It was of particular interest to go on the backstage tour of the Royal Opera House, as I had been to a performance of Handel’s opera Orlando, a fortnight previously.

We started with a brief history of the theatre, which opened on the Covent Garden site in 1732, as a result of the profits from The Beggar’s Opera in the 1720’s.  Many of Handel’s premieres had been held there, including that of the Messiah.  It was the third theatre to be built on the site, after two disastrous fires had destroyed the earlier buildings.  Major renovations have taken place since 1965, after the decision to move the fruit and vegetable market away from Covent Garden.  After a major National Lottery Grant to the Arts Council in 1997, together with the sale of retail units and funds raised by Friends and supporters of the Royal Opera House, major rebuilding and refurbishment took place.  This resulted in investment in state of the art technology, and full accommodation of the Royal Ballet Company on site.

The Floral Hall, a reminder of the flower market held from 1860 until 1956, was designed to resemble the Crystal Palace, with a giant mirror across the whole of one end, to give the impression of the immense size of the Palace. The aluminium struts and transparent panels enable the interior to be maintained at a comfortable temperature, during winter and summer at minimum cost, and give a light and spacious feel to the interior.

Behind the mirror is the backstage area where scenery, constructed off site, and transported by a wagon system, is put together.    Up to four wagons at a time can be moved, controlled by means of  computers, and scenery set up to enable performers to rehearse on complete sets, without having to be on stage.  Scenery, from productions not in current use, is stored in Wales, due to the cost of storage in London, and brought by truck as required.

We visited the wardrobe area, where all the costumes for the current productions were hung.  On the shelves were files giving full details, including all the sketches, of every costume, with samples of the fabrics.  All of these are copyright, so any costumes needing to be remade are made exactly to the original pattern.  Alterations to existing costumes and adjustments are made by hooks and eyes, so the originals can be reused repeatedly, even by performers of differing measurements.

We were fortunate to be able to see the leading dancers rehearsing, without disturbance, as all the rooms are soundproofed; and to go into the auditorium and watch as the scenery was moved into position.  The orchestra pit can be raised or lowered to give the appropriate level of sound relative to the performers on the stage.

Overall, it was a fascinating and very interesting tour backstage, giving an insight into the work that goes into a production at the Royal Opera House.

Marian Hancock

Blackheath Old Girl