San Diego Community Theatre

Author(s): Michael Langham, Bertrand Goldberg and A. J. Gunawardana

Source: The Drama Review: TDR, Vol. 12, No. 3, Architecture/Environment (Spring, 1968),
pp. 65-74
Published by: Cambridge University Press
Stable URL: https://www.jstor.org/stable/1144354
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The University of California, San Diego, is one of three new campuses of the
state university. It will have 27,500 students by the year 2000. UCSD admitted
its first undergraduates in 1964, and in that year made an agreement with the
Theatre and Arts Foundation of San Diego to build a major theatre on a site bor-
dering the campus. Funds for the theatre have been contributed by the University
and by the Foundation. The theatre will open in 1969.

Michael Langham is the artistic director and Bertrand Goldberg the architect of
the theatre. Langham also serves as the principal consultant in the development of
the University's drama program. Though that program will not be pre-profession-
al, its staff will be drawn from Langhan's company. (Professional training will be
given within the company to apprentices who will not be degree-seeking students,
though they may enroll in relevant courses.) Members of the company, the faculty,
and visiting practitioners and scholars will be appointed fellows of a Drama Center
within a proposed Institute for Advanced Study in the Arts at UCSD.

John L. Stewart
Provost, Muir College
UCSD
Richard Schechner

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66 LANGHAM AND GOLDBERG

The San Diego Project

The group of people who launched the idea of this theatre in California agreed
that I should select the architect for it and work closely with him from the very
beginning. We agreed that the technical aspect of the theatre was not to predomi-
nate. I am opposed to technology dominating the theatre because such a course
tends to nullify spontaneous creation between actor and audience. I believe the most
stimulating and rewarding theatrical experiences occur when the greatest imagi-
native bond is created between actor and audience. I believe, in short, in the actor as
the supreme contributor to live theatre-not the machine, not the director. This
attitude greatly influenced the design of the theatre in San Diego.

As a result of my experiences at Stratford, Ontario, I am convinced that one can

achieve more of this sort of atmosphere with a theatre of a thrust stage than with
a proscenium stage. In a picture-frame theatre, the tendency is for the actor to pre-
tend to play to his colleagues when in fact he is playing to the audience. This is
impossible on a thrust stage-the actor is forced to play to the actor and conse-
quently the relationships that develop between characters are deeper and draw the
characters more fully into the experience.

The shape of the San Diego stage is rather like two stages: a platform to which
you can gain access from the front and the rear, an area isolated in light like a
mountain, the world if you like, with no background to it at all. Behind this is a
small bottleneck leading to another stage (upon which is a revolve). The problem
I have at Stratford, where the actor has difficulty in controlling with his eyes every
seat in the house, is solved: this second stage is set sufficiently far away to con-
quer that. I think that the level of the stage platform and its relationship to the
auditorium should present the actor so that his greatest impact is felt in the dead
center of the auditorium-not, as so often happens, in the front three rows. That's
why I want to drop the first three rows of seats down, so that the bulk of his
impact is going to the bulk of the house. The level of the platform in San Diego
will be in line roughly with row H.

Whether or not a theatre intends to stage Shakespeare's plays, I think his needs
should be kept in mind. For Shakespeare anticipated all the kinds of drama and
theatrical experience that man has yet devised. Consideration of the demands of his
works affected what I have asked for in California, particularly in terms of facili-
ties for quick appearances and disappearances. Of course the thrust stage in San
Diego is designed with a certain kind of repertory in mind, partly classical, partly
contemporary. The fact that you have a thrust stage makes it possible for you to
run a big classical repertory at infinitely less expense than if you were to do it in
a picture-frame theatre, where you have to install a considerable amount of scenic
statement for each play. On a thrust stage, the statement is entirely in the manip-
ulation of the actors and the design of clothes and properties.

Now a thrust stage is difficult to use-especially for the director. But I do not
believe in "all-purpose" theatres. I want my theatre to be both flexible and com-
mitted to necessary limitations. It must at once confine and liberate. M.L.

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SAN DIEGO THEATRE 67

The Site

A very sharp east-west ravine extends (K to M) to form an arroyo. Using the

natural contour of the land, the theatre complex grows in a crescent shape around
the arroyo, where the bowl of the Repertory Theatre (A) is seated. A small dam
traps storm water, forming a reflecting pool (L). The levels circle the pool, and

the landscaping is perforated with small sitting places. Area H also serves as
garden and courtyard for actors.

N and R represent the entrance and exit system of the theatre complex. Traffic wil
enter from the north at N and proceed to B to discharge passengers. The footbrid
K permits parking riders to cross from parking areas into the complex. The park-
ing areas, which hold about 1,000 cars, have been designed to conceal the automo-
biles. The land contour drops off sharply on the east, so that autos parked on the
downhill slope are virtually invisible. It is hoped that cars parked close to Torrey
Pines Road will also be unseen.

Persons attending the Workshop Theatre (C) will turn to the right and mo
toward D. Truck traffic will proceed to entrance J where deliveries may be made
the costume areas, to the theatre, or to the food and control areas. Adjacent to th
Workshop Theatre and along the length of area G is parking for the compan
and the staff.

i A. repertory theatre
(1600 seats)
B. entrance to repertory
theatre

D. entrance to

workshop theatre
E. greek theatre
(350 seats)
F. theatre administration
G. carpenter & costume

H. work court
/J . J service court
i~~Ki K. pedestrian link to
parking
L. pond
M. damz
N. main entrance drive
P. parking
R. secondary drive

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68 LANGHAM AND GOLDBERG

First Level: Actors

The first floor converges from two directions into a pattern of action. The actors'
area is controlled by and entered at space 112, which becomes a stage-door en-
trance. The entire section south and west of the lobby (111) belongs to the actors
exclusively. Actors entering the lobby may also move northward along the corridor
that flanks the entire administrative area and reach the Workshop Theatre. This
corridor looks out to the actors' garden (Work Court H) and provides access to
wing G, which contains costume and fitting rooms. Further, the lobby is connected
to the Greek Theatre below (E) by a terrace, and to the audience level of the main
theatre by stairs.

Rehearsal Room A (106) is a full-size replica of the main stage. The set room
(138) is also a massive area. The costume room and scenery rooms are two stories
high and are surmounted by a mezzanine running down the center which contains the
design rooms for both costumes and scenery. An open balcony permits the designers
to feel a sense of participation in the actual production of their designs and at the
same time provides privacy. The entire area will be skylighted. The Workshop
Theatre (127) is a relatively undesigned space totally covered by a grid. The
space may be organized anew for each production, with variable stage-audience
orientations.

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SAN DIEGO THEATRE 69

101. Actor's club, 1570 sq. ft. 139. Circulation, 1780 sq. ft.
102. Toilet, 160 sq. ft. 140. Locker & toilet, men, 240 sq. ft.
103. 141. Locker & toilet, women, 240 sq. ft.
Kitchen &e storage, 160 sq. ft.
104. Rehearsal room c, 1600 sq. f. 142. Fitting rooms (2@ 8 x 18), 288 sq. f
105. Rehearsal room b, 1950 sq. ff.143. Dye room, 338 sq. ft.
106. Rehearsal room a, 2900 sq. ft.144. Paint shop, 312 sq. ft.
107. Court, 1560 sq. ft. 145. Plastic shop, 312 sq. ft.
108. Canteen, 660 sq. ft. 146. Carpenter work area, 1040 sq. ft.
109. Food preparation, 320 sq. ft. 147. Costume work area, 884 sq. ft.
110. Green room, 960 sq. ft. 148. Costume shop, 995 sq. ft.
111. Lobby, 1092 sq. ft. 149. Carpenter shop, 1131 sq. ft.
150. Shipping &e receiving office, 324 sq.
112. Control, 264 sq. ft.
151. Shipping & receiving holding area,
113. General director, 507 sq. ft.
children), 704 sq. ft.
114. Artistic director, 332 sq. ft.
115.
152.
Production director, 332 sq. ft.
Loading dock
153. Waste &e janitor, 300 sq. ft.
116. Production manager, 332 sq. ft.
154. Storage room, 720 sq. ft.
117. Secretary area, 1025 sq. ft.
155. Female dressing rooms &e showers,
118. Public relations director, 507 sq. ft.
4-5 passenger bubbles, 1456 sq. ft.
119. Public relations, 163 sq. ft.
156. Male dressing rooms &e showers,
120. Public relations secretary, 163 sq. ft.
4-5 passenger bubbles, 1344 sq. ft.
121. Dramaturge, 448 sq. ft. 157. Male mob room &e showers, 640 sq. f
122. Conference room, 448 sq. ft. 158. Crew room, male, 336 sq. ft.
123. Locker & toilet, men, 288 sq. ft. Crew room, female, 250 sq. ft.
159.
124. Locker & toilet, women, 352 sq.Ramps,
160. ft. 450 sq. ft.
125. Gymnasium, 1710 sq. ft. 161. 8' wide corridor, 2240 sq. ft.
126. Prop storage, 2622 sq. ft. 162. Back stage elevators, 154 sq. ft.
127. Workshop theatre, 5320 sq. 163.
ft. General storage, 4275 sq. ft.
128. Lobby, 1760 sq. ft. 164. Trap area above, 480 sq. ft.
129. Coats, 112 sq. ft. 165. Orchestra pit, 468 sq. ft.
130. Toilets, 320 sq. ft. 166. Vomitory ramps, 532 sq. ft.
131. Theatre manager, 200 sq. ft.167. Scenery storage, 1440 sq. ft.
132. Box office, 224 sq. ft. 168. Wig maintenance 4& storage, 320 sq.
Vestibule, 1232 sq. ft. 169. Costume maintenance, 352 sq. ft.
133. Mob room, male, 555 sq. ft. 170. Costume storage, 392 sq. ft.
134. Shower & toilet, male, 320 171. Prop storage, 896 sq. ft.
sq. ft.
172. Mob room, female (20 female e 10
135. Stars dressing rooms &e showers,
(2 each) 4@ 8 x 20, 640 sq. ft. children), 704 sq. ft.
136. Shower &e toilet, female, 396 173.
sq. 4-stars
ft. dressing rooms, 576 sq. ft.
137. Mob room, female, 861 sq. ft. 174. Orchestra ramp, 140 sq. ft.
138. Set shop, 3720 sq. ft. 175. Actors entry, 560 sq. ft.

Second Level: Audience

The entire audience level has been designed to facilitate running tours withou
disturbing the activities of the center. Visitors will be able to watch the production
of scenery and costumes as well as rehearsals. The automobile entrance whic
begins at 238 is an open area but is protected from the weather by a balcony over-
hang from the second level above. Autos will discharge passengers into this larg
terrace, and they may then move either into the ticket area and foyer or into the
lobby of the theatre. The ticket control area (239) has been designed to minimi
labor, and it is anticipated that the tickets will be computerized, in printout

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70 LANGHAM AND GOLDBERG

well as selection. Access from 239 to the entrance is to the theatre seating plan, and
access to the balconies is provided by two stairways (240).

201. Governors, meeting rooms, 1170 sq. ft. 227. Bar, 279 sq. ft.
202. Toilet, 135 sq. ft. 228. Dining for 250, 5460 sq. ft.
203. Kitchen, 170 sq. ft. 229. Space for 3 offices, 560 sq. ft.
204. Mail room order, 320 sq. ft. 230. Space for 4 offices, 1040 sq. ft.
205. Hotel &e travel service, 640 sq. ft. 231. 736 sq. ft.
206. General office & publicity, 960 sq. ft. 232. Toilet, 180 sq. ft.
207. General business manager, 320 sq. ft. 233. Toilet, 180 sq. ft.
208. Assistant publicity director, 320 sq. ft. 234. Design studio, 810 sq. ft.
209. Press room, 640 sq. ft. 235. 4-desk office, 342 sq. ft.
210. Mail room, 640 sq. ft. 236. Design studio, 864 sq. ft.
211. Coats, 320 sq. ft. 237. Costume storage, 1375 sq. ft.
212. Lounge, wzen, 252 sq. ft. 238. Entrance terrace, 4160 sq. ft.
213. Toilets, 378 sq. ft. 239. Ticket collectors, 456 sq. ft.
214. Lounge, women, 252 sq. ft. 240. Stairs, 450 sq. ft.
215. Toilets, 378 sq. ft. 241. Lobby, 3000 sq. ft.
216. House manager, 320 sq. ft. 242. Main floor seating, 7700 sq. ft.
217. Box office, 496 sq. ft. 243. Hourglass stage, 1250 sq. ft.
218. Treasurer, 130 sq. ft. 244. Revolve, 314 sq. ft.
219. Mail order, 340 sq. ft. 245. Light traps, 192 sq. ft.
220. Ticket, 308 sq. ft. 246. Backstage elevators, 154 sq. ft.
221. Lobby, 2080 sq. ft. 247. Backstage vomitory ramps, 336 sq. ft.
222. Book store, 200 sq. ft. 248. Fire stairs, 196 sq. ft.
223. Vip lounge, 558 sq. ft. 249. Back stage, 3300 sq. ft.
224. Toilet, 150 sq. ft. 250. Loading dock, 252 sq. ft.
225. Kitchen, 128 sq. ft. 251. Script studies, 210 sq. ft.
226. Food preparation, 248 sq. ft. 252. Director's office, 48 sq. ft.

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SAN DIEGO THEATRE 71

The "Hourglass Stage"

Michael Langham and I spent a great deal of time looking at theatres in Europe as
well as the Vivian Beaumont in New York, the Tyrone Guthrie in Minneapolis, and
the Stratford Theatre in Canada. From the beginning, Michael spoke vigorously
of the thrust stage. I tried to determine what he meant by the term and I decided
that the thrust stage had great feeling for the thrust of actors into the midst of the
audience, of thrusting backstage preparation into a downstage area. I realized
that it was a stage of dynamic relation between audience and actor.

This was confirmed in several theatres-Chichester in England, the Vivian Beau-

mont, the Guthrie. At the Guthrie, the so-called thrust stage is backed by a
partition (separating it from the backstage area) at a 180-degree relationship to
the audience. This was in sharp contrast to what I had found had grown by
accident at Stratford, where the relationship of the back wall to the audience was
210 degrees, forming a dynamic angle, an angle of action. Stratford was unquestion-
ably the most successful of the theatres I visited. Since the capacity of Stratford
exceeds that of any of the other theatres, I came to the conclusion that the success
of its productions owed much to the 210-degree relationship created by the wall.

The wall had some drawbacks-mainly in the sightlines developed. We have tried
to create seating angles in San Diego which correct this defect. The stage itself is
a thrust with movable wings. The wings can be adjusted to provide whatever
sightlines are desired. The entire stage, which has an hourglass confirmation, is
trapped and supported on hydraulics. With this device, it is possible for the di-
rector to rebuild his stage for the specific requirements of a given production. We
have also added a new system of upstage ramps (247) which facilitate speedy

THE SAN DIEGO COMMUNITY THEATER SIGHT LINE STUDY

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72 LANGHAM AND GOLDBERG

entrances and exits. Thus, the thrust is carried forward into the audience through
the vomitories (166), which continue the dynamic architectural lines of the back-
stage confirmation. The upstage area near the revolve (244) becomes one acting
area with a strong upstage focal point. Downstage, another island is formed (243),
another focal area. The three-way revolve (244) will not be used during any single
production but will change the background between productions. (Spaces 246, 252,
251, and 248 are subject to refinement of design.)

The seating will not move in a full 210-degree arc, but will stop at some sightline
confirmation producing good seats for each member of the audience. There will
obviously be a gap between the stage-angle and the seating-angle (which might
be 190, 180 or 195 degrees, depending upon the location of the thrust wings).
The space between the fixed seats and the wing and the thrust partition will be
filled with cushions for low seats. Also, at the very back of the house, we will
have a semi-standing area with something like British shooting-sticks.

It was Michael Langham's special wish that the radius which extends from the
actor to the back of the house be drawn in a three-dimensional fashion so that the 60-
foot extreme dimension would be common to all three levels of seats (see "Sight-
line Study"). The seating pattern becomes a gigantic "bubble" with the volume
above as well as before the actor being filled with people. This is achieved by
means of two balconies, seating a total of about 750 persons, which are cantilevered
above the main floor of 850 seats. The second balcony reaches forward over the first
balcony, its forward projection compensating for its increased height. The San Diego
theatre will thus be a living house where a halo of energy will surround the actor and
include the audience, enhancing the emotional feedback of theatrical experience.

First and Second Balconies

The first balcony (302), which projects down toward the stage, is connected
the lobby below by two stairways (312). The projection of the balcony (313
forms the shelter over the entrance to the theatre, and also offers the less expensiv
seats a magnificent view of the ocean and the cliffside leading down to the water
Both balconies have access to the backstage area.

Lighting and Grid Plan

Area 501 is an entire lighting gallery which follows the seating plan and permits
concealed lighting at almost every point on the stage and the pit. The plan does n
show the lighting booths, which are intended to project either movies or ligh
scenery around the entire audience area. Jean Rosenthal has been working on
design of special lights that will follow the ceiling patterns beneath the fi
and second balconies as well as those of the lighting galleries shown in the
Transverse Section (below) as D.

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 301. Lobby
302. Ist balcony seating, (458 seats)
303. Stage below
304. Stage balcony
305. Revolve
306. Upper area of back stage
307. Fire exit
308. Men's toilet
309. Women's toilet
310. Script study
311. Light trap
312. Stairs
313. Balcony (terrace)

401. Lobby
402. 2nd balcony seating (248 seats)
403. Stage below
404. Orchestra
405. Instrument storage
406. Electrician's shop
407. Orchestra rehearsal
408. Fire stairs
409. Men's toilet
410. Women's toilet
411. Walk
412. Open to back stage below
413. Stairs
414. Balcony

501. Lighting gallery

502. Light baffle
503. Light ladder
504. Grid
505. Fire stairs
506. Transformer rooms
507. Back stage grid
508. Equipment rooms

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74 LANGHAM AND GOLDBERG

Transverse Section

The transverse section shows that there is no wall between the balconies and the
volume of the roof. It is anticipated that these areas would be enclosed, during
performances, with a woven lead curtain for fire protection and for acoustical
purposes. These curtains can be drawn open when required.
At the moment, we intend to have the acoustics of the house adjustable so that
the house may be carried either as a live environment with direct speech and music
or as an electrically projected sound environment with the orchestra backstage
projecting into the house with low-level speakers arranged in a rather intricate
fashion to provide natural sound.

The shape of the house is an arch buttressed by the confirmation of the site and
taking full advantage of the topographical features of the land. B. G.

Edited by A. J. Gunawardana

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