Cincinnati Shakespeare Company, courtesy of Robert Shook, FASTC (Architect: GBBN)
Our series considering the cost drivers of performing arts spaces visits the subject of grossing factors. Assembly spaces are by their very nature less efficient than other building types, but with good reason.
Theatre at the Ace Hotel, Los Angeles. A view of an ornate auditorium connected to a backstage, ready for the next show. Photo by Christopher Harris
Theatre Consultants are often tasked with helping to decide the size of a stage. It’s important to remember that the users need to know how much of the stage can be used, unobstructed by ducts and other services which may be required but do not contribute to the intended use of a stage
A well appointed makeup room at the Detroit Symphony which includes storage. (Photo courtesy of the author)
Performers need special rooms to get into costume and apply makeup. In many cases those performers spend a lot of time in these spaces, so the rooms need to be done well. The requirements are not complicated but may be unfamiliar to those who have not spent time backstage.
Alex Robertson has been accepted into full membership of the American Society of Theatre Consultants (ASTC). Alex is a Project Theatre Consultant in the Dallas office of Schuler Shook.
The vestibule at the rear orchestra seating of the Capitol Theatre, Overture Center, Madison, WI. Most Sound and Light Locks are not very photogenic, but this area serves the purpose while also being a lounge area. Photo by Paul G. Sanow, ASTC
Well-designed transitions between lobbies or corridors and the performance space are very important. Without Sound and Light Locks, performances can be disturbed by light spill and noisy doors.
The term proscenium is thrown around often when discussing traditional theatre forms. Join Robert Long for a short cup of coffee and some thoughts on the subject...
