Wales Millennium Centre, like the baby princess blessed with a doting fairy godmother, has recently celebrated its first birthday with the announcement of a major sponsorship deal with retailer Tesco. In its most significant offer of arts sponsorship to date, Tesco announced it would sponsor the WMC’s Foyer Stage, which will be re-named the Tesco Stage for at least the next year. Tesco also has the option to extend their arts sponsorship to a full three years. This will allow visitors to the centre to enjoy free performances on every day of the week for the next year. This is an extraordinary boon for WMC and represents a strong commitment by Tesco to the arts in Wales.
Enfys Fox, Tesco’s Marketing Manager in Wales said: “We are delighted to be sponsoring Wales Millennium Centre for at least the next year. We hope that the Tesco Stage will be a success and that more and more people will enjoy the fabulous programme that the centre offers.”
The Wales Millennium Centre has had its ups and downs and its share of champions and detractors on its journey to becoming an actuality. So, a year after opening its doors to the public as Wales’ premiere performing arts centre, the good news is that the WMC is alive, well and in fact thriving. And following the centres positive first year of operation there is an emerging confidence in the role WMC has to play in the future of developing the arts in Wales and Europe.
Speaking at the end of her first year in an email interview, Judith Isherwood, Chief Executive of WMC commented that, “…When the centre opened in November 2004 we faced some challenges but since then we have worked hard to bring our cultural vision alive.”
What have been some of the challenges associated with programming sensibly and courageously in your first year of operation?
“The biggest challenge has been developing a brand new audience for product that has never been shown before in Wales. That has been very demanding on the new team from a marketing and programming perspective.
For example, in terms of ballet, Cardiff and Wales has never had a stage for internationally outstanding ballet, so the audience base was not developed in any way. Programming the Kirov and Australian Ballet were courageous decisions to take in our first year, but we were delighted by the response and we are now attracting an international reputation for dance. Some serious followers of the Kirov have claimed our stage is the best in the world after St Petersburg to see the company perform.”
What sort of programming mix has worked thus far? And how has contemporary dance been received for example?
“Our policy has been to create a totally diverse programme, from West End musicals to opera, from international ballet to contemporary dance, from family shows to cutting edge productions with a niche market appeal. Something for all ages and all backgrounds and interests. My view is that it is very important to provide our audiences with new opportunities and choice.
One of our seven resident companies is in fact a contemporary dance company – Diversions, The Dance Company of Wales. We have a small Dance House within the Centre. However, we are building up our audience base for contemporary Dance for the main stage of the Donald Gordon Theatre. Mark Morris and James Thierree had very successful productions at the Centre last year, even though they had never before been to Wales.
… As well as becoming one of the most vibrant arts developments in the UK, Wales Millennium Centre has become an award winning national symbol for Wales and a focal point for the public visiting the Cardiff Bay area.”
Designed by Welsh architect Jonathan Adams, the brief was to create a world class arts centre for Wales’ capital city, Cardiff. Initially part of a strategic plan to put the city of Cardiff on the cultural map, the WMC has gradually shifted perceptions about Cardiff. Once considered an industrial and commercial port, Cardiff is now increasingly being perceived as a thriving creative arts hub and cultural destination.
The Wales Millennium Centre has in a short time become respected for its vision and programming. In its first year the programmed events spanned the full range of ballet, opera, theatre, contemporary dance and popular music theatre.
Since opening its doors WMC’s highlights have included:
1. 98% of first time visitors to the Centre intend to visit again in the near future
2. Over 320,000 people have attended more than 250 performances
3. WMC has built up a database of 90,000 visitors with 5,000 joining monthly
4. Over 6,000 schoolchildren have visited the Centre
5. Over 15,000 people took tours of the centre
6. Over 500 free foyer performances per year for casual visitors to the Centre
7. Over 100,000 attended the Urdd Eisteddfod
8. Performances by Bryn Terfel and Katherine Jenkins sold out in 3 weeks
9. 24,500 people attended performances by the Kirov and Australian Ballet
10. 16,000 businesses have taken part in 500 conferences/events
Judith Isherwood also noted that, “…The business is now in a strong position and entering a period of future growth and development. The Tesco sponsorship will only amplify this. Our continued commitment to an exceptionally diverse programme…means that we are fast becoming an international symbol for Wales.
Committed to developing a visible presence in the international arts circuit, WMC is also determined to be a centre of Welsh arts excellence. A place where creative work is conceived, developed and produced on a daily basis by a diverse range of resident arts companies. These resident artists create their own work and contribute to all aspects of the centre’s annual programme.
What are some of the strategies you’ve employed to attract Welsh-speaking audiences? And how successful have these been?
“As the Arts Council of Wales’ recent survey on audiences for the arts in Wales has shown, Welsh speakers attend more cultural events than non Welsh speakers, so we know we are attracting regular Welsh theatre goers. Analysis of our audience to date shows we are attracting significant audiences from the Welsh speaking heartlands, as far field as Snowdonia in North Wales. We are also working with our resident company, the Urdd, and others, including broadcasters, to further develop our Welsh language programme.
Last year, for example, we played host to the Urdd’s national festival, which attracted over 100,000 visitors. All performances for Welsh language production of Les Miserables were sold out. Wales’ home grown international performers such as Bryn Terfel and Katherine Jenkins have also been massive box office successes as well as ‘Glamorous Night’, a tribute to one of Wales’ most loved composers.
In addition we have encouraged producers to include Welsh content in their shows – the best example being the Royal Variety Performance held here in November, which included bass baritone Bryn Terfel, mezzo soprano Katherine Jenkins, Charlotte Church and top of the bill, Dame Shirley Bassey.”
Having played host to many artists and events from Wales and abroad in 2005, the general perception is that WMC is bringing to its stage performance events, which previously would not have reached Wales. The visit of the Kirov Ballet from St. Petersburg was one of the highlights of the first year. The production came with a company of 250 dancers, musicians and technicians, and the performances were of the highest calibre.
Huw Tregelles Williams, a board member of WMC said that it had indeed been a memorable year. “The Urdd Eisteddfod, the Mark Morris Dance Company – one of the best evenings I’ve ever spent in the theatre – and then some very popular musicals such as “Miss Saigon” and “Thoroughly Modern Millie”.
Some of the performance events have been unfamiliar to audiences, such as the opening season’s visit by Cirque Eloize from Canada, with their production of “Rain”. However, Isherwood feels that expanding the audience’s experience has a vital role to play in the overall development of the Wales Millennium Centre as an international performing arts venue capable of attracting international performers and companies of artistic excellence. So one year on, the £103m Wales Millennium Centre, once feared to be just one more of the Arts’ White Elephants, is actually “a happening place”.
Following Cirque Eloize, a more “traditional” experience came courtesy of Circus Oz and the Australian Ballet both Australian companies and very familiar to Isherwood, herself an Australian. In addition, many members of the local community as well as visitors have enjoyed free concerts and performances in the foyer. And the WMC is well on its way to reaching its target of 350,000 ticket sales by early 2006. The Tesco sponsorship promises that all members of the community will be able to see free performances within the centre on a daily basis for the next twelve months.
How do you see the vision for WMC unfolding over the next 2-5 years? What are some of your hopes and goals as an organization?
“Our next challenge is maintain the momentum and to build on the success of the first year. Already Wales Millennium Centre has become an international icon for Wales. Our vision is to be for Wales what the Sydney Opera House is for Australia – a must-see tourist destination. Our over-riding ambition is to create an even wider customer base in Wales, nationally in the UK and internationally.
We also aim to increase our customer base especially for ballet and dance audiences. We are particularly pleased that dance companies who have performed at the centre last year have already expressed their desire to come back and to assist us in developing audiences for their art form, for example Mark Morris and the Australian Ballet. Whilst we are primarily a receiving house we plan to produce more of our own shows in the future. We also want to further develop the centre as a springboard for emerging Welsh talent on to the world stage. This year, too, we wish to increase the number of Welsh language productions following the success of Les Miserables last year. “
Architect Jonathan Adams designed WMC to accommodate a wide range of art forms. Speaking about his design process, Adams said he sought inspiration in “the environment, and the cultural and social traditions of our country.” Adamant that the building was never intended, “…to represent national identity.” Adams commented, “ How could it? It’s a ludicrous idea. But the contemporary experience of being Welsh is a big issue right now. What on earth does it actually mean? I wanted this to be a building that plays with those ideas, but which doesn’t provide answers.” Wales Millennium Centre has been recognised for its iconic design and architectural significance through winning awards such as the RIBA Award in Wales and the MIPIM Award for Excellence. The metallic, armour-like finish of the exterior has certainly attracted a lot of attention from the public and media and has earned it the local nickname of “the armadillo”.
For Adams, the imperative was “…To find a form which is honest and personal enough to connect with people. To avoid…fashion… and go back to a basic source of ideas outside architecture. To appeal to normal people in a non-literal way. The exterior of the building is, in some ways, the most meaningful. The large inscription window reflects the importance of the literary tradition in our country… It will be this element that will truly set it apart from any other contemporary work, making it memorable and instantly recognisable the world over.”
It is wonderful to think of that being true for Wales Millennium Centre: That both the content (the programming) and the form (the architecture) can be meaningful to the people of Wales and beyond. “Memorable and instantly recognisable the world over “ as Adams suggests. This means that for Wales Millennium Centre to come into its own as both a marker of place and as a marker of culture, the programming like the architecture, needs to look both ways, like the Janus head: Back into the past and forward into the future. This is certainly reflected in the Centre’s programming in its first year of life and into the future.
What are some of WMC’s upcoming special events for 2006?
Some of the highlights for 2006 include Mathew Bourne’s Edward Scissorhands, My Fair Lady from the West End, Norwegian Ballet’s Sleeping Beauty and a celebration of the best of Wales’ international performers in the second Cymry for the World event, towards the end of the year. We also have a very significant international production soon to be announced !! … Finally we look forward to start of work on Phase 2 of the building, which will include a rehearsal space for the BBC National Orchestra of Wales.”
With a vision that can embrace the literary and Bardic traditions of its Welsh heritage, the international classical repertoire, popular culture and the more radical edges of current arts practice; WMC will have the opportunity to shape the future of the performing arts in Wales and internationally.
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WMC is supported by a grant of up to £37 million from the Welsh Government; a £30.7 million Lottery grant from the Millennium Commission and a £9.8 million grant from the Arts Council of Wales and £10 million were kindly donated by South African businessman, Donald Gordon.
Special thanks to Judith Isherwood and Esther Eckley of the Wales Millennium Centre for their generous assistance.
