Liverpool Arts Laura Davis visits the newly refurbished Epstein Theatre
Source: Liverpool Daily Post: Laura Davis
We've been inside the 98-year-old theatre for just 10 minutes, and there’s already talk of ghosts.
“There were a couple hiding in the box office,” jokes someone, making another member of our group recoil in mock horror.
Nobody is sure whether, in accordance with theatrical superstition, a single light was left on for the spirits during the six years the building was shut.
But, even if the spectral thespians were not given a lamp to aid their night-time performances on the deserted stage, they would be unlikely to revolt now.
For their beloved Neptune Theatre has been restored to its original glory – the mahogany banisters polished, the walls repainted a rich shade of green, the plaster mouldings repaired and the chandeliers cleaned and fixed.
Now renamed the Epstein Theatre, after Beatles manager Brian, who worked in the building when it housed Cranes music shop, it is ready to welcome its audience – as soon as an operator can be found.
Behind the restoration are Liverpool-based Nobles Construction and architectural firm 2020 Liverpool.
“We have done work on National Trust properties including Dunham Massey Lodge and Speke Hall, and heritage buildings here in Liverpool such as the Albert Dock and St George’s Hall.”
At a time when some theatres are under threat of closure due to sweeping cuts in arts funding, it is a joy to see Liverpool bucking the trend – with the Everyman on the cusp of being rebuilt, the Royal Court planning an ambitious redevelopment and now the Epstein gleaming and ready to go.
Spruced up like this, it has the air of a theme park ride – we are used to the grandeur of the Edwardian theatres, perhaps, but not to them looking so new.
“Our brief was to bring the theatre back to what it was when it opened in 1913, but while also making sure it meets modern-day regulations,” says Linford.
In the auditorium, layers of paint were carefully scraped back to uncover the original colour, which was then colour-matched by Dulux to create a batch of new paint.
The wooden floors in the bar area received several coats of lacquer, the ironmongery was cleaned up and the windows repaired.
Missing pieces of plasterwork in the foyer were seamlessly replaced and one panel made smaller to make room for a door for the new disabled toilets.
Lack of disabled facilities was a major criticism of the Neptune before it closed in 2005 – initially for redevelopment which was delayed due to a rent-related row between Liverpool City Council, which owns the building, and Hanover Estate Management, which owns the lease and rents it back to the local authority.
A disabled platform lift has been added to the front of the stage, and there are now two ways for those in wheelchairs or with limited mobility to gain access to the theatre itself – the theatre’s own goods lift and a passenger lift within Hanover House, of which the Epstein is part.
Precisely how this will be arranged will be down to the operator, whoever that turns out to be, as will the number of wheelchair spaces in the auditorium. At present, there are four out of 400 seats, but this can be increased.
Because of its historical interest, the theatre is Grade II-listed, so any alterations had to be agreed in advance with Liverpool City Council’s conservation officer.
One challenge was to ensure no features were damaged in the process of restoring others – no mean feat when there’s scaffolding involved. But the biggest job was the one there is now no sign of – rewiring the entire theatre to bring the electrics up to industry standard.
“It was a disaster when we got here,” says Nobles’s contracts manager Andy Watson, who oversaw the Epstein project.
“We had no idea what each wire did. We had to take it right back to find out, and we had no idea if it would turn off the lights in an office on another floor.
“It took three to four weeks to strip it out and all the new wiring is hidden behind the wooden panels in the theatre.”
Budgetary constraints – £750,000 city council funding and £250,000 from Hanover Estate Management – meant priority was given to the front-of- house areas. The four dressing rooms and green room were simply given a lick of paint and installed with television screens allowing performers to see the stage.
The biggest alteration of all – and the most controversial – is the name change from Neptune to Epstein, although the golden “N” above the stage remains.
“It’s N for Nobles now,” jokes Linford.
Critics of the rebranding have questioned the decision to alter what is a household name in Liverpool, while council leader Joe Anderson insists it will make the theatre a more attractive commercial proposition and will appeal to international tourists.
Of course, the Epstein’s success will ultimately depend upon who is brought in to run it.
The council has accepted it is unable to manage the theatre itself as it did before closure – when there were annual losses of £250,000 – but its original offer proved too pricey for potential operators.
Only one company submitted a full application that would see it taking on all costs including rent and service charge, but was ultimately rejected for an unsatisfactory business plan.
Last month, the cabinet voted in favour of a tapered package that will see the council covering the first year’s rent and service charge, reducing by 25% annually until the fifth year when the operator would pay both in full until its contract’s end.
It would also be responsible for all staffing, marketing, energy and other operational costs throughout the length of the contract.
Among those who have expressed an expressing an interest locally is Kevin Fearon, chief executive of Liverpool’s Royal Court, who is considering running the Epstein as a stage for the city’s smaller groups.
“We would be thrilled if we got a local operator, but we are not limiting our search,” says Cllr Wendy Simon, cabinet member for culture and tourism.
“We want someone with a strong track record in running theatres and we are working to make sure that within their programming will be space for community groups to use the stage.”
The council is hosting a “supplierengagement event” next month to encourage potential operators, but there are not yet any firm deadlines in place.
While it is important for the council not to rush into a decision, there is some urgency. In the meantime, the city has to foot the annual rent of £23,900, plus a yearly service charge of £40, 713, despite owning the building.
Not forgetting those old ghosts to appease.
To attend the supplier engagement event, contact Kirsty Connell, Liverpool City Council’s commercial and funding officer, on 0151 600 2942.
For more images of the theatre download the PDF below.
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