Role and purpose
The theatre is one of the principal performance spaces within the Barbican Centre and was conceived from an early stage as a major element of the overall cultural complex. It was designed with the Royal Shakespeare Company in mind and formed part of the plan to establish a significant London base for that organisation.
Scale and form
This intended association influenced both the scale and the internal arrangement of the theatre. The auditorium was designed to accommodate approximately 1,200 people, placing it among the larger theatre spaces in London at the time of its completion.
Unlike more traditional proscenium theatres, the Barbican theatre was conceived to create a closer relationship between performers and audience. The auditorium is organised around a thrust stage, with seating projecting forward on multiple levels. The upper galleries extend over the lower seating areas, reducing the distance between the stage and the more elevated seats.
Auditorium experience
This arrangement allows clear sightlines from most parts of the auditorium and contributes to a sense of intimacy despite the overall size of the theatre. Access to seating is provided in an unconventional way, with entry through foyers and circulation spaces located to either side of the auditorium rather than through central aisles. From these spaces, the audience moves into the seating areas through entrances at different levels.
Position within the building
The theatre is largely concealed within the structure of the building. Externally, it is indicated mainly by its fly tower, which rises above the surrounding structure and accommodates the technical requirements of stage production. At a higher level, the conservatory wraps around part of this structure, integrating it into the overall architectural composition of the Centre.
Design development
The development of the theatre involved a degree of negotiation between the architects and the theatrical practitioners who would use it. The Royal Shakespeare Company, and in particular figures such as Peter Hall and Trevor Nunn, were closely involved in discussions about the design. Their input reflected practical concerns about staging, visibility, and the relationship between actors and audience.
Differences of view arose in certain areas, including the treatment of the interior. The architects initially favoured lighter finishes, while theatrical considerations led to the adoption of darker tones within the auditorium. The final result reflects a balance between architectural intention and theatrical practicality.
Circulation and access
The theatre is supported by a complex system of foyers and circulation spaces which provide access to different seating levels. These spaces are integrated into the wider network of the Barbican Centre rather than forming a separate, clearly defined zone. As with the concert hall, the experience of attending a performance is closely linked to the experience of moving through the building as a whole.
The arrangement of access routes, while effective in distributing audiences, can also contribute to difficulties of orientation.
Changing use
The Royal Shakespeare Company occupied the theatre for many years after the opening of the Centre, during which time it hosted a number of significant productions and formed an important part of the Company’s activities. In 2002, the Royal Shakespeare Company left the Barbican, and the theatre has since been used for a wider range of productions and visiting companies.
Continuing role
Despite this change, the original design of the theatre continues to reflect its association with the Royal Shakespeare Company and the requirements of large-scale classical performance. The theatre remains one of the principal venues within the Barbican Centre and contributes to its role as a major cultural institution.
Its design illustrates the broader approach of the Barbican project, combining architectural ambition with practical adaptation to the needs of its users.