Modelled on the iconic Dolby Theatre in Hollywood, The Grand Theatre is the jewel in the necklace that is the Nita Mukesh Ambani Cultural Centre. Designed by Steve Clem and Nick Wolfcale at TVS Design, in collaboration with Brian Hall of Theatre Projects Consultants, The Grand Theatre is fitted with state-of-the-art facilities that have never been seen before in India, thereby offering audiences the opportunity to witness performance art at an entirely new scale.

The architects were careful to study existing performance spaces in the Mumbai area to ensure that their design for the theatre would support the nuances of Indian performance art forms. They were specifically mindful of the requirements of classical dance, which employs subtle expressions and delicate gestures as often as it does grander, more sweeping movements. In this vein, the auditorium is built to wrap around the stage, with the rake of the seating set steeper to offer better views. “Even though it’s an auditorium of 2,000 seats, everybody can see very clearly,” explains NMACC Head Tim Brinkman, “That means that you can have moments of intimacy with just one or two performers, as well as big spectacular moments.”

To cross the threshold of The Grand Theatre is to be transported to the grandeur of the country's erstwhile opera houses, in which the architecture is an equal player in the theatrical spectacle.  The silhouette of the lotus flower undulates across the design of the auditorium, delicately referenced on the wall  jaalis  that ornament the private seating boxes, tessellating across the plush carpeting, but most prominently referenced in the large sculptural chandelier that presides over the ceiling. Designed in collaboration with Mark Smith of Swarovski, the lotus chandelier has been fitted with 8,400 crystals and LED lights that can be programmed to create ambient experiences.

Function comes first

The mastery of the designers’ vision lies in the fact that functionality came first, and form followed. Every aspect of the architecture caters first to artists’ process, with the understanding that this will extend into the audience’s experience of the show. “Even the fact that there’s parking for 34 lorries isn’t a small detail,” adds Brinkman, “The simple fact that it is convenient for people to bring large-scale sets into The Grand Theatre is an important hygiene factor for productions.”

A fly system with 69 battens allows for sweeping stage-length scene changes to take place swiftly. “Within a matter of seconds, the stage could look completely different,” says Brinkman. “For an artists’ imagination, that provides a lot of opportunities to actually change location, change mood, and move a narrative on at any pace they like.” The orchestra pit is built to accommodate up to 100 musicians, but can also be raised to create an extension in front of the proscenium stage, which can be used for talks or smaller performances while the main stage is set up for another performance. Similarly, the media pit in the heart of the auditorium can be rigged for crew or converted to seating, depending on what each show requires, with changeovers timed to less than half an hour. “You could have different performances in the morning, afternoon and evening with relatively little time wasted on changing over,” says project manager Benton Delinger of Theatre Projects Consultants.

A spectacle for all

Designated translation booths expand the accessibility of the productions, allowing for live translation and even audio description for special needs audiences. “I have been working for several decades in theatre, and this is the first time I have seen this facility in a theatre right from the moment it has been opened,” says Brinkman, “I think it’s very forward-looking of Mr and Mrs Ambani.”

While The Grand Theatre is all about spectacle, the adjacent Cube and Studio Theatre have been designed for performances on a smaller scale. The 125-seater Cube is a variation of the traditional black box, draped in wood-toned acoustic boards that offer a neutral backdrop to suit a range of performances. The Studio Theatre, which seats 250 people, is masterfully designed to offer a sense of plush intimacy across both its ground and mezzanine levels. “They are the work horses of the Centre,” says Delinger, “Their ability to flex between multiple set ups is what makes them unique. They may look very simple, but everything within them is made for flexibility.” Portable platforms and flexible grids allow for a range of theatrical set ups. Most notably, the ceiling of The Studio has been fitted with a tension wire grid which allows technicians to rig and change lights even while the floor is being set up for production or used for rehearsal. “This tension wire grid is the only one of its kind in India,” beams Delinger, “It will save many hours of time during set-up.”

What’s particularly compelling about The Grand Theatre, as well as The Cube, The Studio and other spaces within the Centre, is the canvas it opens up for all manner of artists and art practitioners in the country. “Put together, these theatres are going to host several hundred performances each year that would not otherwise have taken place,” says Brinkman, “That means employment for the artists on the stage, employment for their technical teams, and employment for the administrative staff as well. It’s a big, dynamic improvement to employment opportunities.”