Theatre construction and maintenance: a compendium of useful hints and suggestions on the subjects of planning, construction, lighting, fire prevention, and the general structural arrangements of a model theatre;

Front matter

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(FOR DESCRIPTION, SEE PAGE 134.)

THEATRE CONSTRUCTION AND MAINTENANCE:

Preface

In the preparation of the follozving pages the Author does not claim to have produced a work wholly original. The zori tings of contemporaries and others have been consulted ', and their suggestions adopted when cognate to the subject of this work. Suggestions and opinions which the Author may claim as his ozvn are based upon observations made during a critical survey of the London theatres.

It has not been sought to produce a technical treatise on theatrebuilding, suitable only for professional experts , but rather a comprehensive series of suggestions touching upon the multifarious structural requirements of a modern theatre.

As a book of reference, it is hoped the present volume may be found serviceable to architects, theatre managers, licensing magistrates, local authorities , and others having the supervision or control of public buildings.

With this object the Author has endeavoured to keep steadily in view the three primary conditions essential to a satisfactory theatre —

1. That the building should be adapted for the business of a theatre.

2. That the building should be suitable in every essential for the reception of the public.

j. That the building, together zvith its contents , should be practically fire-resisting.

Captain Shaw, C.B., in his brochure entitled “ Fires in Theatres j observes that “ it is possible, without interfering with any of the legitimate purposes for which theatres are constructed and maintained, to ensure the absolute safety of an audience, and the partial safety of a building and property, in the event of fire

A theatre should not only be fire-resisting, but panic-proof.

To this end the building should have eve?y structural convenience and appliance necessary to combat — and, if possible, avert — those evils which in the public estimation are inseparable from such buildings.

Wide staircases , spacious crush-rooms , polished hydrants , suspended buckets , zztzz/ mz/ firemen will avail but little, should a panic arise, unless the audience has been impressed with a feeling of security. The first essential towards creating this confidence in an audience is that the manager, together with his employes, should themselves experience this feeling of security.

The hygienic condition of public buildings is a matter to which but little consideration is devoted either by architects or the authorities. Efficient ventilation is ignored, and patrons of the drama are compelled to sit for hours in a stifling atmosphere, inhaling the fumes from gas, and re-breathing the exhalations from many lungs. Yet, these evils could be rectified for an outlay not exceeding five shillings per sitting . Overcrowding — or, in other words, wilfully endangering the safety of the audience — is practised by many who certainly do not take to heart the observation of a wellknown manager, who asserts that “ no manager ought to invite a visitor to the play without offering him, as near as possible, the same comforts that he leaves at homed

The systematic supervision of theatres by the State is probably only a question of time. A perusal of the following pages will afford an insight into the complex arrangements of modern theatres, without which knowledge, acquired either by reading or personal observation, neither legislation, supervision, nor control can be satisfactorily accomplished.

London, 1887.

THEATRE CONSTRUCTION AND MAINTENANCE.

Introduction

rPHE architect who may be desirous of introducing reforms or improvements in the arrangement or construction of theatres, will have to combat with the conservative prejudices of theatrical managers.

Before proceeding to detail the numerous requirements of a modern theatre, there are a few matters to which allusion must be made, the most important of which is the selection of a suitable site. A perfect site should be isolated : isolation implies convenience and safety. Ten feet is the least distance that should separate a theatre from contiguous buildings, and where this cannot be accomplished a corner site should be secured. Sites for theatres are not easily obtained. There exists a very prevalent antipathy to theatres as a medium for speculation. Such buildings are by some supposed to depreciate the value of adjacent property. In general this is mere prejudice, although owners of property in the immediate vicinity of a theatre pay higher insurance rates for the privilege of having so dangerous a neighbour. A good site should have one frontage to a principal thoroughfare. This will increase the cost of the building, but will enhance the popularity of the theatre. A sloping site is preferable to a level one, if the decline is towards the stage, in which case the building may be so disposed as to save expenditure in excavation and staircases> whilst bringing the occupants of the upper parts of the theatre nearer their respective exits. Before fixing upon a site, it is desirable to ascertain the depth of the main sewer, the position of which will materially affect the disposition of the building. The stage cellar generally requires draining ; this, if overlooked, may involve permanent expense for pumps or contrivances to keep out the water.

It does not come within the scope of this work to enter upon a disquisition as to the style of architecture or decoration most suitable for theatres, as these are matters best left to the individual taste of the architect. It is probable, however, that no other secular building — by reason of its purpose and associations — so readily lends itself to refined architectural treatment and artistic decoration. A cheerful and inviting facade will help to fill the managerial coffers. The embellishments of a theatre should indicate not only a Temple of the Drama, but of Poetry, Music, and Painting. What would be regarded as “ showy ” and “ tawdry ” in any other building is frequently the only Art (?) to be found within a theatre — glare and tinsel. Hence “ theatrical,” as applied to decoration, has become an epithet of condemnation and reproach. The auditorium decorations should be effective, yet subdued. When too pronounced and obtrusive, the “ stage picture ” will suffer by contrast. In many theatres there exists room for considerable improvement in the general arrangement and decoration of the proscenium frame. This should never be so treated as to destroy the appearance of a frame to the living picture beyond. Solid gilt has hitherto been regarded as the most approved method of decorating the proscenium frame, although, as the effect of some pictures is highly enhanced by the introduction of a line of colour between the gold frame and the subject, so with the stage picture an inner frame covered with black or coloured velvet would at times enhance the effectiveness of the scenic display.

Another matter calling for improvement is the modern “act-drop,” which is invariably inappropriate. It discloses the scene in the least desirable manner. The actors are discovered legs first, and decapitated at the first descent. An “ act-drop ” is a substitute for a curtain, and should be so treated when decorated. Neither landscapes, men, nor animals are admissible for the purposes of decoration, when these have to be rolled up. Conventionally treated the act-drop offers an opportunity for high-class artistic work, yet seldom is an effort made to design it in harmony with the auditorium decorations.

For the gradual, pleasing, and artistic development of the stage picture, “ tableau curtains ” are undoubtedly the most desirable. These, when made with rich material, harmonising in colour with the auditorium decorations, add considerably to the effectiveness of the interior.

Every part of a theatre should be arranged with the utmost compactness ; this will decrease the working expenses, and secure the commendation of the management. Each new tenant of a theatre quickly discovers the defects in construction and arrangement, with the result that the blessings pronounced upon the architect are few and far between. When planning the several sections, it is desirable to arrange the foyer, saloons, cloak-rooms, and sanitary offices outside the retaining walls of the auditorium.

In the near future, theatres will probably be licensed to accommodate certain numbers, as is now the case with steamships and omnibuses. Such a reform in this country must be tile outcome of legislation. Managers — however commendable their efforts — are unable to withstand the temptation to pack their houses. When calculating the money-holding capacity of a proposed building, the following dimensions will be found to constitute a fair average width of seat per individual — stalls, 20 to 24 inches ; dress circle, 20 to 22 inches ; upper circle, 18 to 20 inches ; pit, 16 to 18 inches; amphitheatre, 16 inches; gallery, 15 inches. In addition to the actual seating, allowance must be made for the standing-room. Standing is most undesirable, ibut when permitted, should not exceed one single row at the back of each circle or section of seating. Overpacking an audience engenders several evils — discomfort, insufficient ventilation, congested exits, and the risks inseparable from panic intensified.

With respect to the general management of a theatre, too much stress cannot be placed upon the real necessity for instituting FIRE AND PANIC DRILLS.

The attendants in a theatre, if they are to be of service on an emergency, must be periodically instructed, not only in the use of the fire-extinguishing appliances, but as to their exact duties in the event of panic. Managers will, at times, put a nonentity into a uniform, and call him a fireman, yet, whilst acknowledging the value of a uniform, fail to provide a distinguishing dress or badge for the attendants. The public respect a man in uniform, be he a policeman, commissionaire, or fireman, either of whom would exercise more authority and inspire greater confidence than a gesticulating waiter in a white cravat.

To successfully design a theatre, a general knowledge of the internal working of such buildings must be first acquired. “ A place for everything , and everything in its place? will be found a good guiding principle. The architect should not hesitate to consult with the representative of each department ; from that of the business manager, who requires his rooms conveniently situated for the quick discharge of his duties and easy supervision, down to the prompter, who would like a small room for “ hand properties ” close to the stage.

Manager and architect should carefully examine the plans, and see that all reasonable requirements have been provided for the convenience of the public and the satisfactory working of the theatre. A few hours devoted to this purpose will avoid subsequent alterations, dissatisfaction, and c' builder’s extras.” The grand principle that should govern the disposition of the plans is the provision of fire-resisting structural divisions between the auditorium, entrances, and staircases ; public rooms, managerial offices, stage, workshops, property stores, and dressing-rooms. Where practicable, these divisional walls should be carried up through the roofs. In the case of the proscenium wall this is imperative. All the roofs should, without exception, be constructed as flats, and connected with iron ladders, to enable the firemen to get quickly from one point to another.

The auditorium should be cosy and not too large . In large theatres, which are not desirable for dramatic representations, some of the auditors are removed so far from the stage that the performers are almost inaudible and their facial expression entirely lost.

All windows in open areas overlooking other sections of the building should be protected by stout iron netting, fixed to the brickwork, and overlapping the openings at least three inches all round. Windows facing the street do not require to be so protected. Windows that are within easy reach of the ground should be fitted with casements hung to open outwards, as a means of escape in the event of fire or panic.

The upholstering of a theatre calls for the exercise of taste in the selection of the materials and colours. The beauty of an interior may be greatly enhanced or miserably marred by the