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«We would never describe ourselves as theatre specialists,»

«[At its extremes, there's almost an element of set design to this type of work - the distinction between theatrical and architectural space starts to blur. Especially in cases like the temporary Almeida spaces, where Tompkins had just a few months and ?700,000 to transform empty shells into practicable, commercial venues.] The theatre technicians and set builders worked alongside our carpenters and builders, and there was a pretty seamless relationship, ... We were finishing the theatre as the dress rehearsals were going on, literally.»

«After an 8-8 start, it's a big accomplishment. It's all about these kids. Come tournament time, they really stepped it up.»

«[The Young Vic redevelopment was a natural fit for Tompkins' approach. The theatre's original designer, Bill Howell, also strove to work with his theatrical clients. The result was an auditorium that's still one of London's best loved, despite the fact that it was designed as a temporary breeze block structure, and, 35 years on, is surrounded by a virtual shanty town of leaking, rotting, cluttered and confined spaces. Just as Howell incorporated the tiled butcher's shop that still stood on the original bombed-out site, so Tompkins is retaining the butcher's shop and the essence of Howell's auditorium, although he's expanded its capacity by 200 people.] The holy grail of auditoria is more people into same space, ... It's like an electromagnet: the more coils you can get the more current you can generate.»

«[Two 15-year-olds interviewed the architects for the job and told them exactly what they wanted: in a word, playfulness. The auditorium is a horseshoe of red corrugated plastic and industrial metalwork.] An adult client for a 120-seat auditorium would never have come up with this, and I don't think we would have on our own either, ... We'd never have thought of making an elliptical theatre. It has some of the qualities of a Victorian playhouse, and a sense of glamour.»