Theatre Design & Technology - Oct 1966 - 36

John S. Hayes

I. R. CODE: presentation - multi-purpose

Perhaps I am a little prejudiced because our theatre began
this way at Stratford, but I very firmly believe that a theatre of any stature and character cannot be designed by
an architect alone. In other words, an architect cannot
work alone to design a theatre, nor can an architect work
with tech,lOlogical people, planners and consultants, without the man that has the motives and the creation of
that theatre at heart.

We have had many problems, and here are some of them:
I would like to see the possibility of a grid of some kind
over the stage proper. For instance, we have occasions
when we want to drop a chandelier or something over the
stage. We have nothing that we can use in any way for
a grid over the stage, though I think that other theatres
are inventing systems for the open stage. Even if there
was a ten foot area where you could fly th ings in and out
it would be extremely useful. At the moment it is almost
impossible.

Obviously at Stratford, Sir Tyrone Guthrie (from his experience with Shakespearean productionl gave his impetus
to creation of our open stage theatre. We had a happy
joining of creator and architect.
I want to make this quite clear because it is a premise
that our present artistic director Michael Langham holds
very strongly, and it is very important. I think a lot of
mistakes are made if it is not carried through.
I would like for a few moments--because for the last ten
years I have been involved in all the productions at
Stratford--to tell you some of the things that I think may
be wrong there, or rather some of the things which, if
improved, would be helpful to the production team.
I suppose the most important thing in any theatre is the
relationship between the actor and audience, and we certainly have a very close one at Stratford. One day Eric
Christmas was standing in the "gutter" during a performance. (At Stratford the gutter is the perimeter that runs
round the stage, and is where the peasants gather while
the nobles usually stand on the top stage level.l While
Eric stood there he suddenly felt a lady holding onto his
costume. As he turned round she leaned to her neighbor and said, "Yes, my dear, it is cut on the bias."
This business of having the audience right in your lap has
its dangers!

THE STAGE OF THE STRATFORD FESTIVAL THEATRE, ONTARIO
Tanya Moisewitsch (centre), designer of the dramatic apron stage, is
seen with Brian Jackson. associate designer, and Michael Langham,
the Festival's Anistic Director. Photo: Peter Smith. Stralford.

Another thing I would like to see is a revolve at the back
of the stage. We tried when we changed the stage some
years ago to make this addition. We wanted at that time
to put in a revolve of some kind, because when you are
doing a play of Chekov, for instance, as we did last year,
it is very hard to mask the balcony.
At Minneapolis, they are able to bring on a truck through
the back wall, which opens. We can't do anything like
that; we have to send our extras in their peasants' costumes to change the set in the interval. I wish we could
get the whole set off with a revolve. Of course, this is
a very expensive business to install, but it would improve
the productions immediately.
Another problem we have is a shortage of storage space.
There is an enormous waste of space under the auditorium, which could be well used for this purpose.
I was asked to try to get a jeep up one of the vomitories
in one production. The angle at Stratford coming up from
below is most acute, and the area of entrance so small
that these vomitories are most limiting.
Another area that needs improvement tremendously, and
was a great mistake in the theatre when it was built,
is the lighting setup. If you visited Stratford and went
up into the perimeter of the ceiling, you may have noticed the error: the electrician actually has to crawl under
the catwalk to focus the lights. I sincerely hope that a
complete renovation of the theatre's ceiling can be accomplished, not to make the lighting tremendously complicated, but to eradicate this very great error. The lighting is also much too limited. We only have eighty outlets where we should have at least one hundred twenty.
We also lack an adequate patching system.
From very long experience, I think the wardrobe should
be a rectangular room, and not broken up. This is simply
because the control is much better this way. At Stratford we have smaller rooms which are divided, and i
you are working on a repertoire with a number of productions, you want to work on them as a unit, not as
separate entities. There is a great deal of difficulty in
having the rooms divided.
We haven't got a proper painting room and dye area.
Many other renovations have to come. I have noted briefly a few that I would like to see happen to the stage at
Stratford.

36

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US ITT

I

THEATRE DESIGN AND TECHNOLOGY



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