The theatre - designed by renowned architect Bertie Crewe and completed in 1913 - has re-opened as a major receiving house following a £4 million facelift, with many of its original features restored to their 1913 splendour.
The project was managed for J&C Joel by contracts director Mark Taylor, who worked closely with Theatre Search's David Wilmore, main contractors Sapcote and architects Samsome Hall.
A major aim of the project was to restore the building to its original form. However, there were precious few illustrations or visual references available showing how the theatre draping and interior would have initially looked. By researching other similar period buildings, Taylor and Wilmore proposed a list of what they considered authentic and accurate, and a plan of how to replicate the unique Bertie Crewe style and vibe with the new drapes.
Their previous experience and knowledge of working on several Matcham and Crewe venues proved a real asset. Taking pride of place in the restored auditorium is a fabulous pair of nine metre wide by five metre drop proscenium curtains. These - along with all the other drapes supplied - are made from a custom-created red mohair velour, specially woven and dyed for this contract using traditional methods. The rich red and gold trim colours were chosen to enhance and match the new auditorium seating.
Above the proscenium curtains is a matching pelmet - measuring seven metres wide by two metres drop. There's also a stage skirt, four sets of box curtains for the circle and two sets for the stalls, plus curtains for false boxes both sides of the auditorium - all of which provide a real sense of historical atmosphere.
At J&C Joel's Sowerby Bridge base, the fabric manufacture and drape assembly was overseen by drapery manager Neil Cartwright. Such were the complexities of the design, that the process took nine weeks from commencement of the contract to the fabric being woven, dyed and manufactured.
The bottom section of the proscenium curtains features an intricate silk appliqué frieze, matching the vertical frieze running around the inside face of the proscenium arch. Containing several hundred elaborate elements, this was hand sewn by Cartwright, taking two and a half weeks of constant and intensive work.
All the tassels and fringes for the box curtains were also specially made from wool spun using traditional methods. J&C Joel paid meticulous attention to detail, discussing the options extensively with David Wilmore in terms of what could be achieved utilising today's available hand processes.
"Our reputation for historical replication work was absolutely on the line with this one" confirms Mark Taylor, "I am really proud of the teamwork and effort that went into achieving an excellent and noteworthy end result."
(Chris Henry)
