Theatre Design & Technology - May 1974 - 8

is not hiding in the basement. Its foyer is 27 feet above
the street, with the theatre itself 36 feet above ground
level. Michael Percival's major concern was to create a
playhouse which would be equally viable for theatre
events and conferences of various kinds. To achieve this,
he designed a revolve which contains almost a third of the
theatre's floor space. In four minutes, this 60 foot
diameter revolve can change the area from a conventional
auditorium seating arrangement (Figure 2) into what
might be called a theatre-in-the-ellipse. When a button is
pushed, the first eight rows of orchestra seating turn
through 180" to provide seats facing the fixed orchestra
and balcony seating (Figure 3). Each of the first eight
rows is on a separate screw-jack operated elevator,
permitting a steeper angle of rake when in the elliptical
arrangement than in the regular raked orchestra position.
Opposing the rows of seats on the large revolve is the
major part of the stage. When the ellipse is formed, the
moveable seat rows are almost against the back wall of the
stage-house, and the stage-with orchestra pit and a
smaller stage revolve-is between the ban ks of seats. The
orchestra pit has three elevators so that the number of
musicians used can be varied. It also provides entrance
possibilities when no musicians are in the pit.
To make the house more flexible, there is no fixed
proscenium. Yet when the seats are conventionally placed,
moveable side panels, adjustable overhead ceiling louvres,
and borders can easily frame a stage-picture. When the
seats are revolved, the effect of arena theatre is enhanced
by continuing the fixed auditorium walls around the eight
rows with the moveable panels which can then completely
screen off the wings and the backstage wall. The
adjustable parallel ceiling louvres which hang permanently
over the auditorium side of the revolve can open to permit
some flown props and scenery. A grid above these
supports ten electric winches for this purpose. The
remainder of the louvres, which complete the tipped circle
above the arena theatre space, are flown over the main
stage when not in use. There are 48 line sets in the main
stage's counterweight system.

The moveable side panels-with the·exception of several
speech-reflective units at either side of the
auditorium-are sound-absorptive and rich brown in color.
Their reverse contains a strong, simple iron frame,
complete with ladder and lighting mounts. The panels are
suspended from overhead tracks. One man, says Percival,
can actually move them, but to avoid any damage through
bumping into each other or to scenery, another man is
needed to help gu ide them into place. F or the rounded
parts of the wall, closing off the stage's wing space, the
wall units are suspended from a series of track sections, all
of which are joined to a tall, sturdy metal stalk. Out of
the way, at the side of the wing space, they seem to hang

8

~

as from a series of gallows. In place, they hang side by side
from an arc of track made up of the sections.
Though most of these wall units are absorptive, the
acoustics for both speech and music have proved excellent
withou t recou rse to reflective su rfaces or an orchestra
shell. Dr. Larsen Jorden of Denmark was the acoustic
consultant.
Percival
explains
that
lighting
positions,
air-conditioning-the conduits and ducts are exposedcontrol and projection booths, plus moveable seat and
wall unit considerations dictated the design of the
adjustable ceiling. The ceiling panels are convex in section,
reflecting sound in either of the two main stage positions,
and in both directions. Those which are permanently hung
can be adjusted for various lighting angles.
"There are three lighting bridges (Figure 4)," Percival
points out. "A semi-circular bridge runs round the edge of
the adjustable ceiling, with lights mounted to throw
between it and the fixed ceiling. The ends of the
semi-circle are joined by a straight bridge above the
forestage. This is used for lighting both in-the-round and
proscenium, the angles of the ceiling louvres being set
accordingly. The main lighting gallery forms the edge of a
further ceiling plane in front of the lightil'lg and
sound-control and projection rooms. More lighting is
mounted at the back of the auditorium to provide for the
flatter angles, together with three banks of lights on the
edge of the circle. The front-of-house lighting is
completed by booms mounted on the back of the
adjustable wall panels at each side of the auditorium ... "
Cubitts Ltd. were the contractors, with W. V. Zinn and
Associates acting as consulting structural engineers.
Several problems were encountered in building the 100
feet wide and 105 feet high auditorium. It had to
accomodate over 900 seats without any supporting pillars.
The floor slab of the theatre was designed to take a load
of 120 Ibs. per square foot, but, during construction, it
became necessary to impose a load of 2,500 Ibs. per
square foot. To achieve this, the auditorium was spanned
with a pair of 60 foot box girders supported on two
towers. The girders supported additional prefabricated
trusses bearing off at 90° and imposing a further load of
22 tons.
Four main support towers, spaced equally around the
stage perimeter, were built from 2.6 tons of scaffolding,
each tower capable of supporting a load of 11 tons from
the box girder and distributing its load over 120 feet, to
avoid concentrated loads on the theatre floor.
Another problem was glazing the theatre's facade. The
16 foot x 6 foot sheets of glass had to be placed with a
mobile crane on weekends since the streets around are
narrow and crowded with traffic during the week. Curtain
walling for the "glass envelope" is supported by thirteen
structural steel mullions across the main foyer. These were

THEATRE DESIGN AND TECHNOLOGY

MAY.1974



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1974

Contents
Theatre Design & Technology - May 1974 - 1
Theatre Design & Technology - May 1974 - 2
Theatre Design & Technology - May 1974 - 3
Theatre Design & Technology - May 1974 - Contents
Theatre Design & Technology - May 1974 - 5
Theatre Design & Technology - May 1974 - 6
Theatre Design & Technology - May 1974 - 7
Theatre Design & Technology - May 1974 - 8
Theatre Design & Technology - May 1974 - 9
Theatre Design & Technology - May 1974 - 10
Theatre Design & Technology - May 1974 - 11
Theatre Design & Technology - May 1974 - 12
Theatre Design & Technology - May 1974 - 13
Theatre Design & Technology - May 1974 - 14
Theatre Design & Technology - May 1974 - 15
Theatre Design & Technology - May 1974 - 16
Theatre Design & Technology - May 1974 - 17
Theatre Design & Technology - May 1974 - 18
Theatre Design & Technology - May 1974 - 19
Theatre Design & Technology - May 1974 - 20
Theatre Design & Technology - May 1974 - 21
Theatre Design & Technology - May 1974 - 22
Theatre Design & Technology - May 1974 - 23
Theatre Design & Technology - May 1974 - 24
Theatre Design & Technology - May 1974 - 25
Theatre Design & Technology - May 1974 - 26
Theatre Design & Technology - May 1974 - 27
Theatre Design & Technology - May 1974 - 28
Theatre Design & Technology - May 1974 - 29
Theatre Design & Technology - May 1974 - 30
Theatre Design & Technology - May 1974 - 31
Theatre Design & Technology - May 1974 - 32
Theatre Design & Technology - May 1974 - 33
Theatre Design & Technology - May 1974 - 34
Theatre Design & Technology - May 1974 - 35
Theatre Design & Technology - May 1974 - 36
Theatre Design & Technology - May 1974 - 37
Theatre Design & Technology - May 1974 - 38
Theatre Design & Technology - May 1974 - 39
Theatre Design & Technology - May 1974 - 40
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