Theatre Design & Technology - Summer 1977 - 12

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Lyttelton Theatre: Section.

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The principal theatres of the National are classified
as housing a proscenium stage in one case and an open
stage in the other. The Lyttelton is undoubtedly a proscenium theatre - quite extraordinarily so for our time but the open nature of the Olivier is nowhere near so
obvious. It certainly has no resemblance to the thrust type
made popular by Tyrone Guthrie and still after twentythree years so well exemplified at Startford Ontario: nor
does it follow the theory of a stage open in the same
room - this room ends where the stage begins. Both
stages are scenic and are designed around a lot of machinery.
In the Lyttelton the machinery is of the labour saving
type mainly to shift large sets in and out in repertoire or
to replace a rehearsal set with that of the day's performance. However, in the Olivier the great revolve/drum
structure savours more of a production feature. The
validity of such gadgetry when built-in can be questioned.
It does not follow that designers will wish to orientate on
an idea provided by someone else - quite the reverse.
Already in the superbly staged third production, Tales
from the Vienna Woods (von Horvath), a special revolve
was used. This one was much larger (nearly 50 ft. diam.
at a guess) and on a different centre so the fact that the
built-in structure was not yet working was not relevant.
The Lyttelton seats 890 in nineteen unbroken rows
downstairs and nine upstairs - line upon line confronting
the proscenium. And each member of the audience really
does confront it. He gazes ahead even to the extent of
there being nine single seats one behind the other on a
terrace each side of the balcony. The whole balcony is
so positioned that people seated there are unaware of the
members of the audience down in the stalls. Likewise
they, in their turn, are unaware that there is a balcony
above. This curious split into 'two theatres' sharing the
one stage is fortunately not apparent from the actors'
point of view on that stage.
This is the type of proscenium stage where any picture frame effect is intended to be played down; yet in
reality it presents, however quietly, a series of multiple
'prosceniums' one inside the other. There are three, two
fixed in the auditorium and one on the stage. This last is
adjustable and is backed by a lighting bridge and tower
structure of the kind common in Germany and theatres
of that lighting school but which is seldom used in
English speaking theatre because of the desire to keep
the show as far downstage close to the audience as pos12

SUMMER,1977

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sible. Upstage of this structure there may be a further
series of 'prosceniums' to mask the wings.
In the Lyttelton the auditorium boundary with the
stage is not a proscenium but a point where the side
walls end. Here the balcony front is represented by a
very deep and deep-cut essay in natural concrete which
always reflects any light around. These are almost pieces
of sculpture. They should have, and could have, been perhaps they are. The prosceniums from then on, until
the yellow house tabs, are in a retiring dark brown. There
is no competition with the stage sets. It is at the moment
when the not unusual demand for a small claustrophobic
set arises that there are problems.
Theoretically one closes in the proscenium width from
its 44 feet 7 inches maximum to the 29 feet 6 inches
minimum and reduces the height from 29 feet 6 inches
to 16 feet 5 inches but the dark surround is not then
happy.
The other method where an intimate set is needed,
is not to frame it in but leave it as an island on an open
stage. In the United States you seem to take very wide
stages for granted. I once got myself into trouble in Tabs
through implying that there was something questionable
about staging Sleuth in a university theatre with a 70
feet x 28 feet proscenium opening. Back in UK there
are still many of us who think that the 30 feet common
at one time was an ideal compromise even where drama
had to be mixed with musicals. It can be summed up as
better too small than too large. We have two recent
theatres over here, one in Colchester and the other in
Salisbury, where the side walls to the stalls ~n be pushedin to reduce the opening from 40 feet to 30 feet rather
than have a lot of masking curtains or tormentors.
At the Lyttelton an amount of mechanical adaptability has been built into the extreme downstage stage area.
This area may -have to act as a forestage of various sizes
and shapes, to house a small orchestra pit or merely to
look as if the main stage is close to the front row. This
last is in reality the case. All other variants are a matter
of taking bites out of that stage to make its front edge
retreat. The grid extends over all and the auditorium
with its seating remains unchanged. The safety curtain
drops between the two. Although not novel in principle
the Lyttelton is only the second theatre in Britain to be
built this way. Other new proscenium theaters achieve
such adaptability as they may possess by means of an

THEATRE DESIGN AND TECHNOLOGY

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USITT

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Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1977

Contents
Theatre Design & Technology - Summer 1977 - 1
Theatre Design & Technology - Summer 1977 - 2
Theatre Design & Technology - Summer 1977 - 3
Theatre Design & Technology - Summer 1977 - Contents
Theatre Design & Technology - Summer 1977 - 5
Theatre Design & Technology - Summer 1977 - 6
Theatre Design & Technology - Summer 1977 - 7
Theatre Design & Technology - Summer 1977 - 8
Theatre Design & Technology - Summer 1977 - 9
Theatre Design & Technology - Summer 1977 - 10
Theatre Design & Technology - Summer 1977 - 11
Theatre Design & Technology - Summer 1977 - 12
Theatre Design & Technology - Summer 1977 - 13
Theatre Design & Technology - Summer 1977 - 14
Theatre Design & Technology - Summer 1977 - 15
Theatre Design & Technology - Summer 1977 - 16
Theatre Design & Technology - Summer 1977 - 17
Theatre Design & Technology - Summer 1977 - 18
Theatre Design & Technology - Summer 1977 - 19
Theatre Design & Technology - Summer 1977 - 20
Theatre Design & Technology - Summer 1977 - 21
Theatre Design & Technology - Summer 1977 - 22
Theatre Design & Technology - Summer 1977 - 23
Theatre Design & Technology - Summer 1977 - 24
Theatre Design & Technology - Summer 1977 - 25
Theatre Design & Technology - Summer 1977 - 26
Theatre Design & Technology - Summer 1977 - 27
Theatre Design & Technology - Summer 1977 - 28
Theatre Design & Technology - Summer 1977 - 29
Theatre Design & Technology - Summer 1977 - 30
Theatre Design & Technology - Summer 1977 - 31
Theatre Design & Technology - Summer 1977 - 32
Theatre Design & Technology - Summer 1977 - 33
Theatre Design & Technology - Summer 1977 - 34
Theatre Design & Technology - Summer 1977 - 35
Theatre Design & Technology - Summer 1977 - 36
Theatre Design & Technology - Summer 1977 - 37
Theatre Design & Technology - Summer 1977 - 38
Theatre Design & Technology - Summer 1977 - 39
Theatre Design & Technology - Summer 1977 - 40
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