Theatre Design & Technology - Fall 2008 - 36

Figure 3. False Advertising
The seating chart for the side galleries often show seats inboard from the rail-edge
seats. If these zones have a flat floor (very often the case) or incorrectly designed
tiers/risers, such inner-row seats have no view of the show if the gallery is elevated much above stage level.

jockeying and yoga-extensions in order to catch a partial and
occasional glimpse of the stage action only a few feet below. For
hundreds of years, of course, this is the norm for side galleries spectators in nearly all these charming classic continental
houses. Although two to three rows of seats are often sold "inboard" of the railing in such boxes, the simple reality (and the
tradition) is that anyone assigned to inboard seats must actually
stand throughout the performance if performers are to be seen
as well as heard. Acknowledging this reality, the Staatsoper is
equipped with plush step-ladders with hand-holds. In betterdesigned older halls such as Philadelphia's 150-year-old Academy of Music, the side gallery floors were built with very steep
risers and corresponding safety railings to address the obvious
need for huge floor level changes at every seat row. Today, box
and gallery floors can be very carefully stepped and seating can
be oriented to the stage chair by chair-but in new hall after
new hall side-wall galleries are built with wide, flat floors on
which loose chairs are placed. (fig. 3) This creates an essentially fraudulent seating chart with seats which should never be
sold. (Tens of millions of dollars are at stake in current U.S. litigation on this complaint alone.) Some will point out that these
seats are the offspring of the royal box locations of the nobility
era where occupants attended to be seen, and that today the
theatergoer has the choice of sitting in orchestra, loge, stalls,
parterre, or even some vestige of the king's or duke's perch.
This argument might make sense if today's architect is commissioned to produce a replica theatre for a "noble" client; it
is surely of no value to the modern spectator who intends to
relate to the stage action but happens to wind up in the sidegallery location.
More design trouble occurs at main-level (orchestra)
seats: this is the use of very gentle floor slope in these prime
seat-rows. I see this time and time again when peer-reviewing
design plans by other architects. Theatergoers may have forked
over $100-plus for these "choice" locations, but will need to
be extra-tall or extra-lucky to see the full stage. As these floor
slopes are often no better than one foot of rise in twelve feet, I
suspect this may be partly due to designers taking the easy way
out in solving code-required ADA seats locations and related
aisle circulation. And, in a balconied hall, it makes designing
the building-section and floor-to-floor arrangements easier.
On the other hand, this means the many seats in a flattenedout orchestra level are sacrificed to keep a small number of
side-wall seats from stacking even higher (fig. 4). Of course

the performer wants to feel "embraced" by a "surrounding"
audience but this stops working when the third-dimension sight
angles become extreme and when main-level seats slope is so
flat that the performer feels connected only to a few front rows.
Again, why accept a permanent problem with something as fundamental as decent sightlines in a new performing arts space?
During a peer-review assignment, I remember debating a leading theater consultant who argued that good sightlines were
less important than the social cohesion of the audience-assingle-unit feeling gained via keeping the row-to-row elevation
changes very slight. (The project had two balconies, but that
particular vertical break-up apparently wasn't relevant.) Going
further down a wrong road, several recent major projects have
highlighted nonsensical thinking in claiming their seating layout and straight rows offered all spectators the opportunity of
any seat providing "the same vantage point" as any other seat so
all would view the performance identically (fig. 5).
Other instances of flawed design may appear less actionable but still hardly any cause for pride. I would put many of
these in the category of floor plan failure, divided into two

F

A

L

L

2008

theatre

design

&

technology

35



Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2008

Contents
Theatre Design & Technology - Fall 2008 - 1
Theatre Design & Technology - Fall 2008 - 2
Theatre Design & Technology - Fall 2008 - 3
Theatre Design & Technology - Fall 2008 - Contents
Theatre Design & Technology - Fall 2008 - 5
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
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
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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