If you head to the top floor of the National Theatre at the Southbank, then behind two anonymous wooden doors, is a corridor filled with concrete heaven — an exhibition about how the National Theatre was born out of concrete.
It’s a collection of photos and comments from the earliest times of when the National Theatre was based down the road at the Old Vic, through to the choice of modernist architect and the final, rather unfortunately timed opening of the completed and much derided building.
The exhibition shows off the original letter recommending Lutyens for the commission, and noting that out of a long list of possible architects, they simply couldn’t think of anyone else to choose from.
Although Lasdun was commissioned to build a modernist building, it was the actor, Lawrence Oliver who stamped a very strong hand on how the interior of the building was to be laid out, with its three theatre spaces, and the famous “drum” that makes the backstage work so much easier than usual compared to older counterparts.
One of the auditoriums is what might be considered a classic theatre, with stage and rows of seating, it was the experiments in changing the relationship of stage to audience taking place elsewhere that was to lead to the design of the largest space in the building, what is today the Olivier Theatre.
The exhibition shows off how this experimental space evolved from sketches and photos of other “open theatres”, but it was ancient Greece that was to be the biggest inspiration for what was built.
Details are on show, such as the font used for the signage — slab serif Serifa in case you are wondering, the wooden panels, the brickwork, and of course, a demonstration of how they built the famous concrete building with its wooden board effect.
The National Theatre officially has three auditoriums for plays, but there’s a fourth one as well, the foyer. The architect always saw that space as a theatre as well, as people mingled ahead of shows, and he always wanted the space to be open and welcoming, unlike most theatres which have closed doors to the outside world.
Unfortunately, it took a very long time to build the National Theatre, and the exhibition does not shy away from the awful reception it received when it opened in 1976.
Modernism and concrete were out. Grand monumental buildings were out. Punk was rioting around and classics and plays were out. Architectural critics sneered, Prince Charles complemented it, as a clever way of putting a nuclear power station in London, the public stayed away.
But changes happened. Slowly.
The open foyer space made it a welcoming, if unusual space to relax in. The revamping of the footbridge across the Thames from narrow walkway into a boulevard made the SouthBank seem suddenly accessible.
And people started to love concrete again.
Today the building is as much loved for the building as the plays put on inside it.
The exhibition will appeal to anyone who loves the building, and wants to see how it emerged from sketches into a modernist masterpiece.
A copy of Concrete Reality: Building the National Theatre is on display as well, for browsing, and no doubt to encourage you to buy a copy in the bookshop.
The exhibition is free to visit and open until the end of September.
Goodness, that was hard to find, with 2 members of staff sending me the wrong way and no signage.