While the two theatres at the end of the pier have been completely transformed (previously a substantial steel beam dissected the air space and reduced seating capacity and restricted lighting), they have also been reworked with doors that allow for either one or two performances to take place.

They have a seating capacity of 350 people in Wharf One and 150 in Wharf Two.

Where sets had to traverse the length of the pier to reach the stage, they can now be easily moved around through widened corridors close by.

Hassell was also keen to retain the 1980s fit-out and its walk down a 200-metre-long corridor before a climb via stairs to the first level.

“We could have located the theatres close to Hickson Road, but that would have erased those memories, that level of expectation one had before a night at the theatre,” says Scott.

However, the rudimentary plaster walls that accompanied this journey, combined with the basic handrail (the original timber floors remain uneven), have been replaced.

Instead, there are layers of heritage at every turn.

White polyurethane-panelled walls with V-groove indentations are framed by strategically placed steel grooves, creating a rhythm along the passage and aligned to the wharf’s original structure, whether beams or apertures.

Rather than a basic handrail, there’s a continuous rail indented into the new wall and thoughtfully backlit.

The largest changes have been made to rehearsal spaces, the workshops, the atelier where the costumes are made, and to the offices.

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Irrespective of whether they were involved in making sets or performers rehearsing, users of these spaces previously had to walk through many of these areas to find their place.

Now there’s greater mobility and direct access.

One of the other significant moves by Hassell was to create unimpeded sight lines from east to west (across the pier), allowing views of the harbour for those using the complex.

“We also wanted to make some of the spaces more transparent,” says Scott, pointing out the glass-fronted boardroom on the third level that allows people to walk to beneath this floating structure and enjoy views from both sides of the pier.

Hassell was also mindful of retaining the memory of the 1980s restaurant linked to the outdoor terrace that was as ingrained as the theatrical performances that were seen.

“It still reads as the original restaurant. We’ve treaded lightly here,” adds Scott, pointing out the new LED lights concealed in the 1980s industrial pendants.

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