The theatrical experience begins long before the dimming of the house lights and the rise of the curtain. From the moment tickets are obtained, there is a sense of anticipation that increases exponentially as one arrives at the theatre and is immersed in the pre-performance buzz, notes David Wright.
Good foyer facilities, on the other hand, can contribute greatly to the overall theatre-going experience. I see the pre-show stage as a ritual, a sort of passegiatta or procession, in which the collection of tickets, the gathering and meeting in expectation of the night?s entertainment, the progress into the auditorium and finally the ?taking of your seats? happens in a rather formalistic way. The front of house should facilitate this ballet in a seamless sequence. Clarity is the key ? progress from the door to the seat should have a kind of inevitability about it, and build a sense of expectation.
Architectural devices such as a grand staircase, uniting all levels of the auditorium in a single expression of vertical movement, can be very effective in providing a fulcrum for the procession. The new Sadler?s Wells Theatre employs the staircase in just this way, with generous half landings for people to pause and take stock, or spot friends. The redevelopment of the Royal Opera House uses the scale of the Floral Hall and the drama of the long escalator ascent to the Amphitheatre Bar to great theatrical effect ? it is only a pity that the remainder of the journey from these grand gestures to the auditorium itself is via spaces rather more mundane.
At the London Coliseum we were faced with the heritage constraints of a listed building and a land-locked site that allowed no expansion of the footprint. The refurbishment project was an exercise in achieving the maximum added value within strict parameters. Of primary concern was the need to bring all of the audience in through a single entrance ? the old balcony side entrance was seen as divisive. By relocating the box office we were able to upgrade existing escape stairs to give direct access to the upper levels. Basic practical problems also had to be addressed ? circulation bottlenecks, such as the box office queue blocking the wheelchair entrance and the horseshoe bar in the stalls ambulatory, were removed to enable people to flow freely. New, much larger bars mean that an interval drink is no longer the privilege of the few. A 40 per cent increase in public space has been achieved by annexing office space, filling in a six-storey light well and building above the old roof. Toilet provision has been doubled. We aim for 50 per cent more than the British Standard minimum (which has proved to be inadequate and should be amended).
The upward procession holds a surprise ? the arrival into a double-height space covered by a new glass barrel roof through which the landmark tower can be seen. Symbolically, the most thrilling experience occurs for patrons ascending to the cheapest seats ? the addition of a belvedere space at balcony level with wonderful views to Trafalgar Square. This has apparently been christened the Kissing Parlour after proving an instant favourite with courting couples. What could be more theatrical than that?
David Wright is Director of Arts Team and was the Design Team Leader for the London Coliseum. t: 020 7379 7900; e: dwright@rhwl.com; w: http://www.artsteam.com