Supporting Performing Arts Collections
Association of Performing Arts Collections (APAC) is the membership organisation for professionals, specialists, and other individuals working with or interested in performing arts heritage in the United Kingdom and Ireland. APAC offers meetings, visits, symposia, study days, an email forum, working groups, and collaborative projects.
APAC advocates the widest possible engagement in performing arts heritage collections by the general public.
APAC is the UK’s
Subject Specialist Network for performing arts and has close links with SIBMAS, the international association for this sector.
Architect-engineer Edwin O Sachs on skeleton stage bridges during the remodelling of the Royal Opera House stage, 1900-1901. From: Edwin O Sachs Photographic Collection, Royal Opera House Collections
Drawing of Indian dancer Ritha Devi by artist Eilean Pearcey. © National Resource Centre for Dance
Mask for Christopher Bruce’s dance work ‘Ghost Dances’ (1981) for Rambert Dance Company, designed by Belinda Scarlett. From: Rambert Archive
Costume worn by Charles Kean as Hotspur in ‘Henry IV Part One’ 1850s. © Museum of London
Storyboard of ‘Henry V’ from Kenneth Branagh’s film adaptation, Renaissance Films, 1988. From: Shakespeare Institute Library, University of Birmingham
Maria Callas as Violetta in Act I of ‘La traviata’ (1957/58 revival) at the Royal Opera House. © Roger Wood Photographic Collection, Royal Opera House Collections
Anita Heyworth in ‘Fire or Spirit of the Bushfire’ (1926). Photograph: Thomas Longworth-Cooper. From: Natural Movement Archive, National Resource Centre for Dance
Playbill advertising the children’s pantomime ‘Babes in the Wood’ at the Lyceum Theatre, 24 December c.1913. From: Melville Collection, Special Collections & Archives, University of Kent
Exterior of the Royal Albert Hall at its opening on 29 March 1871. From: Royal Albert Hall Archive
Joseph Grimaldi’s clown suit, early 19th century. © Museum of London
Programme for the Oxford Theatre, 1911. From: The Theatres Trust
Choreographer Frederick Ashton’s message in one of G.B.L. Wilson’s car journeys visitors books. From: GBL Wilson Archive Collection, Royal Academy of Dance, Philip Richardson Library
Costume design by Jeannetta Cochrane for Yvonne Arnaud in ‘Love for Love’ by William Congreve, Phoenix Theatre, London, 1943. From: Central Saint Martins Museum and Study Collection
Novello Theatre, London. From: Cameron Mackintosh Ltd & Delfont Mackintosh Theatres Ltd
2011 ‘archival’ reconstruction of the 1934 W.B. Yeats/Ninette de Valois dance-drama ‘The King of the Great Clock Tower’. Photograph © Patrick Baldwin (2011). From: The Royal Ballet School Collections, White Lodge Museum
Scrapbook of theatre architect E.A. Woodrow, 1890s. From: The Theatres Trust
Toy theatre print of William Macready as Count Florinski in ‘The Exiles of Siberia’, published by O.Hodgson, 1831. From: Roy Waters Theatre Collection, Archives, Royal Holloway, University of London
Programme for the Guthrie Theater’s 2008 production of ‘The Secret Fall of Constance Wilde’ by Thomas Kilroy. From: Tom Kilroy Archive, James Hardiman Library, NUI Galway
Unidentified set design by Barry Kay, believed to have been created for a UK drama production, late 1950s/early 1960s. © Michael Werner, Barry Kay Archive
Drawing of Balinese dancers by artist Eilean Pearcey. © National Resource Centre for Dance
Drawing for model of Globe Playhouse, with section drawings by William Poel, 1897. From: University of Bristol Theatre Collection
1930s American Fairground poster. From National Fairground Archive. © University of Sheffield
Cover of the sheet music for ‘The Colleen Bawn Quadrille’, c.1861. From: Calthrop Boucicault Collection, Special Collections & Archives, University of Kent
Costume for David Paltenghi’s ballet ‘House of Cards’ for Ballet Rambert, designed by Leslie Hurry. From: Rambert Archive
Peter Pears, Andre Previn, Benjamin Britten, and Elisabeth Söderström rehearsing Britten’s song cycle ‘Our Hunting Fathers’ at Snape Maltings, 1976. Photographer: Nigel Luckhurst © Britten-Pears Foundation
Set design by Barry Kay for Kenneth MacMillan’s three-act ballet ‘Anastasia’ (1971), showing the imperial ballroom in Act II of The Royal Ballet’s production. © Michael Werner, Barry Kay Archive
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