August 2023
Let’s talk about Leeds Grand Theatre and Opera House. Designed by George Corson and James Robertson Watson and taking £62,000 and 13 months to build in 1878, this stunning Grade II listed building began its reign with a production of Much Ado About Nothing and has hosted countless shows and names since. One of Leeds Heritage Theatre’s three sister venues (joined by Leeds City Varieties and Hyde Park Picture House), this theatre has moved with the times while preserving the past and has had a gargantuan £34.5 million invested in restoration, maintenance and upgrades since 2005.
Many have enjoyed the grandeur of front of house at this beautiful theatre and anyone who has sat for a few hours in the auditorium has surely admired the sheer scale of the proscenium arch and the original Victorian decor on display. Some of us though, have been dreaming of a peek beyond the velvet curtain and thanks to Communications Manager Kelly Scotney, I was invited to drop by the stage door for a look around behind the scenes to share with you some of the best finds…
And when you arrive to stage door at street level and find yourself starting your tour, three minutes later, on the sixth level of this impressive building, you know you’re in for a treat! So, from the workroom at the very top of the building, to the orchestra pit below the stage, this theatre has plenty to see.
One floor below, and it’s tech land – flies and snaking cables and sockets galore. It might lack the sequins and sparkle of the stage, but it is certainly impressive to see the equipment it takes to deliver the complex shows we see. And as trivia is always welcome, I was pleased to learn that while sailors were favoured in days of old when it came to operating the flies (thanks again to York Theatre Royal’s lovely tour with Maria for this titbit), whistling was forbidden because that’s how the sailors signalled to each other what was flying in and out. Who knew whistling could make a difference between life and death-by-flying-scenery?
Speaking of equipment and mechanisms behind the magic, side stage and loading dock are just as eye-opening. If you saw Summer Holiday or Priscilla and wondered how on earth they loaded in such sizeable set pieces, allow me to unveil the secret:
Levels 5 through 0 also house a vast number of number of offices, workrooms, tech cubbies and dressing rooms – some operational, like those used for the current staff; some relics of old, like the now defunct canteen across from the orchestra pit. I can only hang my head in shame as I admit that my simple camera did not cope well with the lighting in these back corridors, so I have nothing to show you for this section… but suffice to say, while each floor apparently follows a similar if not identical layout, there’s definitely no chance of losing sight of just how large and sprawling this building is.
Wondering about the dressing rooms? Of course you are. They are surprisingly great in number and range from those much-used by each touring company and those lesser-used, only really required for companies of epic numbers like Les Mis and Wicked. And what is there to appreciate in the dressing rooms? For most, it’ll be the sense of prestige in the air or glimpses of costumes and wigs for the current tour in residence (Six), for me? The antique dressing tables of course.
Stage-level. I’ve loved this theatre for years from my seat on the other side of the towering proscenium arch, and seeing it from the stage was just as stunning as I anticipated. If I had any talent at all and found myself performing on a stage like this one, looking out at that auditorium night after night, I’d be one very happy lady. And the wings provide a glimpse not just of the quick-change areas and the mind-blowing amount of storage needed for each show, but of the people involved with each tour: a collage of signed handprints.
And the lowest we can currently go is of course the cavern that is the orchestra pit. There is a permanent limited space here, but when a show demands a larger orchestra, the first few rows of seating are removed to accommodate (these seats apparently fit in a space just below the auditorium floor, although it’s maybe of interest to know that the stage has no trap door abilities so shows must sometimes adapt, just as the space does).
Once back through the wings, we move through the technicolour door, from black box basics to the familiar plush velvet and maroon stylings of front of house. The distinctive Burmantofts tiles have always been an eye-catching element of a visit to this theatre. Apparently they were once covered up by plasterwork when tiling fell out of favour in the 60’s (a travesty) and uncovered and restored to glory during restorations in 2005 (thankfully).The carpet we all trample over evening after evening also protects even more of these original tiles – maybe someday we’ll get a glimpse of those, too…
I was also very glad of an opportunity to have a nosy at the Royal Box, though again, my camera failed me I’m afraid. But while the Royal Box is more than capable of delivering comfort and good sight lines, in 1958 the Queen and Prince Philip actually sat in the next box along for an even better view – not just of the stage for themselves but also for the audiences eager to see them. So if you ever decide to book a box to check out the “royal view”, you’ll actually need Box B….
And right back up on level 5, the highest point at which an audience member can enjoy a show, it’s time to really appreciate, up close, the gold leaf detailing, ornate coving and the fabulous Waterford Crystal chandelier – with all its 6389 crystals ensuring it gets recognised for the showstopper that it is.
Once you’ve finished looking up, looking down once again gives you a reminder of the scale of this place. One of the only five tier theatres currently operating, it’s easy to let the sense of scale lead you to believe that there are 3,000 or so seats, but the Grand in fact seats 1,500, making it also one of the most spacious theatres out there; a feature allowing for expansion into standing room tickets for sell-out sensations like Six.
But if you’re as flummoxed as I am to learn the true capacity of this theatre, another trivia snippet might help you to reconcile with the facts… back when the stalls were the domain of the working classes rather than being considered the pinnacle of great seating as they are now, not only did the theatre offer upper classes an entirely different entrance and separate stairwells (now blocked off), but as those in the stalls sat on benches, staff would cram endless backsides onto endless stretches of wooden slats, leading to the packed crowds we see in old photographs.
And way back down in the foyer, past the beautiful bar spaces with their intricate stained glass detailing, there’s a moment to appreciate not just the space and designs without having a seat to get to, but also another historical snippet. Where there now lives the merch stand, there was once the office of Wilson Barrett, who would sit monitoring the comings and goings of audiences – talk about a fancy view and a prime spot for people watching!
For more such facts, head to the website and you’ll find a brief history of the theatre in just 6 slides – whether it’s realising the Assembly Room was once a cinema, that the chandelier had never been formally removed from the auditorium before a visit from Phantom in 2012, or that the theatre managed to stay operational throughout WW2, even providing bomb shelters in the now abandoned underbelly beneath the orchestra pit, there’s plenty to learn about this grand building and its history.
So there you have it – Leeds Grand Theatre from (almost) every level, both backstage and front of house – and what an impressive building she is. While there aren’t currently plans in place to roll out tours to the general public, there are plenty of opportunities for tours and extra curricular engagement with schools, so if you are a young person, know a young person, or work with young people, take a look at the opportunities available here. Next up for me though: I’ll be heading behind the scenes at Leeds City Varieties in the not too distant future, so head back here for more fabulous finds beyond the velvet curtain…
Always Time For Theatre 
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