Theatre Design & Technology - Winter 1975 - 10

were th ree in each side of the proscenium arch, which
towered more than 70 feet above the stage floor 14 and
was "set in a beautiful ornamental framework, so as to
give the effect of a gorgeous picture to the mise-enscene."15 In all, there were about 1750 seats, and as was
said, "every seat commands the entire stage."16 The
total capacity of the theatre was probably just over
2000, with the 300 odd standees crammed in.

setting theatres as London's Haymarket were chopping
off the apron altogether in favor of the totally representational "picture-frame" type of staging. Or, pllfhaps
it was merely a very hind-sighted reaction against the
then emerging realistic acting conventions pioneered in
this country by the theatre's original owner, Edwin Booth.
The width of the proscenium opening is also not
reliably stated in contemporary accounts, but is presumed
to be about 45 feet. 23 Although the proscenium arch
rose more than 70 feet above the stage the curtain trim
height was considerably less, probably a little over 45
feet, which still assured excellent sight lines even for
those in the amphitheatre. 24
A large gas-lit crystal chandelier was suspended from
near the center of the flat, painted ceiling. It, and all of
the other gas fixtures in the building, incorporated the
use of 'Wilson's Patented Electrical Apparatus," an
electrical spark ignition device which, for the first time
in this country at least, permitted both the house and
stage lights to be completely extinguished during a
performance. 25

Fig. 3. Booth's Theatre, seating plan after 1879
renovation.
Photo courtesy of The Walter
Hampden-Edwin Booth Theatre Collection and
Library, New York, N.Y.

All of the seating in the house, except for the orchestra
circle and proscenium boxes (which had individual chairs)
incorporated the welcome innovation of iron arm rests. 17
In addition, it has been noted that for the first time "the
rise of each seat in parquet and circle was pierced with
numerous circular holes, through which constant ventilation was secured for every rapt listener."18 The seats
were considered to be extremely comfortable, except
that many of them were only 17 inches wide, including
the arm rests, which, although not uncommon in later
theatres, proved to be somewhat unpopular at Booth's.19
One well-bustled patron politely commented that:
Seventeen-inch chairs are too small, except for a
race of pigmies, and are not what we as a race of
free giants would wish. 20
Originally, the stage had a narrow apron, which extended over a "Curiously-sunk orchestra box,"21 in a
manner similar to the one that was first credited to
Richard
Wagner at
his
revolutionary Bayreuth
Festspielhaus some seven years later. An observer noted
that with this arrangement, "The old growth of violinbows and music stands, that come like a spindling and
pale vegitation [sic) between the spectators and
Ophelia's grave, is plucked up."22 Actually, placing the
orchestra partially under the lip of the stage served as
much to provide for more audience seating space as to
hide the musicians (Figure 4). Later, during a renovation
of the theatre in 1879, the apron was carried forward
almost to the down stage edge of the proscenium arch,
covering the entire pit (Figure 5). This seems to have
been a curiously far sighted innovation - returning to a
more presentational arrangement just when such trend-

WINTER,1975

Fig. 4. Booth's Theatre, interior, representation of

Romeo and Juliet, opening night, 1869. Photo
by permission of The Folger Shakespeare Library,
Washington, D.C.

Attached to the south wall of the theatre was another
wing which was about 24 feet wide and more than likely
ran the full 150 foot length of the main structure. 26 The
eastward 57 foot portion of the wing, adjacent to the
left side of the stage, was occupied by the paint room,
which boasted two full-length paint-frames rising from
the basement to the fly gallery (Figure 6). A similar
layout is used today at the Metropolitan Opera House in
Lincoln Center. Below the paint room, in the south-east
corner of the basement, were the "scene-rooms"27
(Figure 7). Next to them, along the south wall of the

THEATRE DESIGN AND TECHNOLOGY

USITT

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1975