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A state-of -the art auditorium where everything is ‘mobile’ will come alive with the staging of CHECKPOINT

Art meets technology in this place. It is a magical spot - this theatre - a space which lends itself to illusion and enchantment and ultimately to belief. Fittingly, it seems to have a life of its own; tiers stretch and contract, the stage moves around, the lights that carpet the ceiling can be manipulated at will…all ensuring that you’ll never be sure of exactly what you’re going to discover within these walls. And that, you will find, is just another kind of magic.

The British School in Colombo (BSC) in Narahenpita houses this spanking new, state-of-the-art auditorium and has every intention of putting it to good use. The designer - Thushan Manjula Dias - is not only a lecturer at both Kelaniya University and Colombo university, he is also a consultant to several architectural firms and the Lionel Wendt theatre.

Simple pleasure radiates in his voice as Eshantha de Andrado, the manager of this little theatre, shows off its many assets. “It’s completely sound-proof,” he says, adding that the thick walls and doors shut out the roar of the traffic on the main road outside. The lights are placed on a lighting grid, and can be manipulated section by section. There are no wires in sight, leaving the space uncluttered. However, interesting though these features are, the main attraction of the BSC theatre lies elsewhere – namely in the theatre’s Australian designed Seating Risers and its movable stage.

Made by a company called Acromat, Seating Risers consist essentially of retractable tiers onto which chairs are placed. Solid and steady, the largest of them is entirely automated and can be used to seat approximately 148 people. Other smaller risers can be simply wheeled around. The whole set-up takes only half an hour to put into place (excluding the time needed to arrange the chairs on the tiers).

Eshantha explains that the Seating Risers are easily manipulated, so much so that they can be arranged in three different ways. The first option known as Proscenium or End theatre is one that most theatres follow. The stage is placed at the head of the theatre and the audience are seated so that they all face it. In Thrust Theatre, which is the second option, the audience sits in a ‘U’, surrounding the stage on 3 sides. The third option is an Arena Theatre, where the audience surrounds the stage, circling it while the action takes place in the middle.

Each arrangement needs exacting lighting, which is where the lighting grid comes in handy. Ensuring that no part of the audience is blinded by direct lighting, controlling the spillage of light and setting the appropriate mood at the same time can be quite a challenge. A movable cyclorama curtain, which acts as a white backdrop onto which lights are normally directed, can also be moved wherever necessary. “Everything in this theatre is mobile,” he says, explaining that both the sound and lighting consoles can be wheeled around as per requirement.

The stage is in itself a work of art. Made of several collapsible, yet strong platforms, it can be as low as 1ft 3inches off the ground or as high as 2ft 8inches, Eshantha reveals. Even better, various platforms can be placed at differing heights, thereby creating an intriguingly uneven performance space. Once a show is over, these platforms can simple be folded up like T.T tables and rolled away.

“The BSC theatre is unique in Sri Lanka,” says Eshantha, adding that while another experimental theatre does exist, it lacks the retractable tiered seating. What’s more, this theatre is advanced even by international standards. “Technical theatre in Sri Lanka is far beyond most parts of India and is equal to the UK and Western Europe,” says Eshantha, adding that many such theatres are now being built in the U.S.A.

The appeal of such theatres is tremendous, especially for those interested in the technical aspects of drama. For students, playing around with floor space, stage set-up and lighting will not only be entertaining, it will also prove educational. Eshantha points out that even trying out the same play with different theatre arrangements will provide interesting perspectives. “The real bonus lies in its flexibility,” says John Gillespie, current Principal of BSC, adding that it can be put to use not only for drama but for numerous other events as well. In the end, Mr. Gillespie hopes that local artists will be inspired by the tremendous creative opportunities this theatre offers.

The BSC theatre’s fledgling stage is soon to be put to the test. ‘CHECKPOINT - three strangely normal plays,’ will be the first major production to be staged here.

Presented by the Stages Theatre Group and directed by Ruwanthie de Chickera, the plays are written by Dhananjaya Karunaratne, Tara Kumarasinghe and ‘the entire audience’.

The event features a diverse and talented cast – namely Mohamed Adamaly, Tracy Holsinger, Nimmi Harasgama, Gihan de Chickera, Piyumi Samaraweera, Ryan Holsinger, Ruhanie Perera, Shanaka Amerasinghe, Dylan Perera, Niran Anketell and Jake Oorloff.

Produced by Amal de Chickera and sponsored by Mobitel, the event will be on from September 1st to 5th and is in aid of the KPMG Foundation Tsunami Housing Project. Tickets are available from August 15 at – Cargills Staples Street, Kollupitiya, Thimbirigasyaya and Nawala.

Those who wish to know more are invited to visit the blog site - https://stagestheatregroup.wordpress.com