As the new theatre season is almost with us, the Manoel Theatre is ready to unveil the results of a long-term restoration project that sees the building regaining its original baroque identity. Chairman Michael Grech tells Ramona Depares about the laborious process.
As the new theatre season kicks off in a few weeks’ time, visitors to our national theatre are in for a treat as the Manoel Theatre unveils the results of a massive restoration and renovation project that has been taking place over the past four years.
Helmed by chairman Michael Grech, the project aims to restore the theatre – which was originally built by Grandmaster de Vilhena, for whom it is named, in 1731 – to its former baroque glory with original architectural features restored and new elements that complement the style of the era introduced.
The building had become something of a hotchpotch of styles that jarred with each other
The works encompass the façade and most of the interiors, spanning across the tiers, corridors, bathroom facilities and boardrooms.
“Throughout the years, the building’s harmony and the perfect symmetry that the baroque design is known for had been somewhat lost. The building had become something of a hotchpotch of styles that jarred with each other. Various things contributed to this, in particular British rule. They do love to neo-classicise everything and, during their time in Malta, many buildings suffered from this tendency, including the Manoel Theatre,” Michael says.
To illustrate his point, he shows me a photo which shows a wrought iron balcony added to the façade.
“It really had nothing to do with the building – it was completely incongruous. The façade is the one that really suffered the most throughout the years and, for the first time in almost 200 years, we will once again be able to enjoy it as Grandmaster de Vilhena himself had willed it. Suffice it to say that we began by stripping the seven layers of paint that had accumulated over the years. The two Doric columns on the side were ruined by the introduction of two extra doors that had no business being there and are now being closed.”
The main door will, likewise, be restored to reflect the original design and the two columns that once flanked it reinstated. “We actually dug deep into the road to locate their original foundations and to definitely establish their former existence,” he says.
The works encompass both the bigger picture – tiling, amenities, construction and so forth – and the tiniest details, like lamps, upholstery, chairs and chandeliers.
“The theatre managed to obtain sponsorships for a good part of the works, including some period pieces. The Louis XV balloon back chairs, for example, were made and upholstered thanks to Malta International Airport. The carpet was designed inhouse using a baroque theme, It was manufactured in the UK thanks to an MSV Life sponsorhip. All the tiers, including boxes and stairways, were also restored.”
To complete the picture, there are also Venetian mirrors, period chandeliers, brass knobs on each doorway and even hand-painted numbers on all the doors leading to the boxes. The Maria Ghirlando room, used for private functions and smaller events, has undergone a radical restoration that is evident even to the untrained eye.
“When we started works on it, we discovered that the ceilings had about seven layers of paint on them. We had to strip it all away. The paintings were also painstakingly restored – many of them were overrun by fungus. We added the parquet flooring, restored the period furniture like the 18th-century Maltese kredenza and chairs, regilded the rosettes and had the curtains made in Germany, including the stencilling of the theatre’s arms on them, according to the original style. The Venetian mirrors complete the look,” Michael says.
Likewise, the main boardroom also shows signs of major redesign, with restored beams, soft furnishings and a dozen other little details that bring the room together. But the biggest job, Michael says, was definitely the façade.
“The reconstrution of the piano nobile windows was a painstaking job and was probably the biggest headache, with every stone having been sculpted by craftsmen to reinstate the original fluting, mouldings and corbels. And now we are embarking on an even bigger one as we plan to carry out a similar restoration job on the parterre area of the theatre itself.”
For the purpose, the theatre is in the process of applying for EU funds that, if granted, will enable the installation of an acclimatisation system. Unlike the typical air-conditioning equipment, such a system would be both environmentally-friendly and more in keeping with the requirements of the theatre. Most importantly, it would ensure that a constant temperature is maintained within the theatre throughout the year, thereby overcoming the problems that are caused by the huge variation in temperature, which cause damage to the fabric of the theatre with the constant contraction and expansion of the wood.
“People do complain about the lack of air-conditioning and the theatre is unusable for a good two months during the year. This will allow us to extend our calendar and to keep operating even during the peak of summer – a not-inconsiderable bonus, especially considering that Valletta 2018 is knocking at the door and we clearly shouldn’t be closed for business for all that time when it’s actually happening,” Michael says.
The theatre is in the process of applying for EU funds that would enable the installation of an acclimatisation system
The system would work through a process of water-filtration that would require minimal invasion on the building itself. Michael hopes to be informed of the funding decision by the end of this year.
“If we get the green light, part of the works will also involve removing the ceramic tiles on the floor of the theatre, that are totally not in keeping with the building’s architecture, and laying a solid timber floor instead. The project will also include changing all the stalls that will be redesigned in Louis XV style and the removal of the centre aisle as was originally the case.
“We are keeping our fingers crossed. In the meantime, the new theatre calendar kicks off soon and we are really looking forward to the impact that the finished works will have.”