Proscenium arch
One of the most distinctive features of the auditorium is the elegant glittering plaster arch which frames the stage. However, on inspection it turns out it this hasn’t been completely layered in gilt as one might first imagine. In fact, it has been carefully picked out in a series of subtle highlights which helps to create a soft antique look.
We also noted that the so-called ‘barley twists’ are almost identical to those used at another London theatre which was built around the same time - the Old Vic. This leads us us to suspect the architects used the same plasterwork moulds for both projects. And finally, to differentiate the two sets of decoration, they nailed small wooden beads in between the twists!
Another unexpected discovery we made at the Royal Opera House was that the barley twists all run in the same direction on both sides of the stage - as opposed to being symmetrically reflected, which is the normal design convention in similar theaters of the period. Once again this seems to suggest that the architects of the time had to make some prudent financial savings.
One of the most distinctive features of the auditorium is the elegant glittering plaster arch which frames the stage. However, on inspection it turns out it this hasn’t been completely layered in gilt as one might first imagine. In fact, it has been carefully picked out in a series of subtle highlights which helps to create a soft antique look.
We also noted that the so-called ‘barley twists’ are almost identical to those used at another London theatre which was built around the same time - the Old Vic. This leads us us to suspect the architects used the same plasterwork moulds for both projects. And finally, to differentiate the two sets of decoration, they nailed small wooden beads in between the twists!
Another unexpected discovery we made at the Royal Opera House was that the barley twists all run in the same direction on both sides of the stage - as opposed to being symmetrically reflected, which is the normal design convention in similar theaters of the period. Once again this seems to suggest that the architects of the time had to make some prudent financial savings.
Incidentally, the inner set of vertical twists are retractable, enabling the stage opening to be widened when and if required.