Category Archives: Stagecraft

V&A celebrates a century of national theatre archive with tribute to avid collector

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New exhibition, named after ‘theatrical encyclopedia’ Gabrielle Enthoven, showcases British stage history from the Restoration to Fleabag

She was an avid collector of playbills, programmes and props who kickstarted the largest theatrical archive of the nation, now housed at the Victoria and Albert Museum. Without Gabrielle Enthoven, we would not have theatre studies as a discipline today, according to Simon Sladen, the museum’s senior curator of modern and contemporary theatre and performance.

Yet many will never have heard of Enthoven. That is about to change as the V&A has named a new exhibition in her honour, celebrating a century of the national archive, which is now protected by law.

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‘I have a scene to do, run!’: backstage at Minack Theatre

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Our photojournalist explores the famed outdoor venue in Cornwall as it welcomes back full houses

“I knew of it from pictures I’d seen online and I thought it looked pretty, but when you arrive and see it yourself, it’s like, ‘Oh wow, this is insane,’” says actor Guido Garcia Lueches about the Minack Theatre. “It’s probably the best theatre I’ve ever performed in.”

Carved largely by hand into a craggy, granite cliff-face, the dizzying outdoor venue on the south coast of Cornwall looks magnificent in the summer sunshine. Tiers of subtropical foliage splash colour throughout the landscape and weathered concrete seats bearing the titles of past shows rise abruptly from the stage. The ocean, 100ft below, looks an enticing shade of turquoise.

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Whispers to thunderstorms: the world of sound designer Max Pappenheim

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After embarking accidentally on his career, Pappenheim has created innovative soundscapes for theatre, opera and radio

Max Pappenheim’s journey into sound design comprises a series of happy accidents. Music – and especially organ music – was his first love. He spent a year as a cathedral organist and it was only his predilection for experimentation and finding “the weirdest corners of the repertoire” that stopped him from pursuing a professional career in liturgical music.

Instead, he went to Cambridge University, read classics and began teaching at a school in the Midlands. There, he was asked to direct a musical, Sweeney Todd, and it was then the ground began to shift beneath his feet.

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