Theatre Royal
Recharging Australia's oldest continually-working theatre.
Theatre Royal has played many leading roles in its time. From local landmark to Australia’s oldest continually working theatre, for over 185 years it has faithfully served, inspired and supported the people of lutriwata/Tasmania.
After the recent addition of ‘The Hedberg’, an architecturally-designed, multi-disciplinary theatrical space adjoining the theatre’s original Georgian-era structure, the Theatre Royal was set to take on a new role as Tasmania’s premier contemporary performing arts venue. With this came the opportunity to challenge the existing stigmas surrounding “the theatre”, and move away from its “old” foundations by incorporating and embracing a future that was altogether more open; to new audiences and new creative viewpoints.
In order to facilitate this shift in direction, Theatre Royal needed an identity that would best reflect its newfound sense of purpose and invited For The People to help tell their story of transition and transformation.
Arts & Culture Brand Strategy Brand Identity Brand Voice Typeface Design
Theatre Royal
Recharging Australia's oldest continually-working theatre.
Theatre Royal has played many leading roles in its time. From local landmark to Australia’s oldest continually working theatre, for over 185 years it has faithfully served, inspired and supported the people of lutriwata/Tasmania.
After the recent addition of ‘The Hedberg’, an architecturally-designed, multi-disciplinary theatrical space adjoining the theatre’s original Georgian-era structure, the Theatre Royal was set to take on a new role as Tasmania’s premier contemporary performing arts venue. With this came the opportunity to challenge the existing stigmas surrounding “the theatre”, and move away from its “old” foundations by incorporating and embracing a future that was altogether more open; to new audiences and new creative viewpoints.
In order to facilitate this shift in direction, Theatre Royal needed an identity that would best reflect its newfound sense of purpose and invited For The People to help tell their story of transition and transformation.
Arts & Culture Brand Strategy Brand Identity Brand Voice Typeface Design
Theatre Royal
Recharging Australia's oldest continually-working theatre.
Theatre Royal has played many leading roles in its time. From local landmark to Australia’s oldest continually working theatre, for over 185 years it has faithfully served, inspired and supported the people of lutriwata/Tasmania.
After the recent addition of ‘The Hedberg’, an architecturally-designed, multi-disciplinary theatrical space adjoining the theatre’s original Georgian-era structure, the Theatre Royal was set to take on a new role as Tasmania’s premier contemporary performing arts venue. With this came the opportunity to challenge the existing stigmas surrounding “the theatre”, and move away from its “old” foundations by incorporating and embracing a future that was altogether more open; to new audiences and new creative viewpoints.
In order to facilitate this shift in direction, Theatre Royal needed an identity that would best reflect its newfound sense of purpose and invited For The People to help tell their story of transition and transformation.
Arts & Culture Brand Strategy Brand Identity Brand Voice Typeface Design
Future. Classic.
The identity finds inspiration in the tensions that exist between these two uniquely contrasting yet complimentary buildings, and the stories found within. It is a juxtaposition of the classic and the contemporary, speaking to the theatre’s intent: to create a space that invites in, and embraces differences within the theatre. To succeed in this, Theatre Royal needed their identity system to have the ability to present the shows, works and experience of being at the theatre, as well as the varying perspectives innately tied within and alongside them in equal measure. The visual and verbal expression of the identity is a deliberate manifestation of this, celebrating the juxtaposition of Theatre Royal’s storied past, with its exciting future.
Future. Classic.
The identity finds inspiration in the tensions that exist between these two uniquely contrasting yet complimentary buildings, and the stories found within. It is a juxtaposition of the classic and the contemporary, speaking to the theatre’s intent: to create a space that invites in, and embraces differences within the theatre. To succeed in this, Theatre Royal needed their identity system to have the ability to present the shows, works and experience of being at the theatre, as well as the varying perspectives innately tied within and alongside them in equal measure. The visual and verbal expression of the identity is a deliberate manifestation of this, celebrating the juxtaposition of Theatre Royal’s storied past, with its exciting future.
Future. Classic.
The identity finds inspiration in the tensions that exist between these two uniquely contrasting yet complimentary buildings, and the stories found within. It is a juxtaposition of the classic and the contemporary, speaking to the theatre’s intent: to create a space that invites in, and embraces differences within the theatre. To succeed in this, Theatre Royal needed their identity system to have the ability to present the shows, works and experience of being at the theatre, as well as the varying perspectives innately tied within and alongside them in equal measure. The visual and verbal expression of the identity is a deliberate manifestation of this, celebrating the juxtaposition of Theatre Royal’s storied past, with its exciting future.
TR Facade: From convention to contemporary
TR Facade is a custom, mixed-case, modular display typeface, inspired by the panelled, opalescent facade, and interlocking forms of ‘The Hedberg.’ It is intentionally untraditional in appearance and establishes the foundation of a strong, contemporary graphic language for the theatre. The mixed-case usage is an important addition to how the theatre can communicate, embracing the lowercase conventions used within palawa kani, the Aboriginal language of lutruwita/Tasmania, and critically allowing Theatre Royal to correctly write ‘nipaluna’ (the name of country in which the city of Hobart is situated).
TR Facade: From convention to contemporary
TR Facade is a custom, mixed-case, modular display typeface, inspired by the panelled, opalescent facade, and interlocking forms of ‘The Hedberg.’ It is intentionally untraditional in appearance and establishes the foundation of a strong, contemporary graphic language for the theatre. The mixed-case usage is an important addition to how the theatre can communicate, embracing the lowercase conventions used within palawa kani, the Aboriginal language of lutruwita/Tasmania, and critically allowing Theatre Royal to correctly write ‘nipaluna’ (the name of country in which the city of Hobart is situated).
TR Facade: From convention to contemporary
TR Facade is a custom, mixed-case, modular display typeface, inspired by the panelled, opalescent facade, and interlocking forms of ‘The Hedberg.’ It is intentionally untraditional in appearance and establishes the foundation of a strong, contemporary graphic language for the theatre. The mixed-case usage is an important addition to how the theatre can communicate, embracing the lowercase conventions used within palawa kani, the Aboriginal language of lutruwita/Tasmania, and critically allowing Theatre Royal to correctly write ‘nipaluna’ (the name of country in which the city of Hobart is situated).
More than a building for hire
Over time Theatre Royal's approach to communication had wrongly led many of their audience to believe they were no more than a building for hire. They needed to regain the awareness and recognition of their role as not only curators and producers, but also youth educators and supporters of the artists themselves. Acknowledging these flexible needs, the brand identity system was designed to scale between brand-led communications and production-led communications, allowing it to have presence on its own, and also be complementary and supportive to hero productions. It can seamlessly shift between the two, or strike the perfect balance by adjusting the prominence of the wordmark, monogram, messaging and colour, all while utilising custom typeface TR Facade across the spectrum. Further, the colour palette of Flame Red, Abalone Shell and Golden Banksia, is inspired by an artwork integral to the venue – a visual interpretation of the story of The Dance of the Banksia Wicks — a collaborative work by Liminal and Tasmanian Aboriginal artist Michelle Maynard.
More than a building for hire
Over time Theatre Royal's approach to communication had wrongly led many of their audience to believe they were no more than a building for hire. They needed to regain the awareness and recognition of their role as not only curators and producers, but also youth educators and supporters of the artists themselves. Acknowledging these flexible needs, the brand identity system was designed to scale between brand-led communications and production-led communications, allowing it to have presence on its own, and also be complementary and supportive to hero productions. It can seamlessly shift between the two, or strike the perfect balance by adjusting the prominence of the wordmark, monogram, messaging and colour, all while utilising custom typeface TR Facade across the spectrum. Further, the colour palette of Flame Red, Abalone Shell and Golden Banksia, is inspired by an artwork integral to the venue – a visual interpretation of the story of The Dance of the Banksia Wicks — a collaborative work by Liminal and Tasmanian Aboriginal artist Michelle Maynard.
More than a building for hire
Over time Theatre Royal's approach to communication had wrongly led many of their audience to believe they were no more than a building for hire. They needed to regain the awareness and recognition of their role as not only curators and producers, but also youth educators and supporters of the artists themselves. Acknowledging these flexible needs, the brand identity system was designed to scale between brand-led communications and production-led communications, allowing it to have presence on its own, and also be complementary and supportive to hero productions. It can seamlessly shift between the two, or strike the perfect balance by adjusting the prominence of the wordmark, monogram, messaging and colour, all while utilising custom typeface TR Facade across the spectrum. Further, the colour palette of Flame Red, Abalone Shell and Golden Banksia, is inspired by an artwork integral to the venue – a visual interpretation of the story of The Dance of the Banksia Wicks — a collaborative work by Liminal and Tasmanian Aboriginal artist Michelle Maynard.
Opening the 2023 season
2023 will see Theatre Royal present 25 diverse projects as part of their new season: ranging from ambitious, large-scale festivals and flagship productions in the historic Theatre Royal theatre; to the new and experimental works forged in The Hedburg’s Studio Theatre. While the program is diverse, there are unifying elements – it is an investment in the future of Tasmanian storytelling. Half of the program showcases Tasmanian works and the theatre’s First Nations program profiles several projects originating in lutruwita/Tasmania, with Nathan Maynard’s ‘At What Cost?’ an unmissable centrepiece for the year. Powerful female-led works showcase compelling, relevant stories and virtuosic talent. Meanwhile, a third of the program features work for children and families, including school holiday programs profiling productions by Tasmanian companies.
Opening the 2023 season
2023 will see Theatre Royal present 25 diverse projects as part of their new season: ranging from ambitious, large-scale festivals and flagship productions in the historic Theatre Royal theatre; to the new and experimental works forged in The Hedburg’s Studio Theatre. While the program is diverse, there are unifying elements – it is an investment in the future of Tasmanian storytelling. Half of the program showcases Tasmanian works and the theatre’s First Nations program profiles several projects originating in lutruwita/Tasmania, with Nathan Maynard’s ‘At What Cost?’ an unmissable centrepiece for the year. Powerful female-led works showcase compelling, relevant stories and virtuosic talent. Meanwhile, a third of the program features work for children and families, including school holiday programs profiling productions by Tasmanian companies.
Opening the 2023 season
2023 will see Theatre Royal present 25 diverse projects as part of their new season: ranging from ambitious, large-scale festivals and flagship productions in the historic Theatre Royal theatre; to the new and experimental works forged in The Hedburg’s Studio Theatre. While the program is diverse, there are unifying elements – it is an investment in the future of Tasmanian storytelling. Half of the program showcases Tasmanian works and the theatre’s First Nations program profiles several projects originating in lutruwita/Tasmania, with Nathan Maynard’s ‘At What Cost?’ an unmissable centrepiece for the year. Powerful female-led works showcase compelling, relevant stories and virtuosic talent. Meanwhile, a third of the program features work for children and families, including school holiday programs profiling productions by Tasmanian companies.
Encore, please.
The disruptions of recent years have been transformative for the arts, and for the Theatre Royal. As a result, the theatre used this time to rethink and recalibrate its purpose. Embracing the change, the theatre responded by opening itself up to its artists, audiences and communities, leveraging and understanding its responsibility as a cultural centre to engage the past and the future by facilitating new ideas, new conversations and new experiences. With the 2023 season launch came the reveal of the refreshed identity, bringing local audiences and artists together to celebrate Theatre Royal's evolution as a true cultural leader for lutruwita/Tasmania. We'd like to congratulate Simon Wellington and all the team at Theatre Royal, and say a big thank you for the opportunity to play a part in the theatre's 185 year journey.
Encore, please.
The disruptions of recent years have been transformative for the arts, and for the Theatre Royal. As a result, the theatre used this time to rethink and recalibrate its purpose. Embracing the change, the theatre responded by opening itself up to its artists, audiences and communities, leveraging and understanding its responsibility as a cultural centre to engage the past and the future by facilitating new ideas, new conversations and new experiences. With the 2023 season launch came the reveal of the refreshed identity, bringing local audiences and artists together to celebrate Theatre Royal's evolution as a true cultural leader for lutruwita/Tasmania. We'd like to congratulate Simon Wellington and all the team at Theatre Royal, and say a big thank you for the opportunity to play a part in the theatre's 185 year journey.
Encore, please.
The disruptions of recent years have been transformative for the arts, and for the Theatre Royal. As a result, the theatre used this time to rethink and recalibrate its purpose. Embracing the change, the theatre responded by opening itself up to its artists, audiences and communities, leveraging and understanding its responsibility as a cultural centre to engage the past and the future by facilitating new ideas, new conversations and new experiences. With the 2023 season launch came the reveal of the refreshed identity, bringing local audiences and artists together to celebrate Theatre Royal's evolution as a true cultural leader for lutruwita/Tasmania. We'd like to congratulate Simon Wellington and all the team at Theatre Royal, and say a big thank you for the opportunity to play a part in the theatre's 185 year journey.
Credits
Recognition
A big thank you to to Dale, Paula, Simon and the whole team at Theatre Royal — you're custodians of a storied and sacred stage, and we very much appreciate you trusting us to take to it.
Strategy
James Cooper
Design
Jason Little, Mel Baillache, Joseph Dennis, Emma Turney
Account
Monique Tadrou
Theatre Royal Images
Rosie Hastie
Alistair Bett
Production Images
takara nipaluna - Jillian Mundy
Women of Troy - Brook Rushton
Prima Facie - Brett Boardman
Interloper - Hamish McCormick
The Motherload - Rebecca Thomson
At What Cost? - Daniel Boud
Ascent - Pedro Greig
Girls & Boys - Sam Roberts
Twelfth Night - Pierre Toussant
Borderlands - Albert Comper Photography
Awards
AGDA
Awards
Merit – Branding (Small Business)
Credits
Recognition
A big thank you to to Dale, Paula, Simon and the whole team at Theatre Royal — you're custodians of a storied and sacred stage, and we very much appreciate you trusting us to take to it.
Strategy
James Cooper
Design
Jason Little, Mel Baillache, Joseph Dennis, Emma Turney
Account
Monique Tadrou
Theatre Royal Images
Rosie Hastie
Alistair Bett
Production Images
takara nipaluna - Jillian Mundy
Women of Troy - Brook Rushton
Prima Facie - Brett Boardman
Interloper - Hamish McCormick
The Motherload - Rebecca Thomson
At What Cost? - Daniel Boud
Ascent - Pedro Greig
Girls & Boys - Sam Roberts
Twelfth Night - Pierre Toussant
Borderlands - Albert Comper Photography
Awards
AGDA
Awards
Merit – Branding (Small Business)
A big thank you to to Dale, Paula, Simon and the whole team at Theatre Royal — you're custodians of a storied and sacred stage, and we very much appreciate you trusting us to take to it.
Strategy
James Cooper
Design
Jason Little, Mel Baillache, Joseph Dennis, Emma Turney
Account
Monique Tadrou
Theatre Royal Images
Rosie Hastie
Alistair Bett
Production Images
takara nipaluna - Jillian Mundy
Women of Troy - Brook Rushton
Prima Facie - Brett Boardman
Interloper - Hamish McCormick
The Motherload - Rebecca Thomson
At What Cost? - Daniel Boud
Ascent - Pedro Greig
Girls & Boys - Sam Roberts
Twelfth Night - Pierre Toussant
Borderlands - Albert Comper Photography
Recognition
Awards
AGDA
Awards
Merit – Branding (Small Business)
Acknowledgement of Country
The For The People team are spread across the world – but the majority of us currently live on the land known most commonly today as “Australia”. This land has been home to designers, artists, storytellers and planners for tens-of-thousands of years – so our time contributing to these crafts constitutes only a near-infinitesimally small fraction of that history. It’s with profound admiration and deep respect, then, that we acknowledge Aboriginal and Torres Strait Islander peoples as the First Peoples of this country and extend that respect to Elders past and present. They shaped (and continue to shape) the history of this land, they cared for (and continue to care for) its natural environment, and they never ceded its sovereignty. It always was, and always will be, Aboriginal land.
Acknowledgement of Diversity
All fields are improved by diversity – but that's especially true for creativity. We welcome everyone – the neurodiverse, members of the LGBTQI+ community, all (legal working) ages, all ethnicities, all genders, parents, those from unconvential educational backgrounds, people with disability – because we believe both our work and our workplace are improved by diversity of thought and perspective, which can only truly come from diversity of culture and experience. Having said that, we also know we can't simply reap the benefits of diversity without reckoning with the inequities so often suffered by less represented communities. We work to be mindful of our biases, to incorporate proactive representation into our processes, and elevate marginalised voices in our work. It's a forever-ongoing–and–improving process – but it's non-negotiable when you're building an agency that's For The People.
Designed and built by For the People ©2025
Acknowledgement of Country
The For The People team are spread across the world – but the majority of us currently live on the land known most commonly today as “Australia”. This land has been home to designers, artists, storytellers and planners for tens-of-thousands of years – so our time contributing to these crafts constitutes only a near-infinitesimally small fraction of that history. It’s with profound admiration and deep respect, then, that we acknowledge Aboriginal and Torres Strait Islander peoples as the First Peoples of this country and extend that respect to Elders past and present. They shaped (and continue to shape) the history of this land, they cared for (and continue to care for) its natural environment, and they never ceded its sovereignty. It always was, and always will be, Aboriginal land.
Acknowledgement of Diversity
All fields are improved by diversity – but that's especially true for creativity. We welcome everyone – the neurodiverse, members of the LGBTQI+ community, all (legal working) ages, all ethnicities, all genders, parents, those from unconvential educational backgrounds, people with disability – because we believe both our work and our workplace are improved by diversity of thought and perspective, which can only truly come from diversity of culture and experience. Having said that, we also know we can't simply reap the benefits of diversity without reckoning with the inequities so often suffered by less represented communities. We work to be mindful of our biases, to incorporate proactive representation into our processes, and elevate marginalised voices in our work. It's a forever-ongoing–and–improving process – but it's non-negotiable when you're building an agency that's For The People.
Designed and built by For the People ©2025
Acknowledgement of Country
The For The People team are spread across the world – but the majority of us currently live on the land known most commonly today as “Australia”. This land has been home to designers, artists, storytellers and planners for tens-of-thousands of years – so our time contributing to these crafts constitutes only a near-infinitesimally small fraction of that history. It’s with profound admiration and deep respect, then, that we acknowledge Aboriginal and Torres Strait Islander peoples as the First Peoples of this country and extend that respect to Elders past and present. They shaped (and continue to shape) the history of this land, they cared for (and continue to care for) its natural environment, and they never ceded its sovereignty. It always was, and always will be, Aboriginal land.
Acknowledgement of Diversity