We are such stuff as dreams are made on

In 1990, John Bell AO OBE set out to execute his ambitious vision. Initially, Bell Shakespeare was set up under the umbrella of the Australian Elizabethan Theatre Trust, an entity that began in September 1954. It was a non-profit public company aimed at fostering national drama, opera, and ballet companies employing local Australian artists. In the 1990s, it functioned as a conduit for tax-deductible donations to arts organisations, which many arts organisations couldn’t receive directly at the time. By setting themselves up in this way, Bell Shakespeare would have greater capacity to grow because their supporters could claim their contributions as a tax deduction.

The collapse of the trust

The first major shock Bell Shakespeare faced was the collapse of the Australian Elizabethan Theatre Trust in 1991. This happened after the Australian Government made it possible for arts organisations to receive tax-deductible status themselves, rendering the trust obsolete. 

Faced with this complication, Bell Shakespeare had the option of going under alongside the trust or finding a way to pull itself out from under it. In order to continue, it was essential for them to find additional supporters, obtain tax-deductible status and assemble a new Board to lead them through the process.

Virginia Henderson was one of the few original Board Directors who wasn’t associated with the trust. She also had a wealth of fundraising experience gained from her time with Opera Australia, positioning her as the perfect candidate to become the new Board Chair and join John and Tony in leading them through this crisis. As a team, they set about raising money to fund the independent Bell Shakespeare. 

Between John, Tony and Virginia, Bell Shakespeare was able to gain the tax-deductible status they needed and using their respective skills, they began to build their support base. The three worked well as a team, each bringing a different essential element. Tony Gilbert was the major financial supporter and had great faith in John. John Bell was the visionary and creative leader, and Virginia Henderson brought her skills as a fundraiser. 

The circus tent

Despite early roadblocks, Bell Shakespeare was able to launch its first season, beginning with Hamlet and The Merchant of Venice.

Instead of launching in a traditional theatre, the company opted for a more obscure approach. In an effort to save money and create a space that was accessible to all people, they hired a circus tent for the performances. The intent was to align with both John’s vision and Shakespeare’s true intention for his work as entertainment for the masses, rather than exclusive productions for the white and wealthy.

The circus tent was rough, playful and free from the ornate bells and whistles of traditional theatre spaces. Spatially, it also resembled Shakespeare’s own performance venue, The Globe Theatre. Both are round and are designed for audiences to watch from three sides, and they include the everyday person alongside VIPs.

Memories of the circus tent paint a picture of a sauna of sorts, with the heat of Sydney’s 40-degree summers getting trapped under the canvas. In contrast to the unspectacular venue, VIPs, like former prime minister Gough Whitlam, sat in the audience in black tie.

Bell Shakespeare’s supporters reflect on their experience in the circus tent:

The circus tent made Bell Shakespeare’s entrance into the theatre scene memorable and helped connect the company with significant life members, like David Pumphrey. In time, the circus tent presented more challenges than benefits, like poor acoustics and restricted sightlines. After only a few seasons, the company moved on, but its presence remains an important part of the company’s beginnings. 

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