Monument record MDO47629 - Bournemouth Pier Theatre

A theatre and concert hall, built in 1960 on to Bournemouth Pier (AMIE NMR number 458172, SZ 09 SE 39). The theatre was refurbished in 1995. It was designed between 1958-9 by the Borough Architect's Department under John Burton; and is attributed to Elisabeth Scott (1898-1972). It occupies the seaward end of the pier and comprises an entrance foyer, auditorium, stage area, public bar, and a circular café situated at the furthest (southern) end of the building. It is a steel-framed structure with concrete blockwork cavity walls. It has a broad, squat exterior and when viewed from the side, or from the sea, it is intended to resemble an ocean liner. The building is clad in cedar wood panelling, though some parts are faced with faience tiles. The entrance front is symmetrical but utilitarian. It has a flat-roofed projecting glazed porch with entrance doors at the sides. Set high on the fascia above are two faience sea-horses designed by a local firm, J. Caslake Ltd and there is a curved coping of faience to the fascia. The side elevations, comprise a flat-roofed single bay with projecting entrance porch, seven bays to the auditorium block, two bays to the stage and dressing room block, a single bay bar area, and at the right hand end the kitchen and café. The double height auditorium block is divided horizontally by a canopy formed by an undulating thin concrete slab which is faced with a thin strip of copper to create a `wave' effect. Each of the seven bays is in turn defined by the structural steel ribs which support the main roof and emerge below the roof as timber clad buttresses that taper towards the base. The lower storey is largely plain with double doors to the sixth bay, while most of the upper storey is glazed with four-light windows in a zig zag arrangement to each bay. The fly tower block rises above the curved roof of the auditorium and comprises of three distinct blocks.

The Pier Theatre was considered for listing in 2007. The theatre was also assessed in 1997 as part of the thematic study of post-war buildings and was rejected for listing.

Bournemouth Pier, designed by the architect Eugenius Birch, was first erected in 1878. It was breached as a defensive measure during World War II, but was repaired and re-opened in August 1946. Refurbishment of the pier head was carried out in 1950, and in 1956-7 a rebuild of the substructure was completed in concrete to take the weight of a pier theatre. Initial plans were drawn up in 1958 and construction work was completed on the theatre in 1960. It was designed by the Bournemouth Borough Architect's Department and research by the applicant has demonstrated that the architect responsible was Elisabeth Scott, the great niece of the eminent 19th century architect Sir George Gilbert Scott. At the time Scott was employed as the assistant to the town's Borough Architect. Although all the original plans and drawings of the theatre are signed by the Borough Architect himself, the applicant was been able to provide written evidence that it was Scott who was actually responsible for the design. The complex was to consist of the theatre or concert hall, a bar, and a self-service restaurant. The cost of construction was £105,000. According to the plans the theatre was designed with 866 seats. It opened in June 1960 and was intended for touring plays and shows. Unfortunately in recent years it has struggled to attract large audiences and has been running at a loss. Some refurbishment, including re-decorating and re-carpeting took place in 1995. In 2005 the Borough Council looked for reinvestment in the pier buildings and the following year Openwide International was selected to operate and manage the pier facilities on a 25 year lease.

The Pier Theatre was designed between 1958-9 by the Borough Architect's Department under John Burton; and attributed to Elisabeth Scott. The original contractors were Drewitt and Son Ltd. and the building was completed 1960. It occupies the seaward end of the pier and comprises an entrance foyer, auditorium, stage area, public bar, and a circular café situated at the furthest (southern) end of the building. It is a steel-framed structure with concrete blockwork cavity walls.

Exterior: It has a broad, squat exterior and when viewed from the side, or from the sea, it is intended to resemble an ocean liner. The building is clad in cedar wood panelling, though some parts are faced with faience tiles. The entrance front is symmetrical but utilitarian. It has a flatroofed projecting glazed porch with entrance doors at the sides. Set high on the fascia above are two faience sea-horses designed by a local firm, J. Caslake Ltd and there is a curved coping of faience to the fascia. The side elevations, comprise a flat-roofed single bay with projecting entrance porch, seven bays to the auditorium block, two bays to the stage and dressing room block, a single bay bar area, and at the right hand end the kitchen and café. The double height auditorium block is divided horizontally by a canopy formed by an undulating thin concrete slab which is faced with a thin strip of copper to create a `wave' effect. Each of the seven bays is in turn defined by the structural steel ribs which support the main roof and emerge below the roof as timber clad buttresses that taper towards the base. The lower storey is largely plain with double doors to the sixth bay, while most of the upper storey is glazed with four-light windows in a zig zag arrangement to each bay. The fly tower block rises above the curved roof of the auditorium and comprises of three distinct blocks. The lower floors are weather boarded but largely plain, with only a double door entrance to the ground floor and three small square window openings to the slightly jettied first floor. The block above is faced with faience blocks and carries a plaque with the borough's coat of arms. It is topped by a curving glazed and metal framed structure that houses the water tanks and is designed to resemble a ship's funnel. Beyond is a four bay section that contains the bar, toilets and kitchen. The central section of the roof is curved and has a clerestory and there are flat-roofed sections to either side. The bar has a central double-doored entrance that is flanked by single-light windows. The café at the southern end of the building is circular; of steel construction with glazed windows around the exterior. It has a domed roof that was originally clad in copper sheeting and is surmounted by a distinctive and decorative coronet.

Interior: The entrance foyer has a kiosk, a small box office, cloakrooms and a storeroom. The terrazzo floor is now carpeted. A short flight of stairs with metal rails provides access to the rear of the auditorium which is roughly rectangular in plan and is slightly raked. It is largely in its original condition with a panelling of veneer to the walls and large windows to the side walls. The fixed seating is on one level and consists of a central block and two side blocks. The broad, barrelvaulted ceiling is relatively plain and is spanned by shallow arched ribs and two further beams running longitudinally. The stage is simple with a flat proscenium arch flanked by convex walls that each have a metal ventilation grille, decorated with a seahorse design. The back of house facilities comprise the stage manager's office, scene docks which are sited in the wings, and eight first floor dressing rooms which are located behind the convex walls towards the front of the auditorium and also wrapping along the rear, south side of the fly tower. The public bar, which can only be accessed by coming out onto the pier from the auditorium, contains a bar counter and has mostly bench seating. The circular café beyond is largely open-plan and is dominated by the coffered domed ceiling. The seating and tables are unfixed.

Entertainment buildings generally make a strong impression on the street or landscape, as a statement of their cultural and often civic aspirations, or to attract patrons inside. Yet it is their interiors that are their determining factors when considering their protection. Some of these buildings may be worthy of designation for their external appearance but in many more it is the balance of exterior and interior that makes them special. Post-war buildings require stringent assessment, with architectural quality, innovation and social significance being the principal factors
of relevance. The Pier Theatre is a little-altered building which stands in a prominent location in Bournemouth and is a dominant landmark on the sea front. It clearly has claims to attention - its location, apart from anything else, demands this. It was quite unlike any other building of its day in the town, in terms of the architectural vocabulary used and it was clearly designed to respond to its position at the end of the pier. The theatre was not built in the fashionable post-war idiom of the time but instead marries Festival of Britain elements with a nautical style that is typical of seaside architecture. Its design is clearly heavily influenced by the moderne style that was so in vogue during the 1930s. Externally it was intended to resemble an ocean liner - using the wave effect to the side elevations and the glazing to the back of the fly tower which resembles a ship's funnel. The Festival of Britain influence is particularly evident in the bright splashes of colour employed, such as the faience seahorses that brighten the plain façade; the domed roof of the café which was originally clad in copper sheeting; and the seahorse design in the auditorium ventilation grilles. The domed roof of the café certainly has similarities with the Dome of Discovery erected for the Festival at Britain. Although perhaps more diluted than the best examples of seaside buildings of the thirties, there are certainly similarities. Marine Court in St Leonards on Sea (Listed Building number 478820), for example, which is listed Grade II, is a block of flats that was built in 1937. It is in a Cunard style consciously designed to be a `building embodying the beautiful curves of a great ship - a vertical liner on land¿. The inspiration for its design was said to be the Queen Mary. The 1936 de la Warr Pavilion in Bexhill-on-Sea which is now regarded as one of the best icons of the International Modern Movement has a projecting bow at the junction of two wings that has been described as resembling the prow of a ship. Despite the charm of its external décor, in comparison the Pier Theatre lacks the architectural impact of, and makes less of a statement in the landscape than these earlier examples. It seems backward looking in its design. Furthermore much of the interior is plain and disappointing; particularly the foyer, auditorium, and dressing rooms. Theatre design after the mid-1950s was marked by a departure away from using past designs for theatres as a source for modern theatre architecture and employing more innovative design. The Pier Theatre's most distinguished contemporaries have been listed, the Belgrade Theatre, Coventry (1958 Grade II, Listed Building number 469317) and the Chichester Festival Theatre (1962 Grade II*, Listed Building number 469314). Additionally the early 1960s saw a handful of experimental theatres being built, often on a fairly large scale, as at Nottingham and Chichester. The Pier Theatre does have a proper fly tower, so that full flying facilities are available - rare in a post-1960 theatre and giving it flexibility for productions. Many 1960s theatres limited their future use by having only a small fly-tower or no flying facilities at all. However the Pier Theatre does not offer the flexible space of other theatres from the same period, such as the Thorndike in Leatherhead. It was however primarily built as a theatre for touring shows and plays, so workspace backstage is minimal. Comparisons with other theatre buildings of the period indicate that the Pier Theatre is a competent design, particularly in the quality of its external form, but that it lacks innovative design and spatial quality in terms of theatre design at this time. Furthermore it seems quite dated and is not innovative in terms of how the theatre was intended to function and in terms of its external profile and appearance.

The interest of this theatre is closely tied to its association with the architect Elisabeth Scott (1898-1972). She established her theatre design credentials at the Shakespeare Memorial Theatre, Stratford upon Avon. In 1928 Scott won the architectural competition to design the new Stratford theatre. Not only was this a major competition in this country, but it was the first to be won by a woman. Following the Second World War Scott spent some years working with Ronald Philips and
Partners in the Bournemouth area, and by 1958, Scott was employed by Bournemouth Borough Council. She is certainly recognised as a major architect and the significance of her involvement in the design of the Pier Theatre is well-founded, however it does not add up to a compelling case for listing. It is seems likely that Scott's design for the theatre was to incorporate architecture that appealed to the seaside audience, and the side elevations are successful in this regard whereas
the front façade is lacking and, except for the faience seahorses, is particularly plain. It is a building that is interesting primarily for its association with Elisabeth Scott but this does not make up for the shortcomings of the building both in architectural and functional terms. Overall it is a building of some, but not special, quality and is not an outstanding design. The Pier Theatre demonstrates some ambition in its architecture but is not spatially or technically accomplished in terms of post-war theatre design. A theatre of this period needs to have a high quality exterior as well as an interesting interior if it is to satisfy the stringent standards applied to post-war buildings. Although it is clearly of some interest, displaying the hall marks of a nautical style of architecture that is inherently associated with the seaside, it is not a high quality piece of architectural design. The exterior and the decorative touches both externally and internally certainly show an attention to detail and an awareness of the significance of the building's sea front location, but it is an old-fashioned building for this date. Internally the auditorium and entrance foyer are relatively plain, and the backstage areas are evener plainer. Additionally the theatre's design offered nothing new in terms of stagecraft and did not advance thinking in the design and construction of modern theatres. A great many theatres were designed at this time and very few are special enough to attain the high standards required for post-war buildings to be recommended for listing. Whilst it is acknowledged that locally the Pier Theatre is a well-known landmark that contributes to the character of the seafront, on balance its interest is of local rather than national resonance. (1)

<1> English Heritage, English Heritage Listing File, Adviser's Report in file number 503787/001, case number 164245 (Scheduling record). SDO17502.

<2> National Record of the Historic Environment, 1478207 (Digital archive). SDO14739.

Record last edited

Dec 28 2023 3:52PM