The State Theatre is a theatre complex in Pretoria.

Originally called the State Theatre Pretoria, and colloquially simply referred to as the State Theatre. In May 1999, it was controversially renamed the Spoornet State Theatre. It was closed in June 2000 following financial problems, and re-opened in April 2001, as the South African State Theatre.

For information on the venue post-2000, see South African State Theatre.

State Theatre and National Theatre as concepts

For information on 'State Theatre' and 'National Theatre' as concepts, see National Theatre.

Founding

Though the general notion State Theatre refers to the national state-funded theatre of the country in general, by the mid 1970s in South Africa the term State Theatre became specifically attached to the idea of a planned theatre building.

The building

It is a formal theatre complex built on the old Market Square between Pretorius and Schoeman streets, adjacent to what was to become Strijdom Square. It was built by the Provincial Council of the Transvaal for the use of the Performing Arts Council of the Transvaal (PACT) by two architectural firms, Botha, Lötter & Partners and Daneel & Smit.

The complex covers 72 143 m2 and , besides the administration offices for the Performing Arts Council of the Transvaal (PACT), the complex originally had four theatres:

It also had a number of other venues, some added later:

the Transvalia (a multi-purpose seminar room, capacity 110 people).
The Rendezvous
a restaurant
cafeteria

These were all geared towards the performances of operas, dramas, ballets and musical recitals.

In 1983 a fifth theatre was added, named the Momentum Theatre.

There were seven soundproof rehearsal spaces, one of which has an orchestra pit. The eighty-eight dressing rooms were situated with easy access to all the stages. In addition it had in house wardrobe facilities, technical workshops, a décor workspace which had, at the time, the biggest paint frame in the world.

The theatres

The State Theatre complex today operates and manages six theatre spaces in which seating capacities range from 120 to 1300 seats.

The Opera House

This theatre is the biggest one in the complex and seats 1,327 audience members in the continental seating arrangement. The main stage uses five lifts to take the décor onto the workshop floor 10m below or raise it 3m above the stage floor into the wings. The stages lie in the form of a cross with the top one fitted with a revolve. The orchestra pit has room for 110 players and the conductors’ podium can be mechanically set. The lighting box is 55m in height and probably the highest of its kind in the world.This is the largest of six theatres, seating 1,300 patrons on three levels including a balcony. It has an orchestra pit that can accommodate up to 60 musicians. The size of the orchestra pit can vary by adjusting the back wall of the pit.

The seating has been arranged to have excellent views of the stage from any vantage point. Continental style seating has been adopted, which means there are two entrance/exit doors for every four rows of seats to facilitate the entrance and exit of patrons.

The Drama

This theatre is a smaller version (almost exact replica) of the Opera Theatre and it seats 712 audience members. The orchestra pit seats 45 players. The Drama Theatre with continental style seating for 640 on one level. An orchestra pit, which can accommodate up to 40 musicians, also makes it a suitable venue for smaller opera or musical productions.

It has three foyer levels. Ground floor foyer with an Art Gallery and conference facility; a main foyer with refreshment centres and a balcony mezzanine.

The Studio

The Studio seats 150 people and although its main function is to house puppetry plays it also plays host to small musical galas, a seminar space and it is also used as a recording studio for the PACT symphony orchestra.

The Momentum

A flexible venue opened at the State Theatre in March 1984 by PACT, who intended to use it for experimental work. Their first production was Graffiti 84, contributed to by Robert Kirby in 1984.

Also referred to as the Momentum Theatre (named after the insurance company that sponsored the construction).

The Rendezvous

Also referred to as the Theatre Rendezvous, the venue has seating for 260 patrons and is situated off the car park on the upper level.

Both the theatre and bar area of The Rendezvous was later revamped, with a new modern interior that allows for the use of the venue for cabarets, jazz recitals, small and one-man shows. It is also used as a venue for private functions and presentations

Later re-named the Intimate Theatre.

The Arena

Also referred to as the Arena Theatre, this is the complex's third largest theatre, can double as the main opera rehearsal hall.

There is no set seating in the Arena except for the 88seats on the gallery. Movable and collapsible seating units can provide a further 200 seats for patrons.Fully equipped computerised lighting and sound control rooms form part of this highly sophisticated theatre.

History

The opening season in the State Theatre Pretoria (1981)

The first director of the State Theatre was Rodney Philips and under his guidance the complex was formally opened in 1981 with the first words on the stage being spoken by veteran Afrikaans/English actor Siegfried Mynhardt, followed by an opening production called Applause, devised and directed by Anthony Farmer.

A enormously ambitious programme of extravagant theatre then followed in the first season, including a production of the verse drama Germanicus by N.P. van Wyk Louw, Arthur Miller’s After the Fall, the folk drama Ampie by Jochem van Bruggen, P.G. du Plessis's Siener in die Suburbs, Adam Small's Kanna hy kô hystoe, Kismet, The Great Waltz, Joseph and the Amazing Technicolor Dreamcoat Peter Shaffer’s The Royal Hunt of the Sun, A Midsummer Night’s Dream and Eduardo de Filippo's Filumena, Eric Smith's puppet show called Eric’s Puppet Company, and Andrew Lloyd-Webber and Tim Rice's Evita.

An exhibition on the history of South African theatre was also mounted for the occasion, compiled by Astrid Schwencke and the staff of the Centre for South African Theatre Research (CESAT) of the Human Sciences Research Council.

Production history (1982 to 1994)

1982: PACT staged William Gibson’s Monday After the Miracle (the sequel to The Miracle Worker) starring Sandra Duncan and Pamela Gien under direction of François Swart at the State Theatre in 1982. Aubrey Berg’s production of Tennessee Williams’ Cat on a Hot Tin Roof starring Lena Ferugia, Ron Smerczak and Victor Winding was staged here by PACT in 1982 before the production moved to the Alexander.

1983: William Egan directed an Afrikaans translation of The Taming of the Shrew called Die Vasvat van ‘n Feeks starring Marius Weyers and Sandra Prinsloo for PACT at the Pretoria State Theatre in February 1983. PACT also presented Sheridan’s The Rivals starring Pauline Bailey, John Hussey, Wilson Dunster, James White, Pamela Gien and John Lesley directed by Michael Atkinson here in March 1983. PACT revived Die Swerfjare van Poppie Nongena starring Nomsa Nene and directed by Marius Weyers here in August 1983 before moving the production to the Alexander. Taubie Kushlick staged The Best of Brel here for PACT in 1983 before it moved to the Leonard Rayne. PACT staged The Merry Widow starring Roberta Palmer and Gé Korsten and directed by Neels Hansen in December 1983.

1984: A new venue called the Momentum Theatre opened here in March 1984 and PACT announced it would be used for experimental work. In December 1984 Anthony Farmer directed Showboat starring Bess Arlene, Mayo Miza with Ed Barrett and Pieter Niemann alternating the role of Gaylord Ravenals.

1986: In December 1986 The King and I starring Joe Stewardson and Judy Page was staged in the Momentum.

1987: Marius Weyers and Sandra Prinsloo under François Swart’s direction starred in an Afrikaans translation of Hamlet here for TRUK in 1987. All the performing arts councils jointly staged The Great Waltz under David Matheson’s direction with choreography by Geoffrey Sutherland in 1987. It opened here before touring to all the major cities.

1988: Gibson Kente’s musical Sekunjalo, the Naked Hour was staged in the Momentum in September 1988.

1989: Max Collie performed here in 1989. Also in 1989 PACT, NAPAC and PACOFS presented Lerner and Loewe’s Camelot here in 1989. In 1990 PACT staged an Afrikaans version of King Lear in the Momentum and PACT, PACOFS and NAPAC presented My Fair Lady here.

1991: Seven Brides for Seven Brothers was a combined performing arts councils production staged in the Momentum in January 1991. Later in 1991 Lerner and Loewe’s Brigadoon was staged here.

1992: PACT staged Romeo and Juliet here in 1992. François Swart’s production of Gigi was staged here in 1992.

1993: Lisa Kent’s production of Me and My Girl was staged here in 1993.

1994: PACT presented Dalene Matthee’s Fiela se Kind here in 1994. Charles Fourie’s Don Gxubane Onner die Boere was staged at the Arena Theatre in 1994.

New management and production history (1995-2000)

Management

In August 1995, the internationally renowned jazz trumpeter Hugh Masekela was appointed Assistant CEO of the State Theatre under CEO Louis Bezuidenhout.

In May 1999, Spoornet, a division of the Transnet Group, announced a sponsorship of R1,5 million a year to the State Theatre for the next five years. The theatre was renamed the Spoornet State Theatre and Spoornet’s assistant general manager, Japan Pohlwana, would serve on the State Theatre Board of Directors. In the same month Jerry Mofokeng, theatre director, was appointed as the State Theatre’s new Artistic Director.

In June 2000, the State Theatre was closed by the Minister of Arts and Culture, owing to extreme financial difficulties and an investigation into corruption by the Ministry.

Productions

Geoffrey Sutherland, Andrew Botha and Graham Scott’s production of Queen at the Opera was staged here from November 1996 to January 1997. Pieter Fourie's Ek, Anna van Wyk, directed by Marthinus Basson, performed in the Momentum Theatre in 1999.

New board (2000)

The Minister, Dr Ben Ngubane, announced the new State Theatre board in July 2000, to be led by Welcome Msomi, creator of Umabatha in the 1980s, who had been appointed chairman. The other members were Walter Chakela (chief of the Windybrow complex in Johannesburg), Doreen Nteta (CEO of the National Arts Council), Christopher Seabrooke (a board member of Business and Arts South Africa (Basa)), Edmund Radebe (chief of the Playhouse Company in Durban), Bongani Tembe (head of the orchestra at the Playhouse), Mike van Graan (Artscape consultant and well-known arts commentator), Jay Pather (lecturer in the Arts), Mannie Manim (founder member of the Market Theatre), Themba Wakashe (from DACST), Carol Steinberg (advisor to Dr Ngubane) and Sikkie Kajee (administrator of the State Theatre).

Although the State Theatre was still officially closed or “mothballed” and not operating as before, the new board decided that the facilities would be available for hire to production companies and entrepreneurs until its official re-opening in April 2001. The government would continue funding the maintenance and general upkeep of the building, but would not be subsidising the productions. This opportunity was immediately taken up by the independent company Maestro Entertainment Holdings, chaired by Chris Lodewyk. He leased the two main theatres at the State Theatre for November and December 2000 to stage three shows: The Nutcracker ballet, a musical revue titled It’s Not Where You Start, and the choral show The Singing Christmas Tree. The undertaking ended, however, in failure. The run of It’s Not Where You Start was closed early and Lodewyk declared that the production was costing Maestro in excess of R80 000 a week to keep on stage - but bookings for the entire run were only R50 000. The Nutcracker drew 40% audiences and The Singing Christmas Tree sold just over 100 tickets per night for the 1 300-seat Opera Theatre. In the end Maestro claimed to have suffered a loss of almost a million rand. Although Lodewyk denied it, the failure was blamed on high ticket prices and on poor marketing and publicity.