FOR SHAKESPEARE

Evening Star, Issue 20985, 26 December 1931, Page 12

FOR SHAKESPEARE

THE HEW THEATRE DIGNIFIED BUILDING A theatre which embodies many of the most elaborate engineering devices - in- the world and which will bo without parallel in this country will open its doors to the public on St. Georges Day, April 23, says a writer in the * Daily Telegraph.’ . It is the new Shakespeare Memorial Theatre, And after a day spent exploring the wonders of its rolling stages, ' its foyers, restaurants, terraces, and balconies, I realise that, to find its equal, a traveller would need to go as far as Bayreuth or Salzburg. As one approaches Stratford the huge red mass of the building; stands o\it surprisingly from the green of the trees and the gardens which run along the river bank. It is almost the first thing one sees, and proclaims to all comers that the theatre is the most important thing in the town. At a closer view one realises that anything which is surprising about it is intentional. It is unexpected to find an important centre of drama in such a place, and this stands for everything that a modern theatre should be. It catches the eye, is dignified, aid, above all, is, from one’s first glimpse, unmistakably a theatre. A team of three architects is work ing pn ' the theatre. Miss Elisabeth ‘ Scott-won-the original competition for , • designs, and took into ■ partnership Mr J. C. Shepherd and Mr Maurice Chesterton. The architects have made full use of the opportunity afforded by the site. ' A wide terrace leads up to the entrance from the gardens, and steps from the river enable playgoers to arrive by water. Long windows in the restaurant open on tp the terrace, while, in the evenings, lights on high poles, their glare, hidden by umbrella-like shades, illuminate the forecourt. SEVENTY FEET UP. Mr Chesterton led me up a maze of ladders to the top of the tower above the stage, and we’ looked down 70ft to the acting area. There has been much talk lately of “ revolving stages,” but Mr Chesterton explained to me that a system, hitherto unknown in this country, has been adopted here which has better results and is less complicated. As space is not very important when the whole site already belongs to the theatre, it has been possible to provide two large “ stables”—each as large as the acting area—on either side of the stage. These are used for setting scenes before they are required, behind soundproof fire-resisting woollen _ curtains. When the scene in question is needed, the whole side stage is rolled into the central position on rails, and the stage which was being used in the previous scene moves into the “ stable” on the other Side of the theatre to he leset. This allows the producer to make use of the full depth of his stage, whereas .with the revolving type he can only set his scene on half of it at a time. The only'drawback to the use of u rolling stage in London would be the amount of space which it would take up in a city of high ground rentals. Elaborate precautions aro being taken to guard against danger from fire. The ventilation system admits fresh air from above, and it is drawn out by exhaust fans under the seats. The general direction of the draught is towards the stage, so that > it is directed away from the audience in case of fire. When the safety curtain shuts off the stage, an automatic fan comes into action and draws the air in the same direction. INGENIOUS. Most ingenious of all is a device on the roof of the tower. What I can best term a smaller tower comes up in the centre of the main one, the sides being hinged fanlights, kept erect by a connecting line, with a fusible link in the middle of it. If fire breaks out this link breaks, the fanlights fall away at the sides, and the whole tower is turned into a colossal chimney. The object of,the architects in planning their auditorium has been to make it as much a meeting-place for intelligent people as a playhouse. It will hold about 1,000 people, and there are large foyers on each level, as well as two restaurants. An elaborate grand staircase, with a carved ceiling, and a fountain at the foot, leads to the circle. There is only one gallery, and the Royal box is at the back of the front section of it. Above the box and the entrance to the more highly-priced circle seats comes the “ gallery ” proper. _ “ Tho thing we have aimed at in designing the stage is elasticity,” said Mr Chesterton, “ and there is no reason why any producer who works hero should not he suited, whether his , methods are elaborate and spectacular or extremely simple.” A special fund was opened three weeks after the old theatre was burned down in 1926, and upwards of £5,000 was received on the first day of the appeal.