Lyric Theatre and Studio, Belfast - Theatreplan

CASE STUDY:
Lyric Theatre and Studio, Belfast
Theatreplan
Theatreplan LLP
27 Colonnade
London WC1N 1JA
Combining the epic and the intimate: Theatreplan’s work at the new Lyric Theatre
Background
The Lyric Theatre has long been considered the National
Theatre of Northern Ireland, and is also the main full-time
producing theatre in Belfast. Originally opened in 1968, the
350-seat Lyric was the home of the Lyric Players, founded in
1951 by Mary and Pearse O’Malley, and was a much loved
venue. In recent years, however, it was obvious that the
facilities of the Lyric were becoming stretched to the limit as
well as being out of date.
An £18m fundraising campaign started in 2004 to expand the
site and replace the Lyric. The old building was demolished in
2008. Theatreplan took the role of technical user from the
initial design concept and throughout the project, working with
Dublin architects O’Donnell & Tuomey and the Lyric’s artistic
advisory board which comprised directors, actors, lighting
designers and stage managers. The new theatre reopened on
1st May 2011.
Theatreplan enjoyed an especially close working relationship
between all team members and the client, who were involved
in every detailed technical discussion and subsequent decision.
Building and maintaining relationships is vital with a Design-and-
Build project, and as the theatre consultants’ team leader and
Theatreplan partner, Dave Ludlam commented, “I’ve never
known a client so enthusiastic about a project, and so pleased
with the result.”
Stepped Grid
The design team faced many challenges, not least of which was
the location – the site is within a residential area with building
height restrictions. The old theatre had no grid or flying space,
and it was important for this to be addressed in the new
building. Architect John Tuomey didn’t want the new Lyric
Theatre to have a flat roof and designed a V-shaped
construction to provide the internal spatial requirements while
addressing the external height restrictions.
Registered address: Cameron Partnership, Elizabeth Suite, Meadway House, 17-21 Brighton Road, Surbiton, Surrey KT6 5LR Registered in England and Wales Partnership No. OC309349

Long Section
Plan of theatre, studio and rehearsal room at Second Floor Level
Theatreplan
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Theatreplan LLP
27 Colonnade
London WC1N 1JA
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Theatreplan
Theatreplan LLP
27 Colonnade
London WC1N 1JA
As Dave Ludlam explained, “The concept was fine, but it would
have impacted on the available grid height above the stage
because the low point of the V-shape ran lengthwise through
the auditorium and from front to back of the stage area. We
enjoyed a good working relationship with John Tuomey and a
simple compromise was found by rotating the roof 90 degrees.
This located the point of the V across the front of the stage
area. We were able to design a grid structure that ran beneath
this height downstage and then stepped up to full height
towards the rear stage area.”
The grid, which was manufactured locally by Metaltech
Engineering, was planned to be integral to the roof trusses and
was a collaborative design effort between Theatreplan, the
architects and the structural engineers Horgan Lynch. An
automated flying system had been initially considered to
provide precision and safety with moving scenery, but as the
Lyric was to continue as a repertory theatre (with relatively
few fast changeovers between productions), the company
favoured a manual flying system with 45 counterweight sets and
rolling beams to carry chain hoists.
The Northern Bank Auditorium
The unusual shape of the auditorium and seating layout may
have been a surprise at first sight for the Lyric’s returning
audience. The diamond-shaped auditorium is single tiered with
side slips and a central aisle that carves a furrow from the rear
entrance diagonally across rows towards the stage, so no one
row has the same number of seats. Theatreplan’s specialist Neil
Morton developed a novel seating plan, which included side
aisles and angled walls to improve the acoustics. The
asymmetric layout involved setting each seat’s position
individually for an optimum view to the stage. This would have
been unremarkable if the seats were mounted on centre posts,
but the design chosen from Italian manufacturers Deko had the
seats firmly anchored to the floor by fixed side stanchions.
During the installation process, each seat was rotated in linear
geometry to provide the optimum viewing position before
being fixed. “I don’t think we’ve ever spent so much time in
detailed seat planning and individually setting the position of
each seat on site as we did for the Lyric,” said Dave Ludlam.
There are wide accessible entrances to the auditorium and a
number of positions in different locations where audience
members who use a wheelchair may sit. Seats at the rear of the
auditorium may be removed to create a sound mixing position.
The front two rows of the stalls are on wagons and can be
demounted for storage beneath the rake of the auditorium.
Owing to the triangular shape of the available storage space, a
novel technique was devised to move the seating around in
sections to then be lowered using the forestage elevator.
A prerequisite of the new theatre was the need to create a
performance space that could be both intimate and epic. For
Clive Odom, a Theatreplan partner and a specialist in stage
planning and mechanics, the proscenium area was his principal
area of interest as a theatre’s intimacy can be imposed or
removed by changing the ‘fourth wall’ – the audience’s view of
the production.
In most theatres, the proscenium arch represents a so-called
‘dead technical zone’ separating the actors from the audience
and being in a fixed position it is almost impossible to change.
For the Lyric, the vertical height was simple to adjust by
incorporating a flown front border. The challenge was the
design for the vertical sides of the proscenium, and Clive
designed structures, which work more like tormentors –
adjustable wings situated upstage of a traditional proscenium
arch – than the sides of a fixed arch.

The proscenium opening at 9.0m with full solid panels
The proscenium opening at 9.0m with lighting slots
The proscenium opening at 9.0m with Juliette balcony
Theatreplan
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The proscenium opening at 9.0m with lighting slot & forestage
The proscenium opening at 12.0m with lighting slot only

Theatreplan
Theatreplan LLP
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London WC1N 1JA
The Northern Bank Theatre photo and cover image © Dennis Gilbert
A moveable tower on each side incorporates the technical
facilities, which would otherwise be installed around a fixed
proscenium. Panels on the face of the towers may be opened as
required to expose lighting positions, loudspeakers, additional
stage entrances or even a ‘Juliet balcony’. Two additional sliding
panels each side, attached to tracks in parallel with the tower
tracks, provide masking to close in the stage to give a more
intimate space side panels when fully on stage. In effect it draws
the audience further in rather than making them feel more
distant from the reduced viewing area.
Conversely, all three elements each side may be pushed
offstage into the side walls to give a clear (12.0m opening) stage
for an ‘epic’ environment. As the towers can be peopled, with
actors as well as technicians, it was important that the floors
would connect in all situations to the landings of access stairs
set into the corners where the auditorium meets the stage.
Multistage International devised a system of sliding plates which
means there is never a gap, even when the proscenium towers
move on stage towards the narrowest proscenium width.
Safety handrails on the upper levels prevent anyone from falling,
but these can be removed should a production require it. All in
all, detailed co-ordination was needed in the stairwell voids,
with moving floors, fold down infill panels and moving handrails
all employed on three levels so that building regulations were
adhered to.
The original intention had been for the proscenium panels to be
moved manually. Due to the precision mechanism provided by
Multistage, this could have been achieved with the lightweight
cladding first envisaged – the unclad frames could be easily
moved by a single person. However, a much heavier 25mm
thick solid iroko hardwood cladding was eventually selected. It
was fortunate for the project that Multistage had included a
small motorised chain drive to the original design concept to
mitigate their design risk so no late engineering modifications
were required to accommodate the heavier cladding.
There has been a high level of fire engineering in the overall
design. This has had the added benefit of eliminating a
traditional fire curtain, which would have impacted on the
versatile design of the performing space. No front tab cloth is
installed, although provision has been made within the stepped
grid design to add one at a later date.

Versatile Stage Design
The original Lyric had a thrust stage, but this was thought to be
too restricting in the new venue, especially when the Lyric is
accommodating the occasional visiting company with a show
developed for a proscenium theatre. Prompted by the success
of the modular stage system for the Crucible Theatre in
Sheffield, Theatreplan repeated their technique using Steeldeck
platforms for the main performing space. This formula provides
a flexible resource for directors and designers, as sections may
be removed to create performance access to the under-stage
area via staircases or trap doors, or added to provide extra
height.
Another key element of the stage design was a forestage
elevator. Not only does it provide a thrust extension to the
stage apron when elevated, it also expands the auditorium
when lowered to stalls level and creates an orchestra pit when
it continues down to the sub-stage level. The elevator also
facilitates storage for the front two rows of stalls seating when
they are not in use by transporting them to the sub-auditorium
storage level. Added to the usual technical challenges was the
incorporation of the Supply of Machinery (Safety) Regulations
2008 (or new Machinery Directive) that came into force during
the build and included forestage elevators for the first time. The
grid framework has been extended out over the forestage to
allow additional flying positions if required.
Discrete Front-of-House Lighting Positions
A defining feature of the auditorium is its multi-faceted panels
with constantly changing surfaces and angles. This was
developed by John Tuomey as an architectural device to create
an intimate environment for the audience. The architects
worked closely with specialists Sound Space Design to perfect
the acoustics of the space, but the resulting design created a
few challenges for Theatreplan’s John Whitaker who was in
charge of planning three bridges woven into the fabric of the
roof to accommodate the front-of-house lighting positions.
He explains, “We had to design a scheme to provide optimal
lighting positions while respecting the architects’ vision for the
auditorium. The usual solution comprising exposed steel
trussing and bridges would have conflicted with the clean lines
and simple materials used, such as the iroco wood, granite,
brick and concrete.” A three-dimensional CAD study of the
space identified the position of apertures in the cladding, which
were out of view of the audience, yet allowed good coverage of
the stage.
Another challenge was the layout of the front-of-house lighting.
This had to be symmetrical to the centreline of the stage, yet
the auditorium is non-symmetrical. A solution was found which
not only provided the correct lighting positions, but also solved
the problem of access to the auditorium lighting bridges.
Walkways were extended from the control suite areas at the
rear of the auditorium to the lighting bridges and beyond to link
up with the stage fly floor level. This provides technicians with
direct access from the control rooms to all technical areas at
height without having to pass through audience circulation
areas.
Adaptable Control Suites
The technical control area is located on the rear wall of the
auditorium, one level higher than the back row of seats. The
Lyric’s varied repertoire implied that a single operator/stage
Theatreplan
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manager may be adequate for some shows or concerts,
whereas for others the lighting and sound control would be
separated and run by two independent operators plus a
dedicated stage manager to cue the production. There is a
small control suite that can also be used for audio description
or translation.
Both the sound and the lighting schemes were specified and
designed by Theatreplan to the latest professional standard for
a world-class venue. The inclusion of short removable
internally-wired bars within the lighting infrastructure is a
valuable contribution to the Lyric’s versatile design theme.
These bars may be moved around as needed, reducing the
capital cost of an otherwise saturated rig while providing the
flexibility in lighting positions. The scheme for sound comprises
a comprehensive infrastructure including facilities boxes with
opportunities to expand in future through the purchase of
current equipment. To accommodate the needs of
broadcasters, cable duct routes have been included in the
building to provide access between the auditorium and the
service yard. Additionally, the forestage lift can be lowered for
use as a camera trough.
The Naughton Studio
photo © Dennis Gilbert
The studio provides a rectangular-shaped flat floor performance
space with a retractable seating unit by Belgian-based company
Jezet Seating, and a selection of rostra and loose seats that
between them can combine to produce 24 variations of staging
and seating. Just about any combination of acting area and
seating is possible, and all are designed to pass the various
codes for public performances, including entertainment
licences, public safety, escape routes and disabled access. The
studio is fitted with a semi-sprung floor and there is a large
window onto the street to provide daylight when needed. This
of course can also be blacked out for performances.
The studio has been equipped to the latest standard for smallscale
public performances and, unusually for a studio space of
this size, it has a tensioned wire grid covering the full area of
the space. Designed and maintained by Slingco, but locallymanufactured
by Metaltech Engineering, the tensioned wire grid
provides an ‘optically transparent’ floor from which technicians
are able to rig lights safely. A novel feature of the studio’s
lighting system is defined by a group of ‘nodes’ in the roof from
which internally-wired lighting bars may be attached in
appropriate positions for the stage and seating arrangement
below. A slot along the back wall has been included for a
traditional flying lighting bar, and rolling beams are available in
the ceiling for chain hoists to be rigged where needed.

Theatreplan
Theatreplan LLP
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The Naughton Studio photo © Dennis Gilbert
Belfast’s Lyric Theatre represented an unusual and challenging experience for the entire design
team, and it can’t be summed up better than Dave Ludlam’s memorable comment: “The amount of
innovation brought into this project was truly remarkable.”
Technical Specifications
Northern Bank Main Stage
Performing Area: 12m x 10m
Proscenium Opening: 8m high, width variable between 9m and 12m
Movable Proscenium Panels: Electrically powered with two lighting galleries / Juliet balconies
Demountable Stage
Plan Area: 74.4 m 2 (12.2m x 6.1m) 5 x 5 array of standard Steeldeck modules
Static Payload: 7.5 kN/m 2 Point Load of 5kN over a 300 x 300mm square area
Rigging
Number of Bars: 43 No. across-stage and 2 No. up-down stage Single purchase CW sets
Maximum Payload: 400 kg
Bars: 14.0m long with 5 No. pickups on 3.2m centres
Flying Centres: 200mm
Maximum Flying Height (stepped grid): 16.25m upstage and 14.75m downstage
House Curtain: Yes, on counterweight set
Safety Curtain: Not required as building is fire engineered
Rolling Beams: 16 No. covering the entire stage area, capacity 500Kg

Theatreplan
Forestage Elevator
Plan Area: Approx. 26.8m 2 (max. dimensions 13.7m x 2.8m)
Travel Distance: Normal travel distance: 3.6m
Static Payload: 7.5kN/m 2 with up to 10 kN on a 200 x 200mm area
Dynamic Loading: 90kN
Normal Travel Speeds: 50mm/second (3 metres/minute)
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Seating Wagons
Quantity: 3 No. on low pressure air bearings
Static Loading: Each Seating Wagon will support a load of 4.5kN/sqm when positioned
Dynamic Load: Self-weight of the complete Seating Wagon plus at least 20%
Sound and Communications
Paging, ring intercom and a dual channel infra-red system for hearing impaired / audio description are provided along
with a comprehensive wiring infrastructure for audio, video, loudspeaker, cue lights and Ethernet. Sound mixers,
amplifiers, loudspeakers and other looses equipment were direct purchased by the end users.
Production Lighting
Production Dimmers: 216 x 3kW ETC Sensor plus 44 x 3kW non-dimmed
Lighting Desk and Luminaires: Direct purchased by the end users
Touring Power: 250A TPN, 125A TPN and 125A TPN (Sound)
Naughton Studio Stage
Floor Area: 12.2m x 15m
Retractable Seating: One unit, 8 rows of 14 seats (112)
Rostra and Seats: Various end, end thrust, side thrust, in-the-round and traverse formats
Balcony: Behind retractable seating with control position and 13 patron seats
Rigging
Tension Wire Grid: Over entire Studio area
Rolling Beams: 15 No. covering the entire Studio area, capacity 500Kg
Curtain Track: A double perimeter curtain track
Sound and Communications
Paging, ring intercom and a dual channel infra-red system for hearing impaired / audio description are provided along
with a comprehensive wiring infrastructure for audio, video, loudspeaker, cue lights and Ethernet. Sound mixers,
amplifiers, loudspeakers and other looses equipment were direct purchased by the end users.
Production Lighting
Production Dimmers: 120 x 3kW ETC Sensor plus 17 x 3kW non-dimmed
Lighting Desk and Luminaires: Direct purchased by the end users
Client: Lyric Theatre Trust
Project Managers: E C Harris
Architects: O’Donnell + Tuomey
Theatre Consultants: Theatreplan LLP
Acousticians: Sound Space Design
Structural Engineers: Horgan Lynch Engineers
Mechanical and Electrical Engineers: IN 2
Cost Consultants: Rider Levett Bucknall
Contractor: Gilbert Ash NI Ltd
Theatre Lighting, Sound and Communications: Oxford sound and Media
Stage Engineering: Multistage International
Demountable Stage Floor: Steeldeck
Tensioned-wire Grid designed and installed by Slingco
Tensioned-wire Grid Frame fabricated by Metaltech Engineering
Auditorium seating (main): Deko
Auditorium seating and rostra (studio): Jezet
www.lyrictheatre.co.uk www.theatreplan.co.uk