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York Theatre Royal
York Theatre Royal
United Kingdom
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Other Projects by De Matos Ryan Architects
York Theatre Royal
United Kingdom
Type
STATUS
Built
YEAR
2016
Photos
York Theatre Royal has re-opened following a significant redevelopment by De Matos Ryan, dramatically transforming the theatre’s spaces and visitor experience.
The theatre has occupied the site since 1744 and has since undergone several alterations over the years, including the construction of a new foyer, a vaulted concrete pavilion built alongside the original building, by Patrick Gwynne in 1967. The redevelopment of the Grade II* listed building unlocks the full potential of a complex site that had developed incrementally over 270 years. It has created additional space the theatre urgently needed in order to appeal to and engage a wider community, bring more people into the building and create the opportunity to increase revenue, enabling it to be more financially resilient in the future.
The radical redesign is immediately apparent from the street with the introduction of two new lobbied entrances, one of which allows entry from the south for the first time. The creation of new foyer space below the Dress Circle at the back of the Stalls – by opening up where previously there had been broom cupboards – and the glazing in of the Victorian colonnade, are the most demonstrable changes to Front of House.
This newly found space provides for an improved welcome, gathering and orientation. Housing a welcoming street-facing café clearly visible from the outside, in order to draw people in, the Victorian colonnade has been glazed to give an animated face to the street akin to a storefront. Helping to enhance the visitor and audience experience, the installation of new and increased WCs on both sides of the house on all levels reduces waiting times during peak times in the intervals. New sound lobbies and insulation create spaces on all levels for informal performances including music and poetry. Sound insulation allows the café, restaurant and bars to operate during performances, increasing the opportunities for income generation.
Patrick Gwynne’s 1967 extension has been carefully refurbished to de-clutter and reinstate the original design intent by improving floor coverings and furniture, upgrading the lighting and replacing the rooflights, to give this listed building back its design coherence.
Upgrades to the main auditorium benefit both the audience and performers. New seating has been installed throughout the Stalls, Dress and Gallery, alongside efficient air handling and insulation to enhance comfort and energy use. The rake of the Stalls has been increased to enable the audience to connect with the Dress Circle and make the house feel unified. The Gallery has been re-raked to improve sightlines, increase ticket yield and offer greater price options across the house, encouraging access to a more diverse audience on all levels. The venue’s previously raked stage meant many theatre companies put York at the end of their tours due to the limitations of a sloping surface that required scenery to be adapted to the site. Alterations to the stage and orchestra pit have widened the scope of cultural possibilities and improved health and safety by creating level access, a flat stage and a better cross-over underneath the stage, with increased headroom. The new flat modular stage enables a wider artistic programme including dance, and also encourages greater innovation.
The theatre has occupied the site since 1744 and has since undergone several alterations over the years, including the construction of a new foyer, a vaulted concrete pavilion built alongside the original building, by Patrick Gwynne in 1967. The redevelopment of the Grade II* listed building unlocks the full potential of a complex site that had developed incrementally over 270 years. It has created additional space the theatre urgently needed in order to appeal to and engage a wider community, bring more people into the building and create the opportunity to increase revenue, enabling it to be more financially resilient in the future.
The radical redesign is immediately apparent from the street with the introduction of two new lobbied entrances, one of which allows entry from the south for the first time. The creation of new foyer space below the Dress Circle at the back of the Stalls – by opening up where previously there had been broom cupboards – and the glazing in of the Victorian colonnade, are the most demonstrable changes to Front of House.
This newly found space provides for an improved welcome, gathering and orientation. Housing a welcoming street-facing café clearly visible from the outside, in order to draw people in, the Victorian colonnade has been glazed to give an animated face to the street akin to a storefront. Helping to enhance the visitor and audience experience, the installation of new and increased WCs on both sides of the house on all levels reduces waiting times during peak times in the intervals. New sound lobbies and insulation create spaces on all levels for informal performances including music and poetry. Sound insulation allows the café, restaurant and bars to operate during performances, increasing the opportunities for income generation.
Patrick Gwynne’s 1967 extension has been carefully refurbished to de-clutter and reinstate the original design intent by improving floor coverings and furniture, upgrading the lighting and replacing the rooflights, to give this listed building back its design coherence.
Upgrades to the main auditorium benefit both the audience and performers. New seating has been installed throughout the Stalls, Dress and Gallery, alongside efficient air handling and insulation to enhance comfort and energy use. The rake of the Stalls has been increased to enable the audience to connect with the Dress Circle and make the house feel unified. The Gallery has been re-raked to improve sightlines, increase ticket yield and offer greater price options across the house, encouraging access to a more diverse audience on all levels. The venue’s previously raked stage meant many theatre companies put York at the end of their tours due to the limitations of a sloping surface that required scenery to be adapted to the site. Alterations to the stage and orchestra pit have widened the scope of cultural possibilities and improved health and safety by creating level access, a flat stage and a better cross-over underneath the stage, with increased headroom. The new flat modular stage enables a wider artistic programme including dance, and also encourages greater innovation.
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