Lack of Dedicated Space: How to Adapt to Multi-Purpose Theaters

Introduction: The Challenge of Multi-Purpose Theaters

Theaters, the physical spaces we work in, come in all shapes and sizes. Theater, the artform we love, has never been limited to one type of a building. You can travel the world over and find glorious amphitheaters, grand opera houses, technical gymnasiums, sprawling arenas, and tiny little storefronts that all host beautiful, unexpected, and wildly different works of art.

We can look at those spaces and be inspired and in awe, but we all still groan when faced with doing a show in our gymnatorium.

What are some of the spaces we commonly see as educators and artists in found spaces? What are the challenges that making theater where "a theater" doesn't exists pose?

We moved around a lot when i was a kid, I can remember two gymnatoriums, those multi-use spaces with a shallow stage on one side of a giant open, echoey gymnasium, and one cafetorium, which was just as charming, but had very low ceilings and tables that folded out of the walls.

None of them had particularly functional lighting, mostly strip lights with colored rondels that were permanently affixed to I beams over the stage. The front light might be four par-cans that were similarly bolted to the structure of the ceiling in front of the stage, but not at an angle that would provide anything other than horror movie-esc shadowy illumination.

Sound was likely an ancient PA system with one, maybe two wired mics that fed back as soon as anyone approached the lip of the stage. Actors learned to project into the void or risk their lines being swallowed by the curtains or bounced around in the echo chamber in from of them.

But for all of their faults, these are the places that many of us first saw live theater, or hopped up on stage, or waved at our parents during a holiday performance. And while many schools are moving to newer facilities or partnering with community centers to have access to fully functional arts centers, many, MANY of our peers are still working, creating and thriving in these hybrid spaces.

Limits breed creativity. if you know you have to tell the story of Peter Pan in a classroom theater space that seats 50 and has no fly loft, and the PTA needs it for a meeting the week before you perform, you start to come up with some really amazing ways to get to Neverland. Directors, designers, and performers who work in these spaces, at all levels, are masters of space and movement because they have to be.

Maximize the Space You Have

It is crucial to get deeply intimate with your space. Know all of the dimensions. Not just width and depth, but height, all the nooks and crannies, what the walls are made from, is the ceiling a drop down, what's behind that door, everything. Create an accurate ground plan and sectional, or better yet a 3d model (Vectorworks and SketchUp are both free for educators) so you can plan your production down to the inch. Not a fan of computer drafting? See if you can partner with a class that uses CAD of some kind and have their students map and model your space.

Consider all of the little hidden spots that you could use to hide scenery, equipment, or actors. And I don't just mean hide set pieces during the production, but during the schools day, or when the space is needed for other events and groups. Could you use roll drops and hoist soft goods over head height? Can you create false walls that would be acceptable to your space-mates (and your facilities people) to gain storage or backstage space? Can you create set pieces that pack into themselves for off days? Can you share? Perhaps modular platforms or "building block" style set pieces could be sued by multiple departments for the benefit of all.

Set Design for Shared Spaces

Physical constraints can breed a lot of design creativity. When dealing with shared spaces, focus on designing sets that are lightweight, easy to store, and quick to assemble/disassemble. . Parallels are a type of platform not often seen, but they are intended to pack flat and set up quickly. Roll drops can be tied out out of sight, and booked flats can be folded up and out of the way. Book flats can be folded up like room dividers. Both can be repurposed show after show. Rehearsal cubes aren't' just for rehearsals, and they can be stacked out of the way like building blocks. Periaktos are traditional scenic units that rotate to reveal different scenes on each side. they have a large footprint, but can be effective in minimizing the number of pieces needed during a show. Again, let your limitation challenges be the driver behind your creative scenic choices.

We call it set tetris, but I'm sure we've all gotten very creative in stacking our furniture and large props. Planning for those off stage storage needs can inform which pieces you use and how you build them.

Lighting Challenges in Multi-Purpose Theaters

In shared spaces, lighting limitations can pose challenges, such as limited overhead rigging and competing needs for lighting control. They often require a "rep plot", a hang that doesn't have much flexibility because it must serve the needs of your production, the band concert, and the parent meeting that all take place in the same week. Portable lighting rigs, instruments with quick clamps, and LED instruments offer flexible solutions. They can be quickly installed and removed to accommodate other uses of the space. LEDs are both energy efficient and, if you opt for RBGW fixtures, can eliminate the need to constantly swap out gels. Using wireless DMX solutions also minimizes setup time and allows for fast adaptation to different configurations, making it easier to tailor the lighting to each specific performance without permanently altering the space.

Sound and Acoustics in Non-Theater Spaces

In spaces that aren’t designed for performances, l sound can sometimes be a bit tricky. Balancing sound in rooms that are not designed with sound in mind can create an echoey cacophony.

Bring in portable sound systems, which are easier to set up and move around. Hang curtains in your audience seating space. They help absorb some of the sound so it doesn’t bounce around as much. If we add microphones, we might try different types and places until we find the setup that works best. Finally, experimenting with sound checks—practicing with the sound before the show—and moving the speakers around can really make a big difference! By trying these ideas, we can make sure everyone hears what’s happening, no matter where we’re performing.

Scheduling and Coordination

The biggest issue in any shared space is scheduling. Even in a theater or PAC setting, an effective scheduling system, and ideally one person dealing with that system, is crucial to everyone having the time, equipment, and breathing room in the space.

Get everything on the calendar. Have a meeting with ALL the parties involved at the beginning of the year or the season. Find out what the needs are. Include rehearsals in the calendar and make sure to allow for set up and strike of whatever event is in the space. Have a point person for equipment use and create a contract for outside groups. This will help avoid assumptions about what and who are available for different events.

Conclusion: Embrace the Challenge and Innovate

Shared spaces can be challenging, and performing in multi-use spaces even more so. But great theater, great storytelling, can happen anywhere. Shared spaces can create a sense of community and inclusivity that may be hard to achieve in dedicated spaces. They are also a great challenge, and we're brilliant at great challenges.

Embrace the challenges of those oddball spaces and give yourself the opportunity to make magic in the most unexpected places.

Share your space!

If you work in a multi-use space, share some pics! Inspire others with what you have already accomplished.