In 1766, over one hundred philanthropic merchants, lawyers and politicians clubbed together to open an illegal, back-street theatre, down an alley and through a courtyard off King Street in the Bristol docks district. Some people were appalled: they believed the theatre ran the risk of ruining the morals of our youth, impoverishing our tradesmen and artisans, promoting the arts of intrigue and of seducing the innocent, reducing many perhaps to bankruptcy, injuring the credit of others and diffusing a habit of idleness, indolence, and debauchery throughout this once industrious and virtuous city.
In 1778, King George III granted the theatre a Royal Licence. Thus the new theatre in Bristol's King Street became one of a number of Theatre's Royal, formally embraced by the establishment.
Throughout the 19th century, the theatre enjoyed mixed fortunes. By the early 20th century, the energy of the city had moved away from the docks and up the hill to the fashionable residential areas.
By the Second World War, the theatre was in decline. However, surviving the bombing of Bristol's city centre, it was saved for the nation by a coalition of civic, corporate and citizen lobbyists.
Then, in 1943, the theatre became Britain's first state-subsidised theatre. And in 1946 it gained its first resident company, an off-shoot of London's Old Vic Theatre, hence a new name: Bristol Old Vic.
In 1972 the theatre opened its Studio Theatre and additional front-of-house areas incorporating the 18th-century guildhall, the Coopers Hall.
Now it enters a new era, in a city excited by urban renewal and enjoying a cultural renaissance. The spirit of its founders and the commitment of the state are the inspiration behind the Bristol Old Vic. It is also part of the growing network of national theatres throughout Europe.
Appearing this month in 2002
Title: Betrayal Author: Harold Pinter