The production veteran says the design evolved over time , but the core influence on the outcome was the need for a structure that is flexible enough to accommodate audiences in a range of formats : “ Due to changing event guidance , there are a lot of moving targets , so the objective was to make something that can be adapted to changing requirements and will also work after Covid .
“ We can accommodate any production that somebody wants to throw at us ; it ’ s a question of how flexible the artists are .”
Jake Berry
Keeping people apart “ The set-up is all boxes except for the floor seats . There are four levels and four entrances , so there ’ s no crosspollination of people when entering shows – at each entrance there are dedicated bathrooms , cloakrooms , merch stands and food and beverage outlets . So , instead of 2,000 people getting in each other ’ s way , you ’ re down to 500 and they are split into bubbles .”
He says the venue could be set up almost anywhere ; a city centre , a park or even a festival site : “ The basic structure is 40 metres square , and then you would have the infrastructure around it – so you ’ re really looking at an area of about half a soccer stadium that you need to take on .
“ A concrete pad would be advantageous , but you could set it up anywhere ; the possibilities are endless , the location just needs to be accessible .”
When it comes to accommodating the backstage requirements , Berry says that it can be built as a traditional production compound on one end of the structure or underneath a central stage : “ That is very much like an old theatre set-up , you go down the steps and there you have the dressing rooms and offices so you can have all the infrastructure contained within the 40-square-metre space .”
When it comes to moving the VT from one location to another , Berry says the structure is not suitable for single-night-per-location tours but is ideal for residencies : “ I ’ m in the business of moving large structures . On some of the tours I have worked on it has been like moving a mini-village around . This venue is a 40 metre by 40 metre structure that is 17 metres tall . So , it takes a lot of moving around but I would find it easy with the right team of people . Portability is something that Ric and I spent a long time looking at .”
New timelines With an estimated 14-day build time and around five days needed to break the venue down , the timelines are certainly longer than the average touring concert production , but Berry is confident that the venue will prove a popular option .
He says : “ I think 14 to 15 days to build a theatre is pretty damn good . Basically , once you ’ ve finished in one place you want a month before you open in another location .”
Asked what kind of productions he believes the VT is best suited to , he says time will tell . “ Bring it all on ; the world is our oyster ,” he says . “ We can accommodate any production that
somebody wants to throw at us ; it ’ s a question of how flexible the artists are . Would somebody who typically plays with a huge production get rid of it to sit down with their instruments and play a small intimate set to fans as part of a month-long run ?
“ I don ’ t think we know what we really can do until we have gone through all of this and find out what people really want , but I think that we can accommodate anyone .”
Naturally , the decisive factor in whether the new concept will have wings is the bottom line ; the cost of hiring a venue like this at a time when the events industry is more cashstrapped than ever .
Berry explains : “ The difference from a traditional venue is that they have been there for years and they ’ re already paid for . With the VT , the costs would have to be incorporated into the rent , so overall it ’ s a little more expensive but not exorbitant . Next to design , cost has been the most important consideration – you have to make it viable and affordable for a lot of people .”
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