Our penultimate Theatre experience was a backstage tour of the Royal National Theatre. The company was founded in 1963 and originally based at The Old Vic Theatre. However, over time, as the Theatre grew in popularity and content - branching out to include shows that were classical and avante guard - the Company began to look for a property that would afford them with a larger space.
As with most Theatres pictures were not allowed - as the sets and props are under copyright. However, each of the three stages in The National are worth speaking about because they all offer different experiences to the Producer, Crew, Cast, and Audience. The presence of three main stages is another reason the National Theatre's corner stone was laid three times - each Theatre moving closer and closer to The South Bank of the Thames.
Now, the Theatre boasts a single location with three main stages. Each provides the actors and audience a different atmosphere and experience.
The Olivier
The theatre space is the largest seating 1,160 people. The architecture is based upon the outdoor Greek amphitheater in Epidauurus. The seating is not layered - as it is in many theatres which use thrust stages - and is instead fanned out to be exactly 120 degrees. This allows the audience to see the entire House - and from one spot on the fore-ground of the stage the actor can see every single person sitting in the theatre. This affords the audience with a more personal connection to one another and the actors on stage.
In terms of modern architecture the Olivier's tech booth is hidden behind metal panels in the ceiling - as are all the cat walks for the lighting. The ideas is to cut down exterior distractions so the focus is one hundred percent on stage. In this theatre there is a Drum Revolve - which allows the producers to experiment with sets which can be turned - but unlike the other stages the Olivier revolve has two platform on the revolve allowing for ten tonnes of scenery per platform to be put up and taken down for scene work. This means that scenery change does not distract the audience from the play.
Lyttelton Theatre
In comparison the Lyttelton Theatre can seat 890 people. It is built in the style of procenium arch. The arch has the capability of moving inwards and being altered depending on the height of the set - which ensures the audience is able to focus on the play within the frame.
The seats here are more traditionally structured in the level format and are closely set. This makes it slightly cramped when the seats are full. It was in the Lyttelton that we saw The Veil. We were allowed to walk on set and see the amount of detailing it took for the set.
It was amazing to see the oak tree - the branches for which overhang the house. The leaves on the front of the tree were oak tree leaves - while the other leaves at the back were smaller versions. The set was very haunting - with a web strewn and dust covered mirror. I was awed by the detail in the cloth, furniture, and even the food.
Cottesloe/Dorfman Theatre
We did not visit this theatre. However, it is the smallest of the three. It is easily adaptable depending on the show being put on there.
All the theatre spaces have room above, behind, below, and to the side where props and sets can be stored. This allows the theatre spaces to put on more than one show at a time and to store each set and the props and costumes for each without trouble.
After going on the set of The Viel we were taken further backstage. There are two portraits of Laurence Olivier hanging in the backstage and workshop area - so he keeps a watchful eyes on the production teams. Backstage are metal working, wood working, and props building workshops.
We were allowed to see the place where sets were built. At the time we entered a floor was being built and constructed for a traveling production. On the walls were stretched portions of the walls of a set - which would later need to be stretched again.
A lot goes on backstage and I really admire the work ethic and creativity that goes into shows. Everyone from Props Designers, to Set Designers, and Producers work to build the set and props and wardrobes we see. There was a props table containing the most pried props of the designers.
That's when I learned in 2006 they put on His Dark Materials as a stage production. I really want to visit their gallery to view it - so hopefully I can do so before I leave. :-D If not I will have to see if they have it online. But they had Iorek's head and Pantalmion's heads as well as the foxes. Also the crocodile head from Peter Pan and severed hands and the base for chilies.
All in all I now understand and appreciate theatre in a new way. I am now a more critical theatre goer in all the forms - stage and film. It was well worth the visit. We also got to see the test runs of 13 - a show being put on in the Olivier Theatre - which included the logistics of the black box used to frame all the scenes. Movement of lights and the box were being worked out for the opening night.
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