Theatre Design & Technology - May 1974 - 10

slotted into position through holes 48 feet above ground
level. The remainder of the curtain walling is supported
off the main structure of the building.
Dressing rooms are compact and on four levels off
Stage Left. A large elevator on that side of the stage
permits 5 tons of scenery or conference equipment to be
lifted directly from the garage below. There are no work
shops, since shows will not be built at the New London.
Elevators in the front of the house bring patrons from the
garage into the theatre itself. A series of concrete stair
units in the bare Brutal style dominate the foyers. Well
planned lighting and bright carpeting do create a pleasing
ambience, however (Figure 5).
Asked to critique his work on the New London,
Percival says: "I ts convertability is its most innovative
aspect. I t will give us the opportunity to use it in a variety
of ways both within and outside the theatre function. It
was planned and is being used for all sorts of receptions,
conferences, trade-shows, and product-launches, as well as
for plays and musicals. We think the gadgetry that we've
put in there does assist in attracting people for such
functions. "
Paul Tvrtkovic, architect of the theatre's envelope,
acknowledges Bauhaus influences. Percival has not been
specially influenced by other theatres or theatre
architects, he says, though he did make a general study of
problems and requirements in theatre design. The New
London is his first theatre assignment. I nitial advice was
provided by the late Sean Kenny and by Ernest
Chew-with whom Percival formerly worked.
Local theatre gossip has implied that EMI will convert
the New London into a cinema the minute it begins losing
money as a legitimate theatre. Percival smiles at this:
"There's no great risk of its being converted into a
cinema. I think It's frankly unsuitable." He goes on to
explain the reason for the gossip. The New London has, in
fact, a large screen-and both 16 mm and 35 mm
projectors. I t also has perm ission to operate as a cinema
fifty per cent of the time alloted for public performances.
EMI's intent, however, is to use the film capability only as
a fill-in between legitimate bookings. The cinema
equipment is also invaluable for conferences and
trade-shows. Another attractive device is a simultaneous
translation system for multi-lingual conferences.
With the adjustable wall sections, the proscenium
opening can be as wide as 80 feet. Its minimum
width-before sight-lines are impaired-is 45 feet. Percival
suggests a proscenium height of 22 to 24 feet for design
purposes. When the stage is used in a proscenium
arrangement, there are other considerations for designers,
too. As Percival says, "The stage designer has got to create
a setting which can be flown or easily stored, and that's
not always convenient. He's got to leave the stage free for
conferences, trade-shows and other daytime activities.

10

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Depending on the proscenium opening chosen, you can
have m ore or less wing storage space. But with the 45 foot
minimum opening, you have only 25 feet on each side.
That's all right, but it's not generous. I t was the best we
could do in the space available."
"Oh, there are Ii m itations," Percival admits. "There's
no question of it! H ad we known what the conference
demand was going to be when we first planned
this-which after all was ten years ago-we migt->t have
done more to make these changes easier. As it is,
conferences are definitely secondary to the theatre
function of the building. We might have gotten more
money for conference considerations, but we've had to
fight for money right through. Clients don't say: 'Oh yes,
go ahead. Spend more money" Of course the longer we
had to wait to go ahead with the project, the higher the
costs of materials and labor went."
The New London is managed by George Biggs, wh 0 has
had a lot of experience in operating both provincial and
West End playhouses. He is justly proud of his new
theatre as he points outs its best features. No seat, for
instance, is far from the stage no matter where the acting
area is located, and all seats have good sight lines. The
predominantly warm, earthy colors of the auditorium,
carpet, seating, and adjustable side walls create a
comfortable,
intimate feeling. The exposed
air-conditioning has directional ducts which can be
adjusted. Control installations and ample lighting
positions make the New London practical for TV
broadcasts and taping. Conversion to cinema use is also a
simple task. Biggs is very grateful for his regular crew of
four stagehands-augmented for 'round' conversions by
another four-who work, as he says, "Long hours for low
pay. They really seem to love working in the theatre ... "
Unlike other West End theatres, the New London has
no safety curtain. A special dispensation was given, owing
to the convertability of the theatre which made a fixed
iron or asbestos curtain unfeasible. So visitors to Grease
do not see a great surface, labelled SAFETY CURTAIN,
descending at intermission to reassure them of fire
protection. Biggs is, however, quick to dispel any fears
about fire safety measures and equipment.
Because there are so rnany activities and events filling
the spaces and days of the New London, Biggs is kept very
busy. For that reason, much as he would like to be able to
show visiting designers and technicians arou nd the
complex, it is often impossible to find a time when the
theatre is not either in use or being converted from one
use to another.
He obviously IS fond of the house, but that doesn't
prevent him from noting a few defects which he hopes
designers will keep in mind when they are at the
drawing-boards. The multi-purpose mandate limits
set-designers both in the amount and kind of scenery they

THEATRE DESIGN AND TECHNOLOGY

MAY. 1974
Table of Contents for the Digital Edition of Theatre Design & Technology - May 1974
