Hackney Empire, London

(Sumber: www.archdaily.com)

At a time when variety was booming at the turn of the twentieth century and many
commercial theatres were being constructed across the UK, the Hackney Empire was opened in
1901 in a prosperous suburb of London. It was the tour de force of the prolific theatre builder,
Frank Matcham, with a flamboyant auditorium seating 2800 and entertainment provided by the
stars of the day. Interest waned with the rise of films and ultimately television closed down the
theatre (which became a television studio) followed by the spread of bingo. Avoiding demolition,
the theatre was recast by reverting to the variety tradition but at a time when the local community
was multi-cultural. Performances covered not just variety but comedy, drama, music and opera.
Renovation commenced in 1997 and, with various revisions and cost reductions, opened
again in 2004. Work avoided combining access to the four tiers, which had been originally
designed with separate entrances, into a common foyer: separate entrances had management
benefits. Bars and foyer have been developed at each level, access and seat comfort have been
improved. The various entrances are linked by an external canopy.
Colour selection for the repainting of the auditorium was subject to investigation which revealed
layers of paint with each layer representing the functions at the time. The original white with gilt
was not pursued as the colour selection (white aided gas light, no longer applicable) while the
prevailing colours without historic precedent appealed to the audiences. The bright contrasting
colours provided a unique and welcoming interior. The architects added a further layer of paint
with colours in the spirit of the inherited scheme but with more subtlety in the colour selection
and combination.
The small stage and back-stage accommodation (adequate for variety) was replaced
completely by a larger stage and flytower and improved dressing rooms as required by modern
touring companies.
New ducts for ventilation, additional wiring and essential pipework were weaved through
the existing structure, enclosures, and voids without impinging on the internal layout and
decoration.
Exterior view of the theatre showing the new signs emphasising the corner.
Photo: Hlne Binet

View from gallery

Photo: Hlne Binet
An education studio space for children and young persons was added as an extension, as was the
Marie Lloyd public house which provides informal entertainment. The large sign uncompromisingly
announces the presence of the theatre together with an electronic sign providing instant information about
current and future attractions. The sign though does not signal one of the entrances, the principal
Matcham entrance remains, but of the building on its corner site.

Detail of the domes

Photo: Hlne Binet
Section through auditorium, the various public levels and the new stage, fly
tower and backstage

Ground floor plan