On Its 200th Anniversary, The Old Market Theatre Continues to Innovate

In honor of The Old Market Theatre's bicentennial, the venue plans to present an array of thrilling performances for a Brighton crowd captivated by the groundbreaking programming that characterizes this distinctive theater.

To celebrate the anniversary, The Old Market (TOM) has initiated a fundraising drive supported by the arts collective STOMP. Fatboy Slim aiming to raise £100,000 (€119,000) by the end of the year for essential renovations to the facility.

Initially founded in 1825, The Old Market functioned as a marketplace from the start. There were no unexpected twists. Architect Charles Busby crafted the original Regency-style structure with the aim of catering to the growing needs of the bustling port in Hove within the Brunswick region.

For a while, it remained that market before becoming a riding academy and stables. Like all good old British theatres The Old Market also boasts several spirits. One of its most well-known phantoms originates from this period. As the Creative Director of TOM explains to Euronews, "Rumors persist about a spectral horse that roams within the structure."

During the 1980s, TOM transitioned into an arts space. After being refurbished for art events, this location hosted the innovative visions of Steve McNicholas and Luke Cresswell. It was here that they founded the highly successful rhythm performance troupe known as STOMP.

Jewell has been associated with the theater since STOMP acquired the space in 2010. Back then, the venue was heading towards receivership, and the group based in Brighton wasn't willing to let go of what had become a significant chapter in their artistic journeys.

"It was a labor of love for them," Jewell elaborates. "We genuinely had no clue about the direction this program would take, so it developed quite spontaneously." According to Jewell, TOM expanded within the "blurry boundaries of genres" similar to how STOMP performances thrive at the intersection of theater, percussion, and music.

Right from the start, TOM embraced multifaceted productions. Primarily functioning as a black box theater, the space can accommodate various types of performances like those featured in their In The Box series, where quad-projection systems envelop viewers in live events. This engaging atmosphere has hosted everything from DJ sets by local Brighton artist Fatboy Slim to spoken word presentations. Coming up later this year, James Lavelle will return with his trip-hop group UNKLE Sounds for an exclusive performance.

In addition to its technologically advanced features, the program actively promotes diversity. Their Reigning Women project has featured 77 female artists since 2018. This year includes events such as 'I AM - OommoO', an Afro-futurist narrative evening where author LULA.XYZ delves into her Ethiopian-British background using the MiMu gloves popularized by Imogen Heap.

Jewells mentions, "We collaborate with many up-and-coming artists, but it's equally wonderful for established figures like Norman [Fatboy Slim] to visit." Maintaining TOM’s role as an incubator for new talent remains crucial. As Jewells explains, "This aspect is vital because such venues are disappearing at an alarming rate right now."

Currently, this period is not conducive to the well-being and prosperity of the arts sector in the UK. A study conducted by the Society of London Theatre (SOLT) and UK Theatre indicated that up to 40% of theaters might be forced to close within the next half-decade unless they receive substantial financial support through investments. This warning was issued in their report released earlier last year.

Performing arts spaces and musical venues are located at higher chance amid today's economic climate Owing to escalating rental fees, increased energy costs, and diminished enthusiasm for physical gatherings post-pandemic, "The economic hardship faced by individuals is undeniable," remarks Jewell. Consequently, "we can’t increase ticket prices to the extent needed to ensure financial stability."

Over the last ten years or so, TOM managed to operate partly due to support from STOMP. In April of last year, the organization shifted to become a charity. This change allowed them to expand their revenue sources, yet it also resulted in reduced financial stability.

Like managing any 200-year-old structure, various updates are necessary. This ranges from applying fresh paint to enhancing the lighting and audio capabilities.

Given the expenses associated with operating a venue within a heritage structure, maybe TOM might consider adopting a less distinctive program. How about including a production of Shakespeare featuring a well-known actor to attract the audiences from Brighton?

There are plenty of venues that excel at presenting traditional texts, but our focus has consistently been on pushing boundaries," Jewell explains. "Additionally, we cater to an audience eager for new experiences, ready to embark on this journey alongside us.

An additional instance of this innovation is #TOMtech, where they combine conventional performances with technological advancements. The artists are prompted to integrate new technologies like Virtual Reality (VR), Augmented Reality (AR), motion capture, and 360-degree filming into their work.

It's also evident in how TOM engages with the community. Over the last five years, they've maintained the Hera partnership, an effort alongside the NHS aimed at shaping the theatre's programming based on the health and wellness requirements of the general populace.

This method of programming can yield benefits not only economically but also from a cultural standpoint. Since STOMP was permitted to expand into an internationally successful phenomenon that engaged participants, 2012 London Olympics The closing ceremony will feature additional performances from venues similar to TOM.

I believe it’s quite myopic to withhold support from the venues that generate the work which could yield substantial financial gains down the line," Jewell states. "It's crucial that we protect this talent pipeline; otherwise, we'll face a shortage of artists. These individuals are experiencing immense stress and lack adequate spaces for experimentation and innovation. Great achievements come from such trials and errors.