, partly from the belief that Shakespeare's plays in particular benefited from an uncluttered approach; this style also suited the company's needs when touring regional theatres, for which flexibility of staging was essential. Emphasis was placed instead on quality acting and strikingly designed costumes, complemented by lighting and incidental music. Carl Davis composed several scores for

3478-436: The company, including for a modern dress production of Love's Labours Lost (1971), Pericles (1973), and Pilgrim's Progress (1974/5) which led directly to the musical War Music (1977) with words by Homer and Christopher Logue and music by Donald Fraser. From 1970 to 1976 four major productions were created each year. As the only major company touring nationally, the choice of repertoire tended to be drawn more from

3552-481: The design concept to the National’s Director, Peter Hall and John Bury , head of design, Mackintosh coined the phrase ‘courtyard theatre’. He later wrote ‘Courtyard, Cockpit or whatever … [it] should be particularly useful for experiment in non-scenic theatre … outdoor Fortune or indoor Blackfriars … or for the more formal expression of Grotowski or anyone else who has explored the notion of a ritual gathering of onlookers … The finish should be simple and workmanlike – it

3626-424: The double bill of The Padlock and Miss in Her Teens , to mark the bicentenary of David Garrick 's death, and a revival of What the Butler Saw were deemed by the Arts Council unsuitable for touring repertory. An internal report by Prospect now questioned "whether Prospect can any longer satisfy the triple task of filling the Vic, of satisfying the [Arts Council] Director of Touring's requirements for product of

3700-438: The fan shape nor the shoebox does.’ Architectural critic Jonathan Glancy wrote ‘Inside the auditorium the project makes near perfect sense. Mackintosh and Hopkins have produced a big but intimate space. It has as near as one can get to a timeless quality’. Glyndebourne was the first of the new horseshoe opera houses such as Toronto, Dallas and Copenhagen (designed by others). Before Glyndebourne, ‘modern’ opera houses had all

3774-409: The first gazetteer of all British theatres, existing and demolished, built before 1914. To mark the publication Mackintosh mounted the exhibition ‘CURTAINS!!! or a New Life for Old Theatres’ at the Museum of London , subsequently toured in the United Kingdom. In 1995 the British Council commissioned Mackintosh to curate ‘Making Space for Theatre: 40 Years of British Theatre Architecture’, which opened at

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3848-432: The formation of a new theatre company. As these two developments pointed in totally different directions with implications of a conflicting scale of work, Richard Cottrell left Prospect to become director of the newly formed Cambridge Theatre Company : Toby Robertson became director of Prospect, and its role as the UK's leading touring company was recognised, with its new name - The Prospect Theatre Company. Under Robertson,

3922-429: The latter in the play's first professional revival for 300 years and causing a storm of protest over the enactment of the homosexual Edward's lurid death. Timothy West appeared as McKellen's sparring partner in both those productions, which subsequently toured Britain and Europe before being staged at the Mermaid Theatre in London and breaking box-office records at the Piccadilly Theatre . Between 1967 and 1977 Prospect

3996-493: The most influential of the modern ‘courtyard’ theatres, with something of the character of an urban barn fit-up. Its extremely simple, rectangular form, with the audience on three shallow tiers, can be readily adapted to proscenium, end stage, thrust, in-the-round, traverse or promenade form.’ In his review of Setting the Scene: Perspectives on Twentieth-Century Theatre Architecture, edited by Alistair Fair, Richard Pilbrow noted ‘It’s interesting to reflect that in our National Theatre

4070-445: The playgoer and those more especially concerned with pictures’. Geoffrey Ashton assisted in the final selections and writing of ‘…its splendid catalogue, full of anecdote and oddity.’ At the 1981 Buxton Festival Mackintosh and Ashton curated ‘30 Different Likenesses of David Garrick – by 30 Different Artists’, ranging from Hogarth to Gainsborough, and in 1982 they collaborated on ‘The Royal Opera House Retrospective 1732 -1982’ at

4144-408: The production design. The simple design of the Cottesloe, with two galleries of audience seating surrounding three sides of the room, was ground-breaking. In 2013, on the 50th anniversary of the National, Director Nicholas Hytner wrote: ‘What Iain Mackintosh did when he was asked to make a theatre inside that big black empty box had a touch of improvisatory genius.’ In November 1973, when presenting

4218-402: The retention and restoration of historic theatres as working homes for live performance. Iain Mackintosh was born in Bristol, England, in 1937, and brought up in Bristol, Cornwall and Edinburgh, Scotland where his father was headmaster of Loretto School near Edinburgh from 1945 to 1960. Two years National Service in Hong Kong as a subaltern in the Royal Artillery Amphibious Observation Troop in

4292-452: The same year with the restoration of Abel Gance 's 1927 epic silent film Napoléon , for which Davis' music – drawing once again on Beethoven as a source – was used in its cinematic re-release and television screenings. There was a similar treatment for D. W. Griffith 's Intolerance: Love's Struggle Through The Ages (1916). This had orchestral music originally, but Davis's new score was used instead in 1989. In March 2012 Davis conducted

4366-570: The scores for numerous Thames Silents releases and television screenings. By 1993, his reputation made him the number one choice for new scores to silent films. Many DVD releases, including Ben-Hur (1925), The Phantom of the Opera (1925), Safety Last (1923), DeMille 's The Godless Girl (1928), Chaplin 's City Lights (1931, re-orchestrated by Davis based on Chaplin's and José Padilla 's original written score), and Erich von Stroheim 's Greed (1924), use Davis's music. Davis also entirely re-scored Clarence Brown 's Flesh and

4440-399: The season, Vanbrugh 's The Provoked Wife , with Eileen Atkins and Trevor Martin . The production opened the newly restored Georgian Theatre Royal in Richmond, North Yorkshire , then transferred to the Vaudeville Theatre , London. The success of the Oxford seasons prompted the idea that Prospect should present productions beyond the summer season each year. In 1964, with support from

4514-526: The seats pointing cinema-like at the stage. This format is good for audience sightlines but does not support a rich theatrical experience. Mackintosh’s theatre forms were based on strict geometry, generally ad quadratum (ascending concentric circles within successive squares). In 2004 he contributed to the design for the second space at The Sage Gateshead , with architects Foster and Partners . Hall Two holds 450 patrons for all types of musical performance, with three encircling galleries and options of performing in

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4588-498: The square form include Wilde Theatre, South Hill Park , Bracknell (1984), with architects Levitt Bernstein, and the Lawrence Batley Theatre , Huddersfield (1994) with the Kirklees local authority architects. The Guardian opera critic Andrew Clements wrote ‘The design is the work of Iain Mackintosh… and he has done a seamless job in creating a 400 plus theatre, beautifully proportioned with a handy adjustable pit.’ The first apsidal room (parallel sides with semi-circular galleries facing

4662-515: The stage) was the Martha Cohen Theatre, Calgary (1985), with architect Joel Barrett, later repeated in the Quays Theatre (2000) at The Lowry , Salford, with architect Michael Wilford . More architecturally refined examples were the Westminster School Theatre, Connecticut (1989), with architect Graham Gund , and the Vanburgh Theatre (2000) at the Royal Academy of Dramatic Art , in London, in collaboration with architect Bryan Avery . The epitome of Mackintosh’s horseshoe, galleried auditorium concepts

4736-420: The symphonic A Circle of Stones for full orchestra in 1997 – the core of his work outside of film and television was drama and dance, particularly musicals and ballet. He continued to actively compose over the last decade of his life, during which he produced four large scale dance works: Nijinsky (2016) and Chaplin, the Tramp (2019), both for the Slovak National Ballet in Bratislava ; The Great Gatsby for

4810-409: The territory, was followed by three years at Worcester College , Oxford. He graduated in politics, philosophy, and economics in 1960 and immediately became resident stage manager (technical director) at the Oxford Playhouse (refer Oxford Playhouse theatre programmes 1960 to 1963). In 1961 he co-founded the Prospect Theatre Company with Elizabeth Sweeting , manager of the Playhouse. They bought for

4884-471: The third centenary of Vanbrugh's birth, and Etherege 's The Man of Mode , and a number of new plays. Timothy West joined the Company in 1966 to play Prospero . Later that year Prospect had its first invitation to the Edinburgh Festival . Prospect's first Edinburgh Festival appearance in 1967 was with Chekhov 's The Cherry Orchard , Lila Kedrova playing Madam Ranyevskaya in Cottrell's production. The production transferred to London, where Kedrova won

4958-556: The two architect-designed theatres have attracted not one single imitator, whereas the theatre-designed Cottesloe has prompted perhaps more than fifty successful clones around the world. Bringing human beings together in lively juxtaposition simply works.' This project led to other rectangular galleried playhouses, such as The Tricycle (1980) with architect Tim Foster, which was constructed out of builders’ scaffolding within an existing volume. The Founders’ Theatre (2001) at Lenox Massachusetts, developed with architect George Marsh of Boston,

5032-422: Was an American-born British conductor and composer. He wrote music for more than 100 television programmes (notably the landmark ITV series The World At War (1973) and BBC's Pride and Prejudice (1995), created new scores for concert and cinema performances of vintage silent movies and composed many film, ballet and concert scores that were performed worldwide, including (in collaboration with Paul McCartney )

5106-475: Was closed for remodelling. The production was the first show for over a century at the 1788 Georgian Theatre Royal Richmond, Yorkshire. After Richmond The Provok’d Wife transferred to the Vaudeville Theatre London. Robertson, Cottrell and Mackintosh based Prospect in Cambridge from 1964 and in London from 1966. Between 1963 and 1976 Prospect toured 75 productions in 125 theatres in 21 countries. In 1973 Mackintosh resigned as administrative director but remained on

5180-548: Was described by Michael Coveney in The Observer as ‘Environmental theatre history at its best: analytical, informed, involved’. His other books include ‘Pit, Box and Gallery: A history of the Theatre Royal Bury St Edmunds’, The National Trust , 1979. His published catalogues include those for exhibitions at the Hayward, Royal Academy and Orleans House mentioned in Section 5. Curating theatre painting exhibitions. Contributions to journals, catalogues and chapters in books or catalogues edited by others include: In 1995 Mackintosh

5254-432: Was invited to appear at eight Edinburgh International Festivals, and largely as a result of its close association with the Edinburgh Festival, Prospect was asked to tour abroad for the British Council, visiting the Middle East, Russia, Hong Kong, and Australia. In 1969 the Company was asked to extend its touring to the large "No 1" theatres in the regions; at the same time the Cambridge Arts Theatre wanted Prospect to help in

5328-481: Was restored and has since housed large-scale musicals. The Georgian Theatre Royal , Richmond, Yorkshire (1788), was fully restored in 2003 with Mackintosh and David Wilmore of Theatresearch as historical theatre consultants working with Allen Tod Architecture. The Prospect Company had opened the first show in the Theatre Royal Richmond for over a century on its re-opening in 1963. Mackintosh later initiated

5402-524: Was the Glyndebourne Opera (1994), his most recognised project. It was undertaken for Theatre Projects Consultants in a team led by architect Michael Hopkins . Executive chairman Sir George Christie said ‘It was Mackintosh who convinced everybody that the horseshoe was the best shape. It happened remarkably quickly. We all felt intimacy would be most easily achieved with the people in the audience wrapped round like wallpaper. That’s something that neither

5476-984: Was the first Briton to sit on the International Jury at the Prague Quadrennial of Scenography and Theatre Architecture and in 1999 received their Gold Medal for Architecture on behalf of the new Glyndebourne Opera. In 2003 he was awarded the annual Cascieri Medal and Lectureship in the Humanities by the Boston Architectural Center. He was a jury member in 2011 for the Prague OISTAT Theatre Architecture Competition (International Organisation of Scenographers, Theatre Architects, and Technicians). Theatres with which Mackintosh has been associated have won more than 20 Architecture Awards in Britain and overseas. Carl Davis Carl Davis CBE (October 28, 1936 – August 3, 2023)

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