Administration, an armed siege and protected artwork... the story of London's Hackney Empire theatre's restoration could itself make a stage production.
In January the curtain is set to raise on a new era in Hackney Empire's history. The grade II-listed theatre has led a life peppered with changes as social trends and the development of tv and cinema saw it transform from a variety theatre to bingo hall and back again. The latest update has been carefully planned to transform this century-old building into a modern theatre, while restoring the Frank Matcham-designed auditorium to the splendour for which it is renowned. Once more the cherubs in the elaborate Moorish and rococo-influenced decor will envelop performances on a stage that has seen the likes of Charlie Chaplin, Tony Hancock and Liberace.

The update is the result of a long and much-publicised £15 million fund-raising campaign led by Griff Rhys Jones. The project was no easy task, with economic and social problems playing their part, and the building itself adding to the dilemmas.

Like most theatres of its era, clear physical divisions existed between the seating levels to ensure that the different social classes never met. "One of the most important considerations was to replan the auditorium to get access between the different areas. It makes the organisation of the theatre and the running of it more user-friendly," explains Jim Morse, partner with lighting consultant Light + Design Associates.

For modern theatre productions, the Empire also had inadequate facilities for flying systems, stage depth and scenery storage. "The problems with this project involve balancing the period authenticity with its usability as a modern auditorium. There are essential systems that have to go in that can't be compromised," stresses Morse. "The theatre wasn't built to include electrical services, so sometimes innovative solutions had to be found to implement the design," explains Steve Myers, project manager with electrical contractor Northern Light.

The renovation involved the complete refurbishment of the main theatre; the addition of a full-height fly tower, backstage dressing rooms and staff areas over three storeys; the stripping out and replacement of the stage with a state-of-the-art version; and the updating of all electrical and electronic services.

Outside of the main theatre, an adjoining pub has been demolished to make way for a three-storey building. This will house a new pub; hospitality, rehearsal and function rooms; and a third-floor plantroom and service area.

Light + Design was appointed as lighting consultant at stage D scheme design. Detailed drawings were produced with the m&e consultant Max Fordham and structural consultant, on which the electrical packages were then tendered.

Northern Light won two of these packages: the electrical contracting installation and the specialist theatre installation. The firm is predominantly a specialist theatre contractor with an electrical contracting department. Its Edinburgh-based design and manufacturing plant was vital to provide the bespoke systems the Empire required.

Work started on site in mid-2001. Myers and his colleagues spent around six weeks prior to this in the firm's Edinburgh office working up the installation contract drawings.

The art of installation
Northern Light installed two main switchrooms: one in each of the basements of the old and new buildings. New 400 A LEB supplies have been run to both, with two 400 A incoming supplies to the larger, under-stage switchroom. This greater supply is needed to meet the demands of the plant used to run the theatre productions.

The switchboards provide the primary supplies to their immediate areas, and act as a secondary supply to essential systems in those areas served by the other switchboard. This means that if the supply fails in the theatre, systems such as the lifts and smoke extract in this area will automatically be fed from the switchroom in the new building. A separate central battery inverter system provides the emergency lighting.

Each 400 A supply feeds a separate distribution board. The main distribution route from the under-stage plantroom is via ducts under the auditorium floor, which were built and cast before new floor slabs were poured. These lead to the rear of the auditorium and to the higher levels via risers at either side, which feed distribution boards on each level for local power and lighting. A 200 A supply is provided for possible future tv needs.

"The very nature of the original building has made the installation of our services quite difficult and we encountered numerous problems in getting services to their final destination," stresses Myers. The contractors had to consider the delicate nature of the ornate plasterwork and finishes when installing cabling and audio speakers and equipment. "[This difficulty] was overcome by close co-ordination and liaison with the architect and the electrical consultant," explains Myers. One example was the installation of emergency lighting in the escape stairs. To avoid any surface cabling a small scaffold was erected inside a narrow, central void from ground to roof level to allow installation from inside.

In the main, new distribution routes were needed, but some existing conduit has been used for the cabling to balcony lights and the foyer chandeliers.

The types of lamps and fittings used was important to ensure the overall ambience. The use of modern light sources has been minimised, but where needed for light levels it has been done so discreetly. "It goes back to the brief of having a period theme, so we've chosen tungsten sources for all of the decorative lighting. Generally speaking they'd be underrun so we have a warm colour temperature," explains Morse.

"Initially there was an intention to refurbish a lot of the other fittings but they were in such a bad condition it wasn't possible," Myers adds. All except two refurbished chandeliers were hence custom-made, with additional bespoke luminaires designed by Light + Design. Metal halide floodlights have been installed in the main auditorium for cleaning and rehearsals.

The installation also meets the period theme by having demountable theatre lighting scaffolds around the balcony fronts and stage proscenia. Once removed, the mounting holes can be filled with plugs that match the decor so they are virtually invisible. This fulfils the look and gives the additional option of hiring out the theatre as a period film venue.

Outside influences
An unusual problem brought changes to working schedules when, in December 2002, a week-long armed siege took place close to the rear of the Empire.

All exterior and crane work was halted due to police fears for the operatives. Road closures made deliveries difficult and as Myers explains: "It was very difficult even getting to site."

Further disruption to schedules was caused when the main contractor went out of business in July 2003. Work stopped for around 12 weeks as the theatre management and funders made plans for the completion of the project. It was decided to split it into two phases: phase one being the theatre; phase two comprising the new, adjoining building.

The construction teams renegotiated their packages and several of the original subcontractors, including Northern Light, were successful in winning contracts to complete phase one. Getting back on site as quickly as possible was vital. Myers explains: "We were very conscious that in order to achieve the dates we had to mobilise very quickly and pick up where we left off." The firm was one of the first back on site and was able to recall the majority of the same labour force.

The project phasing will not affect the opening date as the theatre can operate without the new building, but the back-up supply system used meant that Northern Light had to complete some installations in both buildings. Myers explains: "There are vital services that are shared between the two buildings. We've had to finish some essential works in the [new] building as part of this package."

The project was initially managed by the main contractor. After its demise, the client introduced a construction management firm to oversee the scheme. "We have at least weekly meetings but it's a less formal regime on site," explains Myers. "They have a very tight budget and schedule and its necessitated everyone working a lot more closely." The project was primarily run from site, with the main players setting up offices around the buildings. Northern Light used an internet link to keep in touch with its heavily-involved Edinburgh departments.

Although the theatre faces onto a busy road, access for deliveries was possible from the rear. Storage was a bigger issue: "We have set areas within the building but as it nears completion the logistics change," says Myers. The electrical equipment was manufactured to coincide with the dates it was needed on site.

The opening was scheduled for 23 January, when the Empire's flagship variety gig, the New 291 Show, will launch a showcase performance. It is hoped that Phase 2 will complete later in 2004.