An elegant former mansion house, reminiscent of the early Victorian era on Earth, the Shanachie Theater sits in the midst of a wide, cultivated park. Sweeping curves of grass and gravel paths wind from the street and the carriage/car park toward the majestic sight of the theater itself, up-lit by golden-shell gas lamps as the sun goes down.
Passing up the stone steps and through elegant glass double doors, you find yourself in the foyer of the theater, a wide space that can easily accommodate a milling throng waiting to take their seats for the evening's premiere. The carpets are rich, deep crimson, as are the velveted wallpapers that cover the walls, offset with the dark sleekness of gold-painted mahogany along rails and cornices. To the right and left stand the ticket offices, built out from the walls in that same mahogany, windows shuttered for the evening. It is from the foyer that you may step through to the lower bar and stalls, or take the wide curving stairs to the balconies and upper bar.
Through another door of elegantly carved wood and etched glass, you find yourself in the lower bar of the Theater, a space smaller than the foyer, but large enough still to accommodate a sizable crowd. A small number of chairs and tables are set along the wall to your right and left, the majority of the space left uncluttered to allow for thoroughfare from bar to auditorium. The bar itself is again of rich, dark mahogany, running a full fifteen feet, well-stocked to provide for even the most acquired of tastes. It is here that orders may be placed before a show for interval drinks, and here, also, that a passerby on a warm day may stop for refreshment, as this lower bar acts as a cafe during the daytime.
The auditorium itself is decorated in the grand baroque style, continuing the theme of crimson and gold. The seats are deeply cushioned, designed with comfort in mind above all. Three tiers of seating are available - the stalls, the dress circle, and the grand circle. On either side of the dress circle are two banks of private boxes, each enclosed from the rest of the theater and provided with staff to attend to the needs of those within.
The stage is set with a proscenium arch, decorated in the same gold baroque style, as is the railing that surrounds the orchestra pit. When the house lights go down and the stage is illuminated, neat construction tricks make certain that the glint of gold in that shimmering stage light is never seen or perceived.
The offices of the Art Director, Technical Director, and the PR department are set behind the box offices; offices of the general managers and the owners of the theater and companies can be found on the dress circle level, tucked away behind the boxes and out of sight of the public unless directed toward them.
There is a Victorian-style building hidden behind the theater itself, wherein are housed all the workshops for the creation of sets, costumes, and props. This building also houses a substantial facility where all sets, costumes, and props are maintained and stored, for use in future productions. Everything in storage is available for rent to local groups and individuals, should they so wish. Inquiries should be made through the box office.
The attic houses eight rehearsal rooms - four, large and mirrored for ballet and chorus work, and four smaller rooms for principal blocking and private rehearsal. There are also two bathrooms in the attic, for the convenience of the performers there. Backstage is a close space; however, through silent doors is a small warm-up space, where performers generally wait to be called for their cues. Through another door is access to the stage door, always manned, which opens onto an alleyway leading to the main road.
Downstairs from this backstage area, and through another set of doors, lies the Green Room, off which are the six principal dressing rooms - rotated between the principal performers of each company - and two communal dressing rooms, separated into male and female. The prompt and stage manager communicate with performers via the intercom system. There are also three storage rooms on this level. Access directly to the stage door is through a separate doorway and up a separate staircase. All doors are locked with keypads, the codes for which are changed regularly, and known by staff, crew, and cast.
Passing up the stone steps and through elegant glass double doors, you find yourself in the foyer of the theater, a wide space that can easily accommodate a milling throng waiting to take their seats for the evening's premiere. The carpets are rich, deep crimson, as are the velveted wallpapers that cover the walls, offset with the dark sleekness of gold-painted mahogany along rails and cornices. To the right and left stand the ticket offices, built out from the walls in that same mahogany, windows shuttered for the evening. It is from the foyer that you may step through to the lower bar and stalls, or take the wide curving stairs to the balconies and upper bar.
Through another door of elegantly carved wood and etched glass, you find yourself in the lower bar of the Theater, a space smaller than the foyer, but large enough still to accommodate a sizable crowd. A small number of chairs and tables are set along the wall to your right and left, the majority of the space left uncluttered to allow for thoroughfare from bar to auditorium. The bar itself is again of rich, dark mahogany, running a full fifteen feet, well-stocked to provide for even the most acquired of tastes. It is here that orders may be placed before a show for interval drinks, and here, also, that a passerby on a warm day may stop for refreshment, as this lower bar acts as a cafe during the daytime.
The auditorium itself is decorated in the grand baroque style, continuing the theme of crimson and gold. The seats are deeply cushioned, designed with comfort in mind above all. Three tiers of seating are available - the stalls, the dress circle, and the grand circle. On either side of the dress circle are two banks of private boxes, each enclosed from the rest of the theater and provided with staff to attend to the needs of those within.
The stage is set with a proscenium arch, decorated in the same gold baroque style, as is the railing that surrounds the orchestra pit. When the house lights go down and the stage is illuminated, neat construction tricks make certain that the glint of gold in that shimmering stage light is never seen or perceived.
The offices of the Art Director, Technical Director, and the PR department are set behind the box offices; offices of the general managers and the owners of the theater and companies can be found on the dress circle level, tucked away behind the boxes and out of sight of the public unless directed toward them.
There is a Victorian-style building hidden behind the theater itself, wherein are housed all the workshops for the creation of sets, costumes, and props. This building also houses a substantial facility where all sets, costumes, and props are maintained and stored, for use in future productions. Everything in storage is available for rent to local groups and individuals, should they so wish. Inquiries should be made through the box office.
The attic houses eight rehearsal rooms - four, large and mirrored for ballet and chorus work, and four smaller rooms for principal blocking and private rehearsal. There are also two bathrooms in the attic, for the convenience of the performers there. Backstage is a close space; however, through silent doors is a small warm-up space, where performers generally wait to be called for their cues. Through another door is access to the stage door, always manned, which opens onto an alleyway leading to the main road.
Downstairs from this backstage area, and through another set of doors, lies the Green Room, off which are the six principal dressing rooms - rotated between the principal performers of each company - and two communal dressing rooms, separated into male and female. The prompt and stage manager communicate with performers via the intercom system. There are also three storage rooms on this level. Access directly to the stage door is through a separate doorway and up a separate staircase. All doors are locked with keypads, the codes for which are changed regularly, and known by staff, crew, and cast.