Theatre Design & Technology - May 1969 - 10

to embrace the wide audience section. The full-length dramatic exposure of the beams enhances the desired "one
room" effect of the auditorium. The interior design and
decor is not luxurious, but it is bold and impressive.
The relationship between the audience and the stage is
pleasantly intimate, with the back row less than 40 feet
from the front edge of the stage. Psychologically, the stage
commands the attention of the audience. The aisles are wide
and the space between rows even more than is needed.
There is good audience circulation before and after events,
although intermissions are congested in the combination lobbyexhibition hall, which is much too small either as a lobby
or as an exhibit area.
Acoustics in the wood-trimmed concrete theatre are unusually
good for most purposes. Lectures can be delivered without
a public address system. Music is excellent from the audience position; performers, however, complain of a lack of
presence, a situation which has been corrected by the purchase of a portable baffle which clutters the stage but
makes it possible for the performers to hear themselves. The
convertible orchestra pit is recessed under the stage, blocking from the stage both the view of the conductor and the
sound of orchestral accompaniment. The step units that cover the pit are not motorized and require a crew of maintenance men a half-day to remove or replace.
As to its use for dramatic productions, the stage is at its
best when used for presentational productions. Both the
beauty of the building and the size of the stage beg for sets
sufficiently commanding to compl ement their surroundings
rather than be dominated by them. The suggestions of architects and theatre consultant that an open stage deemphasizes technical details and cuts production time and
costs has not been confirmed. Even costume costs have
risen because of the need for more authentic costumes to
be convincing at closer range.

Spectator's view
Fletcher)

of interior

(photo:

Russ Fraser-George

Scenery is the outstanding problem, both in construction
and handling. Since Roberts Theatre lacks loft and rigging,
in deference to cost and to confl ict with preconceived
structural design, all set pieces must be floor·based. The
extreme sight lines make masking side stage areas difficult
and require an increase in the use of costly and unwieldy
three-dimensional constructions. These are rarely reusable and,
in this particular case, impossible to store. A too-small
scene shop means that most work must be done on stage,
a special problem when the stage is constantly in use. Inadequate offstage space even makes it impossibl e to move
the masking units temporarily from full view when the audio
torium is scheduled for other events. When such problems
were suggested early in the planning, it was countered that
they could be solved by the use of projected scenery. Projections have indeed been used quite effectively in several
shows, but any single method of design would become unbearably tiresome with overuse.
Just as it was promised that Roberts Theatre's open stage
would de-emphasize scenery, it was likewise assured that
it would emphasize the actor, that such a stage would be
"actor-centered," The theory that an actor is more prominent on an open or thrust stage is a valid one if the aud ience
is steeply enough raked so that it sees him standing apart
from the scenery. The Roberts audience, however, is
scooped out of the base of the auditorium, rising gently so
that the back row is less than a foot above the level of the
stage. An audience so seated sees the actor almost at eye
level, so that he is as lost in scenery as he is on any
proscenium stage, if not more dwarfed because of the giant
cyclorama behind him.
Technical difficulties are and always will be overcome,
though. It is disappointing to buy them with a new building,
but the most important consideration to a theatre department



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1969

Contents
Theatre Design & Technology - May 1969 - 1
Theatre Design & Technology - May 1969 - 2
Theatre Design & Technology - May 1969 - 3
Theatre Design & Technology - May 1969 - Contents
Theatre Design & Technology - May 1969 - 5
Theatre Design & Technology - May 1969 - 6
Theatre Design & Technology - May 1969 - 7
Theatre Design & Technology - May 1969 - 8
Theatre Design & Technology - May 1969 - 9
Theatre Design & Technology - May 1969 - 10
Theatre Design & Technology - May 1969 - 11
Theatre Design & Technology - May 1969 - 12
Theatre Design & Technology - May 1969 - 13
Theatre Design & Technology - May 1969 - 14
Theatre Design & Technology - May 1969 - 15
Theatre Design & Technology - May 1969 - 16
Theatre Design & Technology - May 1969 - 17
Theatre Design & Technology - May 1969 - 18
Theatre Design & Technology - May 1969 - 19
Theatre Design & Technology - May 1969 - 20
Theatre Design & Technology - May 1969 - 21
Theatre Design & Technology - May 1969 - 22
Theatre Design & Technology - May 1969 - 23
Theatre Design & Technology - May 1969 - 24
Theatre Design & Technology - May 1969 - 25
Theatre Design & Technology - May 1969 - 26
Theatre Design & Technology - May 1969 - 27
Theatre Design & Technology - May 1969 - 28
Theatre Design & Technology - May 1969 - 29
Theatre Design & Technology - May 1969 - 30
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Theatre Design & Technology - May 1969 - 32
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