Theatre Design & Technology - Spring 2004 - 47
A view of the décor of the auditorium. The aim
was to maintain the decorative style of Robert
Adam, which was almost monochromatic and
filled with his characteristic design of circles
within rectangles.
A view of the dome now equipped with hidden
lighting equipment. The architects provided a
catwalk for ease in changing lighting fixtures.
A view of the restored auditorium. The dome is
dominant but no longer merely decorative.
they knew it. They recognized that it would take millions of dollars
to reclaim the Biltmore for their use and they immediately announced a fund raising campaign to bring the theatre back to life.
The famously landmarked interior had been decimated by a
fire, suspiciously started, some thought, by squatters who
broke through the locks to find shelter from the wind, rain,
and snow. Vandals and scavengers finished the job by ripping
out fixtures and anything else that would fetch a few dollars.
When Duncan Hazard saw the state of the theatre, his jaw
dropped and his heart stopped, but he recognized the potentiality of the house. He saw through the rubble and detritus that
the orchestra floor was far too long, a result, no doubt of pro46
S P R I N G
2 0 0 4
TD & T
ducers' and successive owners' pushing the wall behind the
last row farther back to create more seating. He was surprised
by size of the one balcony which actually contained almost as
many seats than as the orchestra floor. He realized that he
would have to alter the proportions of the house to fit the expectations of MTC. It would no longer be just a preservation
but a recreation of the house based on a different concept.
Hazard and an assistant put together a white foam core model
(on spec) and sent it up to MTC's Lynne Meadow without fanfare or explanation. When she saw it, she knew that he was on
the right track and called him immediately to tell him to go
forward with his idea. Hazard's office began to draw up plans
for the reconstruction while MTC was still in negotiations with
the owners of the property.
Based on his discussions with Meadow and Grove and relying on his own intuition Hazard proposed making the following alterations in lieu of a formal program:
* Move the back wall of the orchestra toward the stage into
the house which would eliminate several rows of seats. (See
red line on cross-section drawing)
* Use the space created by moving the wall into a multi-story
"tower" to encompass a patron's lounge, reception rooms,
rest rooms and a control room.
* Make the house intimate to embrace the audience by
reconfiguring the relationship between the stage and auditorium.
* Create acoustics for normal (non-amplified) sound as
stipulated by Lynne Meadow.
What Hazard planned made use of every square inch of
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2004
Contents
Theatre Design & Technology - Spring 2004 - 1
Theatre Design & Technology - Spring 2004 - 2
Theatre Design & Technology - Spring 2004 - 3
Theatre Design & Technology - Spring 2004 - Contents
Theatre Design & Technology - Spring 2004 - 5
Theatre Design & Technology - Spring 2004 - 6
Theatre Design & Technology - Spring 2004 - 7
Theatre Design & Technology - Spring 2004 - 8
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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