The Language of the Stage: An In-Depth Exploration
Theater is an art form that transcends mere performance; it is a complex interplay of language, movement, emotion, and visual storytelling. Understanding the language of the stage involves delving into terminology, concepts, and practices that define the theatrical world. This exploration not only enhances the appreciation of performances but also deepens the understanding of the collaborative efforts required to bring a play to life.
1. Basic Terminology
Act and Scene Structure
The structure of a play is foundational to its narrative. An act may encompass several scenes, each contributing to character development and plot progression. Understanding the pacing and transitions between acts and scenes helps audiences anticipate shifts in the story. For instance, a dramatic climax may occur at the end of an act, creating a suspenseful pause before the intermission. Phrases like “scene change,” “curtain call,” and “exposition” become part of the vocabulary that describes how a story unfolds on stage.
Monologue and Dialogue Monologues serve as windows into a character’s psyche. Shakespeare, for example, masterfully employed monologues to reveal inner turmoil and motivations, exemplified in Hamlet’s famous soliloquy, “To be or not to be.” In contrast, dialogue propels the plot and builds relationships. The nuances of dialogue—such as subtext, tone, and pacing—can convey unspoken emotions and conflicts, enhancing the richness of character interactions. Terms like “call and response” highlight the dynamic exchanges between characters.
2. Stage Directions and Movement
Blocking Blocking is more than just movement; it’s the choreography of the narrative. Directors work closely with actors to develop blocking that not only serves the story but also complements the visual composition of each scene. Effective blocking ensures that the audience can engage with the action without distraction, while also emphasizing emotional beats through strategic placement. Actors often hear phrases like “upstage left” or “downstage center” that guide their positioning.
Upstage/Downstage and Stage Left/Stage Right
Understanding these terms is essential for both performers and crew. The physical layout of the stage informs how actors interact with one another and the audience. For example, an actor moving downstage may be delivering a crucial line, drawing the audience’s focus, while upstage actors may be in supporting roles, enhancing the scene without overshadowing the primary interaction. These directional terms are crucial for maintaining spatial awareness.
3. Theatrical Elements
Set Design
The set is a character in its own right. Designers must consider not only aesthetics but also functionality. A well-designed set can enhance the storytelling by reflecting the play’s themes and the characters’ emotions. For instance, a stark, minimalist set may underscore a character’s isolation, while a vibrant, cluttered space can evoke chaos or joy. Phrases such as “set dressing” and “scenic design” encompass the details that contribute to the overall atmosphere.
Costume Design
Costumes provide insight into characters and the world they inhabit. Designers analyze the script to determine how clothing can symbolize status, personality, and transformation. Historical accuracy may be essential for period pieces, while modern interpretations might employ costumes to challenge stereotypes or provoke thought. For example, a character’s gradual change in attire can signify their emotional evolution throughout the play. Terms like “costume plot” and “wardrobe fitting” are integral to the design process.
Lighting Design Lighting shapes the audience’s perception of time, place, and mood. Designers use various techniques—such as gels, gobos, and dimmers—to create atmosphere. A sudden spotlight can heighten drama, while soft lighting can evoke intimacy. Effective lighting transitions enhance scene changes and help convey shifts in tone, guiding the audience’s emotional journey. The phrase “light cue” indicates a critical moment when lighting changes to support the narrative.
4. Performance Techniques
Improvisation Improvisation is an invaluable skill in theater, allowing actors to adapt to unforeseen circumstances, such as a missed line or an unexpected audience reaction. This spontaneity can lead to memorable moments that deepen the connection between performers and the audience. Phrases like “yes, and…” in improv training encourage actors to build on each other’s ideas, fostering creativity within the constraints of the script.
Pantomime Pantomime is a powerful form of expression that transcends language barriers. By relying on gestures, facial expressions, and body language, actors can convey complex emotions and narratives without words. This technique is particularly effective in physical theater and can enhance comedic or dramatic moments. Terms like “physicality” and “gesture vocabulary” describe the ways in which actors communicate non-verbally.
Subtext Subtext adds depth to performances, revealing the unspoken motivations and emotions that drive characters. Actors must learn to balance what is said with what is felt. For example, a character may verbally express love while their body language reveals tension, suggesting deeper conflicts. Mastering subtext requires keen observational skills and emotional intelligence, often discussed in terms of “reading between the lines.”
5. Technical Language
Cueing Cueing is a fundamental aspect of theatrical timing. Actors, stage managers, and technicians rely on cues to synchronize their actions. Whether it’s a verbal cue, a sound effect, or a visual signal, precise cueing ensures a seamless flow of the performance. A missed cue can disrupt the rhythm, making timing and communication vital in any production. Terms like “go cue” and “line cue” signify specific moments when actions must occur.
Fly System
The fly system is a complex arrangement that enables the manipulation of stage elements above the acting area. Understanding how to operate this system is crucial for stagehands and technicians. The ability to swiftly and safely change scenery, drop in lighting, or raise props can significantly enhance a production’s dynamic. Safety protocols must be in place to prevent accidents during these transitions, often referred to as “flying in” or “flying out” elements.
Sound Design Sound design is often an underappreciated aspect of theater, yet it plays a critical role in shaping the audience’s experience. Beyond music and sound effects, sound design encompasses ambient noises that create a sense of place and realism. Effective soundscapes immerse the audience in the world of the play, influencing their emotional response. Phrases like “sound cue” and “mixing board” are part of the lexicon of sound technicians.
6. Backstage Terms
Green Room
The green room is a designated space for actors to relax before and after performances. It serves as a sanctuary away from the hustle and bustle of the stage. This area may contain refreshments and is often where actors can gather to discuss the performance or prepare for their upcoming scenes. Phrases like “waiting in the green room” reflect the anticipation actors experience before stepping on stage.
Backstage Backstage refers to the areas behind the stage where actors and crew operate, including dressing rooms, the wings, and storage spaces for props and sets. The backstage environment is bustling with activity, where actors prepare for their entrances, and stagehands manage set changes. The phrase “in the wings” indicates that an actor is waiting just offstage, ready to enter at the right moment.
Call Sheet
A call sheet is a vital document that outlines the schedule for a production day, including arrival times, rehearsal schedules, and specific cues for actors and crew. Understanding how to read and follow a call sheet is crucial for everyone involved in the production, as it ensures that all aspects run smoothly. This document may also highlight important notes regarding scenes or specific instructions from the director.
Stage Manager
The stage manager is the linchpin of any production, coordinating the various elements that contribute to a successful performance. This role involves calling cues, managing the cast, and ensuring that the show runs on time. The stage manager often works closely with the director and is responsible for maintaining communication between all departments. Phrases like “calling the show” refer to the stage manager’s responsibility to cue lighting, sound, and actor entrances.
Load-In and Load-Out Load-in refers to the process of bringing all the necessary equipment, sets, and props into the performance space before a show, while load-out signifies the removal of these elements after the final performance. These processes require meticulous planning and coordination among crew members to ensure that everything is transported safely and efficiently. The phrases “load-in day” and “load-out crew” highlight the teamwork involved in setting up and dismantling a production.
7. Audience Interaction
Fourth Wall
The concept of the fourth wall distinguishes the audience from the performance. When actors choose to break this barrier, it creates a unique dynamic, inviting audience engagement and creating moments of shared humor or insight. This technique can add layers of meaning, as seen in works like “Our Town” or “The Book of Mormon,” where characters address the audience directly. The phrase “breaking the fourth wall” refers to this intentional disruption of the barrier.
Call and Response Call and response techniques foster a sense of community and involvement among audiences. This interactive element encourages participation and can create a lively atmosphere. Such techniques are often found in musical theater, comedy, and community performances, reinforcing the idea that theater is a collective experience. Phrases like “audience participation” and “interactive theater” reflect this growing trend.
Conclusion
The language of the stage is a rich and intricate system of terminology, concepts, and practices that shape the theatrical experience. From the precise movements of blocking to the emotional depth of subtext, each element plays a crucial role in bringing stories to life. Understanding this language enhances the appreciation of theater as an art form and highlights the collaborative efforts of everyone involved, from writers and directors to actors and technicians.
As we continue to explore and innovate within this vibrant world, the language of the stage remains a vital tool for connection, expression, and storytelling. Whether you are a performer honing your craft or an audience member savoring a performance, embracing the language of the stage allows you to engage more deeply with the art of theater, making each experience richer and more rewarding. The theater, after all, is where words and actions come together to create magic—a language all its own.
Modular Staging Steeldeck User Tips
In this section we will go over our products in more detail than on our product page starting with Steeldeck 7.5. We will try and answer some of the most asked questions and give you tips on how to use these systems.
Steeldeck 7.5
What more can be said about Steeldeck? This system has earned its reputation as one of the most adaptable on the market, finding its place across diverse sectors: hire and set companies, film and theater (supporting Jimmy Jib and Technocrane platforms in West End theaters), exhibitions, schools, military applications, festivals, and events—the list goes on.
As one of the first modular staging products we developed, Steeldeck has continually evolved. With our redesign of the original concept, we’ve achieved a 7.5 Kn load capacity, backed by detailed structural calculations. Available in both imperial and metric, the unit offers a range of accessories, from standard handrails and treads to specialized components like multi-couplers and bolt-on corner posts.
Steeldeck’s flexibility extends to both flat and raked stages, making it ideal for a variety of applications. It can even be used to adjust the rake of an existing stage, perfect for accommodating unique performance needs like those of a dance troupe.
We also offer a leg customization service, where we cut and mark your legs for easy setup, whether for a raked stage or a flat stage on uneven ground.
Feel free to give us a call or send an email to learn more about this service and how Steeldeck can meet your staging needs.
Steeldeck staging
Set-up Tips
Before we dive into the specifics, let’s start with some general guidelines. Though the procedures we’ll cover apply broadly to different setups, a few details are unique to Steeldeck 7.5:
Bracing Requirements: Steeldeck 7.5 doesn’t require bracing if used at heights under 1500mm (deck finishing height, or DFH). However, the Institute of Structural Engineers’ Temporary Structures (4th edition) recommends bracing at 1200mm DFH and above.
Handling: Always use at least two people to handle Steeldeck 7.5 decks safely.
Step-by-Step Setup Guide
Positioning the Deck
Stand the Steeldeck on its long edge near its final position.
Ensure the corner post bolts are retracted enough to allow the legs to be fully inserted.
Inserting the Legs
Insert the legs into the bottom corner posts first. This keeps the deck more stable during setup and prevents you from bumping your head.
Insert the leg fully into the corner post and tighten the bolt, but do not over-tighten—the bolt only needs to secure the leg, not clamp it forcefully. Over-tightening can damage the bolt or cause the leg to stick.
We recommend using an impact driver with a reversible 17mm/19mm socket, and using steel legs rather than aluminum for optimal stability.
Righting the Deck
With the legs secure, carefully tip the deck onto its legs. Ensure at least two people are involved, and verify there’s enough space to maneuver.
Position yourself at either end of the deck, place the side of your foot by the bottom leg, and gently stand the deck upright.
Positioning and Connecting Decks
Start positioning decks from the center of the stage outward, moving from the back of the stage forward.
Once you have two decks side-by-side, use connecting bolts to secure them together. We recommend only finger-tightening these bolts until the entire stage or at least a couple of rows are in place.
For connecting, use either M10 60mm bolts or our purpose-designed deck bolts.
Ensuring Alignment
As you build the first row of decks, periodically measure the distance from the back of the deck to the wall to ensure the stage remains square.
Alternatively, set up a string line before beginning to help guide the alignment.
Dismantling the Stage
To dismantle the stage, simply reverse the setup instructions. Always handle components with care and keep two people on hand for each deck section.
Steeldeck Install
Steeldeck Modular Staging
Transportation and storage.
For ease of movement, we recommend using castors with Steeldeck 7.5 decks whenever possible. However, in venues with limited width, our double and single chariots are ideal alternatives, minimizing manual handling while ensuring safe transport.
Stacking Decks for Storage or Movement
Initial Setup
Place the first Steeldeck either on its wheels or stacked flat on the floor. If forklifts are to be used, stack on bites to allow clearance.
Ensure the wood surface of the deck faces upward.
Stacking the Decks
Position the next deck on top, wood to wood. At this point, you may place the legs intended for building your stage onto the upturned deck for convenient access.
Insert a stacking leg (approximately 250mm) into opposite diagonal corners. These legs don’t need to be tightened—leave them loose in the corner posts.
Place the next deck, aligning corner post to corner post, and repeat until the stack is complete.
Securing the Stack
If stacking on castors, use a ratchet strap to secure the decks before moving to prevent shifting during transport.
Moving Large Quantities of Steeldeck
For larger quantities, consider one of our Ambidecks, designed with built-in lifting bars for forklift handling, or a Steeldeck with forklift pockets for added stability. Always avoid stacking decks corner post to wood for extended periods, as this can damage the wood surface.
Steeldeck Gallery walkway
Modular tiering
Steeldeck 7.5 is ideal for modular tiering systems, accommodating both chair and bench seating, as well as choir tiers and orchestra risers.
Step-by-Step Setup
Mark Out the Area
Use a string line or tape marks to outline the area for the modular tiering.
Begin building the tiering from the bottom row upwards.
First Row Setup
Place a stubby leg into each corner post. This is a short leg that leaves only the plastic bung visible below the corner post to minimize floor damage.
Bolt the decks together. If you have enough personnel, we recommend bolting them together while they are still on their edge for easier handling.
Building Additional Rows
For each successive row, insert a stubby leg into the deck side that will sit on top of the previous row, and place a longer leg into the side that will sit on the floor. Then maneuver the deck into place.
For larger risers, replace the stubby leg with the required height leg. Add kickboards or hard fascia on each tier to prevent chair legs from slipping through any gaps.
Deck Overlap and Spacing
Overlap the decks by 300mm to allow enough space for people to pass by once chairs are placed on the tiers. If the tiers are being used as bench seating, consider an overlap of 500mm to maximize the number of tiers within the space.
Securing with Tiering Brackets
Bolt each deck together and place a Stage Solutions tiering bracket on each end to secure them. The bracket clips onto the Steeldeck’s bottom rail, then bolts through the lower deck’s bolt holes.
Continue Row by Row
Repeat this process until the tier is complete. Use an 8ft x 3ft Steeldeck on the last row to ensure all tiers are uniformly sized.
Handrails and Kickboards
Attach handrails to the sides and rear of the structure. For tiers above 1500mm, add kickboards to the handrails to prevent items from being knocked off and potentially injuring people below.
Leg Ties and Bracing
Add leg ties to each row for extra stability, ensuring the tiers remain secure. Install any necessary bracing for tiers above 1500mm in height.
Dismantling the Tiering System
To dismantle the setup, simply follow these instructions in reverse, taking care with each step to safely handle each component.
Steeldeck Modular Tiering
Set-up on uneven ground
Steeldeck 7.5 excels in outdoor applications, whether for stages, tiering, camera platforms, disabled platforms, FOH areas, or VIP viewing platforms. Here’s a guide for setting up on uneven terrain using screw jacks and multi-couplers.
Step-by-Step Setup
Identify the High Point
Begin building from the highest point on the ground. Start at the front, back, or middle of the stage—wherever the high point lies—and work outward.
Determine the stage’s average height, which is simpler for smaller stages. For larger stages, we recommend using a laser level.
Mark Out and Set Up the First Deck
After marking the stage area, position the first deck at the high point.
Insert a screw jack into each leg and place a ply packer spreader plate beneath each screw jack.
Level the deck with a spirit level, adjusting the screw jacks as needed to achieve evenness side-to-side and front-to-back.
Attach Multi-Couplers
Secure multi-couplers to each leg of the first deck. Each multi-coupler can support up to three additional decks, making it easier to level the entire stage platform.
Add Additional Decks
For the next deck, insert legs only in corners not supported by the multi-coupler.
Position the deck with screw jacks and ply spreader plates beneath each leg, then bolt the decks together loosely (finger-tighten only until the stage or a row of decks is completed).
Level the new deck as before, ensuring stability side-to-side and front-to-back.
Repeat the Process
Continue adding decks and leveling each, repeating these steps until the stage is fully built.
Attach Handrails
For stages above specific height thresholds, attach handrails as needed for safety.
Steeldeck on screw jacks and multi-couplers
To dismantle, follow these procedures in reverse order.
It is very important that you follow the way the decks were set up as the previous deck supports the next one so they have to come out in reverse order.
Stage Accessories
We offer a wide range of accessories to enhance the functionality, safety, and aesthetics of Steeldeck 7.5 stages:
Handrails
Available in two types:
Public Access Handrail: Designed for areas with heavy public traffic, ensuring maximum safety.
Standard Handrail: Suitable for most applications, providing reliable support.
Both types easily attach to the Steeldeck using our back-plate system for secure and straightforward installation.
Kick-boards and Fascias
Kick-boards: Essential for stages above certain heights to prevent items from falling off the stage.
Hard Fascias: Provide a clean, polished edge for a professional appearance.
Magnetic Drapes: Easily attach to the stage for added aesthetic appeal and functionality.
Ramps and Treads
DDA Compliant Ramps: Ensure accessibility for all users, designed to meet Disability Discrimination Act (DDA) standards.
Treads: Steps in various configurations to suit different stage heights and applications.
Each of these accessories helps create a customized, safe, and visually appealing stage setup tailored to your specific needs. Let me know if you’d like more details on any of the options!
Metrodeck Tiering Handrails
Treads/Stage steps: we can supply a number of different types of treads
Modular Treads are perfect for hire companies as they comprise of 1ft and 2ft or 500mm and 1m modules which can be added together to make a set of treads to any height with an integrated handrail.
2ft modular treads in a 6ft configuration
Freestanding Tread comes set at the height you order and has a bolt on handrails.
Stage steps with handrails
– Box treads are used on stages or tiers that are under 600mm/2ft high.
bespoke treads for offices
Bespoke treads may be supplied to any width and height. We can also supply you with curved treads and even a spiral staircase.
Bespoke Curved Treads
Multicouplers: if you have read the uneven ground instructions then you will be aware of how useful multicouplers are. They can also be used for tiering and multilevel stages.
Mulit-couplers
Bolt on Corner post: a corner post that can be moved along the truss for when you are building over seats and can’t quite get that leg in.
Tools
Podgers
17mm-19mm Podger: Ideal for straight leg stages on even floors.
17mm: For tightening bolts.
19mm: For corner posts.
Spike End: Aids in aligning bolt holes on the decks.
19mm-21mm Podger: Best for stages on uneven ground.
19mm: For corner posts.
21mm: For multi-couplers and scaffolding fittings.
Impact Driver
Recommended over an impact wrench due to lower torque, which is sufficient for most stage builds.
17mm/19mm Reversible Socket: A must-have accessory for the impact driver, eliminating the hassle of searching for sockets. Easily switch between bolts without needing to retrieve tools repeatedly.
Boat Level
Essential for ensuring accurate leveling when constructing stages on uneven terrain.
All these tools are available through us; feel free to reach out for pricing or further information!
We hope you have enjoyed this article and have found some of the information useful. If there is anything we have not covered and you would like to know more about, then please do get in contact with us, we like to help.
For more information Click Here or contact us with your brief and we will supply you with the Solution
Stage types
Although a stage might seem like a straightforward platform, each type has its own unique design, purpose, and technical requirements. Here, we’ll walk through some of the primary stage types, focusing on those that best suit our products
Proscenium Stage
The proscenium stage is what most people envision when they think of a traditional theater stage. Named after the proscenium arch (which, interestingly, isn’t always an actual arch), this structure frames the performance for the audience and provides a “window” into the world of the play. Its origins trace back to the ancient Greeks and Romans, with one of the first recognizable examples found in the Farnese Theatre in Parma, Italy.
In most theaters, these stages are deep, often raked (sloped) from back to front to enhance visibility. They typically feature a fly tower, a high structure where fly bars attach to a grid, allowing drapes, lights, and scenery to be “flown” in and out. To fully conceal set pieces when they’re lifted, fly towers are usually at least twice the height of the proscenium arch.
Another notable feature is the apron—a small section of stage extending in front of the arch. Many theaters also have an orchestra pit in front of the apron, although it’s often covered when not in use, effectively expanding the apron into a thrust.
Proscenium stages can also be created in multi-use spaces like arenas or corporate venues, using trusses, stage flats, or even simple pipe and drape setups for framing. Modular staging elements provide flexibility, helping to build out these stages in less traditional environments.
Common Uses: While most often seen in theaters, proscenium stages are also ideal for corporate presentations, Q&A sessions, award ceremonies, and festivals, lending a sense of structure and formality.
Advantages: Provides excellent sightlines and a sense of spectacle.
Disadvantages: Can create a sense of distance, making the audience feel somewhat detached from the performance.
Metrodeck is multi functional in theaters from staging and tiering to stage set,prop tables to work benches
Thrust Stage
Also known as an open stage or platform stage, the thrust stage features an audience on three sides, creating a closer connection between performers and viewers. Although it may seem like a modern design, the thrust stage has deep historical roots, appearing in Spanish corrales, Shakespeare’s Globe Theatre in London, and Japan’s traditional Noh theaters.
The upstage section connects the thrust stage to the backstage area, allowing performers to enter without crossing through the audience. In some cases, there are additional entrances called vomitories, which provide access from the sides.
One key consideration with a thrust stage is that, with audiences viewing from multiple angles, props and set pieces must be placed carefully to avoid blocking anyone’s view. For instance, a prop on stage left could obscure the view for audience members seated on that side.
Thrust stages are easily constructed with modular staging systems and set flats, making them popular in event settings for presentations, Q&A sessions, and fashion shows.
Advantages: Brings the audience closer to the performance and maintains a backstage area for entrances and exits.
Disadvantages: Sightlines can be challenging, and set changes may require extra planning to ensure visibility for all.
Stage solutions modular staging systems are perfect for your portable stage needs.
Theatre in the Round
Also called an arena stage, central stage, or island stage, the Theatre in the Round surrounds the performance area with an audience on all sides. Despite the name, these stages are often square or polygonal rather than round. In many cases, there isn’t a traditional raised stage; instead, the audience area is tiered, rising above the central performance space.
This stage format has ancient roots, with origins in Greek and Roman theater. It was also widely used in Medieval England until the thrust stage took prominence in the Elizabethan era. By the 17th century, it largely disappeared as the proscenium stage gained popularity. However, the arena stage saw a revival in the 1930s, particularly with Nikolay Pavlovich Okhlopkov’s productions in Moscow. In the 1960s, experimental theater companies further embraced this format, valuing the dynamic interaction with audiences and rejecting the perceived constraints of the proscenium setup.
Today, the Theatre in the Round remains popular for its engaging setup. In modern multi-use arenas, this format is often enhanced by features like revolving stages, which allow all audience members to view performances without requiring full mobility from performers—ideal for concerts and other seated events.
Advantages: Creates a highly engaging atmosphere for the audience and can often accommodate larger crowds within a space.
Disadvantages: Sightlines can be challenging, requiring careful set and prop planning. Building tiered audience areas can also increase costs.
Metrodeck for a School Concert Hall
South Hampstead High School is a dynamic girls’ school in North London. As part of a major building programme, it planned to transform an anonymous former gym into an elegant and versatile performance space. And, with the help of Metrodeck, the Waterlow Hall became just that.
Typically for a modern school, the top priority was retaining maximum versatility. The space still had to be a theatre, concert hall, dance space, lecture theatre, assembly hall and much more. And now it all had to be done within a new and luxurious design.
A nice challenge, but a challenge nonetheless.
The school had owned a stock of Metrodeck for many years, so Finance Director Robert Jones knew where to turn for staging. The challenge was to devise a new stock which met the performance demands of every department whilst adopting the beautiful oak aesthetic.
The basis of the package was a set of demountable Metrodeck tiers for choir or orchestra. Of course, many other set-ups were anticipated and are easily achievable.
“Stage Solutions helped us enormously, weighing up the pros and cons on material, strength and size” said Robert Jones.
In the end, the additional weight of the solid oak surface encouraged us to opt for 1mx1m Metrodecks throughout.
“When we reached a final design,” commented Mr Jones, “the manufacture and supply was handled efficiently and speedily.”
We also included smart drop-in handrails along the back which are practical without being intrusive.
The tiers were in place for concerts in an opening week of special events. Literally hundreds of girls sang and played on them.
The decks were also set up independently for other launch events. Including the return of famous alumnae to give the hall their blessing.
“The finished Metrodeck product was well made and an asset to our newly opened hall.”
Only time will tell how the school ends up using the kit. But the signs are good.
Studiodeck – The Favourite
Historic Royal Palaces is the charity which runs six of the most famous palaces in the UK. They already use our Studiodeck system for conferences and performances. So we were delighted when they contacted us again back in October looking for some more.
This time, however, the Studiodecks were going to be used in two exhibitions featuring costumes for the acclaimed film The Favourite. Luke Holmes, HRP’s Interpretation Manager, was responsible for designing simultaneous displays at both Kensington and Hampton Court Palaces. He needed plinths for more than 20 mannequins across the two venues. They had to be practical yet aesthetically appropriate for the costumes and their historic surroundings.
The displays were not just in different palaces but the conditions were quite different too. So Luke and our team spent time discussing practicalities like the plinth heights and finishes, fire-rating and lighting options. And when unexpected last minute decisions meant the design had to respond, with our decades of experience serving the performing arts industry, we were able to be sympathetic.
“Stage Solutions were invaluable in specifying equipment for our costume displays at Historic Royal Palaces. From commissioning to delivery their excellent customer service and flexibility helped make our project a reality” said Luke.
First delivery was to Kensington Palace…
…and then to Hampton Court Palace, and the famous Cartoon Gallery which features in the film.
The Studiodecks themselves are 1mx1m and all at 400mm high. The finish is matt black on the ply tops and semi-gloss on the frames. How did they go down with HRP?
Says Luke “The Studiodecks are a great solution to our needs and were easy to use and customise, even being adjustable for the Palaces’ uneven floors.”
These spectacular exhibitions have featured prominently on TV in recent weeks. You may even have seen glimpses of them behind journalists giving their reviews of the displays. As for the review of our Studiodecks – need one look further than The Favourite?
For more information Click here or contact us with your brief and we will find the Solution
Seating tiers at the Royal Opera House
Audience seating tiers manufactured by Stage Solutions.
The Royal Opera House’s Clore Studio is a key space for rehearsals and for performances by visiting companies.
The ROH’s impressive Open Up project created new foyers, a new theatre and gave the Clore a smart re-vamp. As part of that process, Stage Solutions designed and built a new seating tier structure.
We built the tiers wall-to-wall, laid the carpets, fitted the nosings and attached the row letters. We then fixed the seats (by Hussey Seatway) on top.
The front row of seats is removable, to offer even more floor space to the performers, but there are other special features too. A central section of the tiers can be removed to create a space for a boom camera, which is often used when filming performances or rehearsals. There is also a removable extra deck in the rear corner which creates a flat area for the control desk.
The job was carried out on time and budget.
“You were a pleasure to work with throughout the design and installation process” said Belinda Cameron, Open Up Programme Manager (Performance).
Nuffield Theatre to NST City
NST City?
The NST stands for Nuffield Southampton Theatres – as there are now two Nuffields in Southampton. The old one is on the university campus; the new one, unsurprisingly given the name, in the city centre.
As they had done in 2017 at London’s Bush Theatre, consultants Plann looked to our Metrodeck system to provide the most versatile performance space. Once again pairing Metrodeck with an Audience Systems seat, we produced a series of drawings to ensure that the package of equipment would produce End-on, Traverse or In the Round layouts.
As always, we send our own crew to site to ensure that the installation goes smoothly.
And the result?
It’s a stunning interior which keeps the versatile benefits of the “black box” concept but transcends it to become a fully-fledged theatre.
As Jason Barnes, project manager for Plann, commented “Stage Solutions’ collaborative and flexible approach to the design process, and their high quality delivery has resulted in a great seating installation at NST City.”
If you have any questions please call us on 01634 831719.
Stage Solutions? Seating Tier Solutions!
Seating tiers fixed and modular manufacture and installation
Seating tiers come in all shapes and sizes and are used widely in many types of venues cinema’s,Theatre’s, Lecture Hall’s and Concert venue’s to name but a few. Stage Solutions has built them all over the years and we like to work closely with the Seating companies, Architects,Designers and Constructions companies to deliver the best results.
It’s not hard to work out that we build a lot of stages. But do you know how many seating tier structures we build? And how many different types?
We have divided them into four general categories.
Modular
Demountable tier structures often require the most space-efficient seating.
But sometimes a better quality auditorium seat is preferred.
We can accommodate this while offering the greatest versatility.
Seating tiers fixed and modular manufacture and installation
Contact us with your ideas info@stagesolutions.uk.com
Free-Standing
Stage Solutions designed and built a free-standing tier structure at Regent Street Cinema.
This tier also incorporates curving tiers.
Great care was taken throughout as this is a Grade II listed building.
We liaised closely with seating manufacturers Race to ensure a good fit.
Seating tiers fixed and modular manufacture and installation
If you have a brief why not contact us 01634 831719
Overlaid
The upper balcony at Wexford Opera House (top), was on a steeply sloped curve.
The tiers at Mansfield College, Oxford (lower left) were built on angled concrete.
The Barn Theatre and The Tower Cinema were both built quickly and efficiently.
Most of the work is done in the workshop so time on site is kept to a minimum.
We still scribe everything in to the walls and can install the surface finishes too.
Stage Solutions offer an à la carte selection of seating tier services: design, construction, installation, finishes and even fixing the seats themselves.
Stage Solutions would love to hear about your project. Contact us info@stagesolutions.uk.com
Theatre 503
Theatre 503 is, by any standards, a small theatre. Situated over a pub on London’s Battersea Park Road, it seats around 60 in a space perhaps best described as “intense”. Yet in recent years the theatre has won itself a reputation – and numerous awards – for its fearless championing of new writers and new writing. It’s a mini-miracle.
Audiences do not turn up at Theatre 503 expecting luxury. However, Executive Director Andrew Shepherd is always looking out for ways to improve the viewing experience. With significant restrictions on both space and money it is always going to take some serious imagination. Happily, that’s one thing theatre people have definitely got in abundance!
So, a plan was hatched for some ingenious re-modelling of the auditorium tiers. The proposal was professionally drawn up and everyone concerned either gave their time or worked at cost. The result? A subtly-altered auditorium where the leg room and safety have been improved yet the character remains unchanged.
Stage Solutions was asked to do the carpentry and fitting. We were delighted to do this and a veritable “surgical strike” of activity ensued: tiers and aisle treads were extended, new carpet laid and new aisle nosings fixed. And all in time for the new show “No Place For A Woman”.
“Everyone is thrilled”, said Andrew Shepherd of the new tiers and, as if to prove it, he continued “and they’ve already been referenced in a 5-star review.”
We’re always delighted when customers are happy with our work but to get a mention in a theatre review is a rare honour indeed!
Royal Museums Greenwich
Royal Museums Greenwich, or RMG, is an umbrella group which manages four illustrious sites in Greenwich: The National Maritime Museum, Cutty Sark, Queen’s House and Royal Observatory. Together, these four locations are recognised as a UNESCO World Heritage Site. In the latter part of 2016 we were delighted to be able to supply staging to two of them.
The Queen’s House, Inigo Jones’s masterpiece of classical architecture, had undergone a major refurbishment in readiness for its 400th anniversary celebrations. RMG needed a smart and practical platform to raise speakers at the re-opening ceremony. They chose our Studiodeck system, as seen in the photo below. It’s elegant and unobtrusive – perfect in a building which already has enough architectural fireworks of its own.
Just 5 minutes walk away is the iconic Cutty Sark. Following a fire in 2007, the ship now “rests” on the glass ceiling to the dry dock, as if bobbing on the sea. And that dry dock has been turned into a premier – and highly unusual – venue.
The challenge for us was to provide a package of staging which not only allowed performances to take place along the sides of the space, where you can see some built-in seating tiers, but also by the prow. So we combined standard and bespoke Metrodeck into a package which perfectly filled the “sharp end” of the space.
Now, with its bespoke stage and extraordinary backdrop of figureheads, this unique performance space hosts launches, lectures, conferences and concerts, like this one by the Fisherman’s Friends. It might have been prompted by the disaster of a fire but, in its stunning new guise, the Cutty Sark has really got its mojo back.
“Everyone is thrilled”, said Andrew Shepherd of the new tiers and, as if to prove it, he continued “and they’ve already been referenced in a 5-star review.”
