Stefan Żeromski’s Theater in Kielce

XIXth-CENTURY BEGINNINGS 

According to an urban legend that has been circulating in the Świętokrzyskie region, Mr. Ludwik Stumpf, a wealthy brewer and philanthropist from Radom, inspired by his affection for a Varsovian actress, decided to build her a theater in Kielce. His desire to keep her closer to him resulted in the start of construction in 1877. The building, placed by the main artery in Kielce – the Sienkiewicza Street – housed the theater stage along with a hotel and restaurant. The Ludwik Theater, which was originally named after the originator and main founder, inaugurated its work after only two years – on January 6, 1879.

Although today the people of Kielce have access to many eminent theatrical institutions located in the city, i.a the Świętokrzyska Philharmonic, the Cultural Center in Kielce , the Municipal Cultural Center in Kielce, or the “Kubuś” Puppet and Actor’s Theater, the undisputed supremacy amongst all of them is still held by the Stefan Żeromski’s Theater ( former Ludwik’s Theater ), which, being the only dramatic scene in the region, offers a wide variety of unique, often controversial and taboo-breaking performances.

The major renovation of the historic Żeromski Theater headquarters, which began in 2020, created a remarkable challenge for both architects and contractors. The idea behind the designing process was, above all, to maintain the unique nature of the building and restore the original interior style, while closely coordinating it with the conservator of monuments. The successful combination of modern technology and the tradition and the historic character of the building could be seen and appreciated by spectators who attended the grand inauguration of the new complex in September 2024.

The reconstruction, expansion and super extension of the theater, which took 4 years to complete, included mainly the implementation of a new functional configuration, which apart from the presence of the main stage ultimately boasts a newly created Chamber Stage, with an auditorium with electrically folding tribunes (more than 70 seats), enhancing the configuration capabilities of the space and the possibility of opening up the performance set to an inner courtyard. Both stages feature spacious Foyers as well, capable of hosting vernissages, exhibitions, or cultural meetings. The new complex also includes i.a. actors’ rehearsal rooms, a state-of-the-art recording studio, an extended workshop area, an administration and office area, guest rooms and suites, and underground storeys with extensive warehouses for staging equipment. Meanwhile, from the observation deck located on the building’s roof, there is a remarkable 360-degree panorama view of the City of Kielce.

An undisputed gem among all the interiors is the Large Stage in particular, on which a number of historical elements have been reconstructed, including medallions with the faces of great Polish poets and authors, or two sumptuously ornamented statues of caryatids – maidens sustaining the beam of the portal window lintel, on which, the carved in gold-plated letters Latin quotation by Horace is prominently displayed: “Omne tulit punctum, qui miscuit utile dulci“ (”He, who has blended the useful with the sweet, has gained every point”). The passive acoustic experiences are additionally supported by a hand- made, hammered brass sheet metal, a 3-tone plafond placed above the auditorium of the Large Stage.

UNEXPECTED ACQUISITION – NEW OPPORTUNITIES

One of the most electrifying and groundbreaking moments of the ongoing redevelopment process was the 2021 and the Investor’s decision to purchase the adjacent across the horizon wall of the Main Stage, an tenement house. One of the most electrifying and groundbreaking moments of the ongoing redevelopment process was the 2021 and the Investor’s decision to purchase the adjacent to the horizontal wall of the Main Stage an apartment house. On the one hand, this forced the course of a complicated process of adaptation of additional space and, as it were, an urgent “absorption” of the new space into the needs of the Large Stage during the ongoing construction process. On the other hand, it elevated the Large Stage of the Żeromski’s Theater to the position of one of the most technologically spectacular dramatic stages in Poland. Since the playing area was doubled in size, it was possible to implement a second set of stage trapdoors, subsequent stage barrels, as well as additional lighting bridges. The side pocket and warehouses on the lower floors have also been enlarged, a second cargo elevator has been installed, and an additional space for a loading dock has been set on the Sienkiewicz Street’s side. This has significantly increased the technological stage capabilities and improved the communication arrangement as well as decoration flow, which is essential for the day-to-day operation of a full-scale theater with such a high number of organized events.

Furthermore, the fusion of the tenement and the original stage – an increase in the performance area – has yielded, from the viewer’s perspective, a much greater depth of action, as it has allowed set designers to create much more complex, multidimensional and monumental decorations. The stage can transport the characters to multiple locations instantaneously, which significantly increases the performances’ dynamics. Additionally, in the back of the stage and in the side pocket, an additional space has been allocated, allowing for the installation of two mobile tribunes, increasing the overall seating number by 124. The created three-sided audience arrangement is one of the approaches of putting the spectator right in the centre of the stage action.

PEARL OF TECHNOLOGY

The galloping technological progress, the ongoing development of various stage technology branches, and the new staging possibilities have made the modern technological lighting, extended electroacoustic and multimedia systems, as well as fitted with autonomous elements the stage machinery devices, occupy a particularly unique place in the realized project, within the context of the overall modernization of the Żeromski’s Theatre.

The entire process of integrating and implementing the stage technology was entrusted to an experienced partner, specializing in such large-scale projects – the Przedsiębiorstwo Specjalistyczne TEATR.

TECHNOLOGY LIGHTING

The main scope of technology lighting, primarily covered mainly the Stages – the Large and Chamber Stages, but also the Large and Small Rehearsal Rooms, where actors can train and prepare themselves in advance for larger stages performances.

In the areas of the above-mentioned rooms, a comprehensive power distribution system was implemented. The whole powering system is responsible for supplying voltage to all lighting fixtures and peripheral devices. It includes a total of 14 passive cooled, wall-mount  ETC ThruPower (24 circuits, 10A each) cabinet regulators. A distinctive feature of these regulators is the ease of switching between non-regulated to regulated mode for each of the circuits independently. During tours or spectacles performed in the inner courtyard, two mobile rack sets (including mobile distribution panels PLS PowerMIX63 and PLS FLX DIMMER/RELAY 12×2.3kW regulators) or 10 compact single-channel Elation UNIPAK MKII regulators will work perfectly.

Due to its size, The Grand Stage required the use of large and powerful moving heads, fitted with various effects to provide the desired by the directors scenography possibilities.

Therefore, among the rich array of stage barrels, one can spot lighting bridges with suspended Elation FUZE MAX heads (6 pcs of Profile version and 6 SPOTs), intertwined with striking CLF POSEIDON WASH XL washes, totalling of 20 units. Precise framing and beam animations from the audience’s perspective is ensured by 6pcs of Elation Artiste Picasso units.

More compact, but equally functional models were hung at the Small Stage, headed by the 6 pcs. of DTS ALCHEMY 5 WASH – with a fresnel lens and flawless color rendering – including pastel nuances. Supported by 12 pcs of DTS NICK NRG 1401 washes, with the spot head duties are being taken over by 10 pcs. of Elation FUZE SFX luminaires.

In the auditorium space could not miss the classical theatrical lighting solutions – the already iconic, 60 pcs. of the ETC SOURCE FOUR profile spotlights (in ZOOM and JR versions) appeared. Their LED source counterpart are 14 pcs. of ETC S4 LED LUSTR series 2 profile spotlights. The conventional theater lighting pot was supplemented by 70 pcs. of DTS SCENA S 1kW, the PC-type spotlights. Their direct supplied followers are 30 pcs. of Elation KL FRESNEL 8 WW floodlights with 350W power, which, thanks to their silent operation, motorized zoom and 8-leaf framing system, have rightfully won high praise among many technicians and theater producers.

The range of lighting apparatuses is complemented by, inter alia, 36pcs of powerful RGBMA LED PAR lights with variable optics – Elation KL PAR FC, 28pcs of RGBW LED floodlights – CLF ARES, 10pcs of UV floodlights – ACME BL-100UV and 10pcs of LED bars – the Elation SIXBAR 1000.

There is no question that theatrical realities, the tracking of actors moving around the stage, is often performed via manually controlled followspots. At the Żeromski’s Theater, this assignment is significantly facilitated by the use of two large followspots from the Hyperion series – SPOTLIGHT FS HY 700CW and two smaller ones – 300CW.

Enhancement of the visibility of the light beams and rapid stage filling with fog effect is guaranteed by means of two HAZE BASE THE FAB fog machines, combined with DMX-controlled fans – Elation Mag-maFAN1. For heavy smoke generation, on the other hand, two BRITEQ H2FOGII devices are responsible.

In terms of managing the Big Stage’s lighting apparatuses, the choice was made for a ChamSys MQ250M STADIUM digital console with an additional touchscreen monitor. The console is also compatible with the implemented tracking system. Four consoles of the same brand – 2x MQ70 and 2x MQ50 – are available for the realization staff in other areas of the building. Due to frequent tours and performances outside the theater’s headquarters, the mobility, as well as the possibility of maintaining a backup, both play a crucial role here, due to the use of the same software – MagicQ – by all the provided consoles.

The consoles work together in terms of signal distribution with a wide range of reliable NETRON series signal converters. The control racks for the individual Stages were equipped with a total of 6 pcs. Obsidian EN12, 1 pcs. Obsidian RDM10 and 4 units of Obsidian DMX10-5 splitters. The local DMX/ETH conversion is supported by 20 units of Obsidian EN4/EP4 mobile nodes. The transmission, due to the significant network dissipation and increased stability, is based on the sACN protocol, parallel to the DMX protocol. The distribution system is both flexible and scalable.

In the event that there is a need to use wireless DMX signal transmission, a stable, multi-channel sets of CITY THEATRICAL 5900 series Multiverse transmitters and receivers, supplied in quantities of 10 pieces, are at the technicians’ disposal. The validation of communication and handy control of spotlights is assured by means of two sets of DMX testers – CT DMX CAT.

The control issue is complemented by PS TEATR’s proprietary SPECTRE system, that integrates the management of power circuits, as well as the primary lighting of the Halls. It features the ability to remotely lock control panels at the Hall entrances during performances as well as the stage manager’s panel. Large touchscreen monitors in the performance booths display the real-time circuit status and allow for reliable, convenient control of the entire power supply system and primary lighting.

Provided by PS TEATR, the GUIL’s tripod sets (ALT-34, TF07, FC02R, ELC740) ensure the spotlights can be positioned at various levels from the stage floor. For spatial suspension purposes, however, a set of modular H-Frame ladders from CONTE-STAGE UNO-H have been provided.

STAGE MACHINERY

A full-fledged theater cannot exist without a system of stage barrels, bridges and trapdoors, enabling rapid change and transportation of decorations/actors. Such a prestigious institution as the Żeromski Theater has also undergone modernization to improve workplace comfort and significantly increasing staging capabilities also in terms of stage machinery. In place of manually controlled systems, a central touch-screen control panels were installed, thereby integrating all mechanical components within a given stage and also ensuring a coherent safety system at the same time. These control panels allow for: precise individual or group control of stage machinery devices, both saving and playing presets, the movement along a desired ramp, as well as indicating their current position and overload signalling.

The stage machinery system deployed in cooperation with MIKOR INŻYNIERING company includes, within the Large Stage, 2 audience lighting bridges, 6 stage lighting bridges (including two placed in the side pocket), an audience speaker bridge designed for immersive sound clusters, 28 decoration stage barrels, a main curtain stage barrel and a portal bridge. The theater’s lower machinery includes a proscenium trapdoor, a single-level trapdoor, and 6 double-level trapdoors equipped with a latching system (suitable for transporting goods and actors).

A remotely controlled rotating stage with a 5m diameter can also “sink into” the first set of trapdoors. In addition, one of 6 carts for transporting decorations can “sink into” each of the trapdoors (the carts have the same dimensions as the trapdoors’ platforms – 6m x 1.5m – and can be controlled remotely or follow autonomously along the unfolded magnetic tape). The large carts also have smaller counterparts – 6 units measuring 2m x 1m. They too can move on battery power, or be controlled by a dedicated pad. In addition, all carts and the rotary trapdoor design have an ability of 360-degree in-place rotation.

Also an interesting solution is a single-person trapdoor, which has the form of a mobile elevator with a working surface of 1m x 1m. It can be set on the lower level of any of the two-level trapdoors. Actors may then suddenly appear on stage and just as quickly (up to 0.5 m/s) disappear from the stage below floor level. The entire scope of the Large Stage’s machinery is complemented by fixed portal towers and audience balcony lighting rails.

The Large Stage has also been fitted with a comprehensive curtaining system including the main curtain, side curtains, lambrequins, paludaments and horizon curtains.

The Small Stage, meanwhile, in terms of machinery, has two mobile lighting trusses with perimeter dimensions of 6m x 6m and a lighting bridge above the gate leading to the Theatre’s courtyard.

Within the Rehearsal Rooms, the permanent lighting grates and lighting rails have been mounted, and rails for the curtaining suspension. The work in the paint shop is being supported by a dedicated mobile stage barrel with a crane mechanism.

ELECTROACOUSTIC SYSTEMS

Similarly to other technological sectors, the electro-acoustic systems dedicated specifically for the facility provide a comprehensive realization of the Żeromski Theater’s program objectives by means of top-notch performance equipment.

The Żeromski Theater’s Great Stage boasts the presence of an immersive sound system, which allows to surround the audience with a three-dimensional sound and let them be transported into the very center of the reality reproduced as a part of the performance. The basis of this system consists of SPECTRA 212W wideband main clusters, Spectra 212N low-frequency main clusters, a number of effect speakers and a KLING&FREITAG immersive sound processor.

The actor’s current position on the stage can be simultaneously identified and relayed to the immersion and lighting system via the TTA StageTracker three-dimensional tracking system.

The PS TEATR company, in partnership with ABLO GROUP, in addition to the immersive sound system, fitted the facility with a comprehensive array of electroacoustic and stage-manager’s system equipment, including digital phonic consoles, stage monitors, wireless sets (including SHURE AXIENT DIGITAL), microphone stets and stage accessories, recorders and players, as well as systems – phonics signal distribution (based on the DANTE’s protocol), wireless and intercom communication systems (RTS ODIN), stage action monitors, a broadcasting system, a digital clocks network, “Silence” banners and a system for assisting the hearing impaired people.

KOMPLEKS STUDYJNY

Located in the Theater’s cellar, the studio complex comprises of: recording studio room, production control room and the social area. Topologically, the complex is interconnected with the facility’s digital audio network, which allows simultaneous recording of 128 audio channels within the aforementioned network. The complex’s technological equipment allows for multiple-track audio signal recording, mixing and mastering of the recorded material, as well as listening to it in 2.0, 2.1, 5.1 audio systems format.

MULTIMEDIA SYSTEMS

Within the multimedia systems, one can distinguish a dedicated viewer information system for each of the available Halls, capable of displaying predefined graphics, e.g. with the current repertoire, a video preview system , along with an image presentation system.

The installed video preview system includes, i.a.: a set of preview monitors (SDI and DVB-T standard) and a number of fixed and PTZ cameras. These devices have been located in performance- and communication-critical areas of the facility. The centerpiece of the installation, are the SDI video matrixes (80×80 and 40×40), complemented by various signal converters (SDI<->HDMI, OPT<->SDI).

In contemporary theaters, it’s quite common to supplement or even completely replace the standard decoration with multimedia projection and dynamic mapping. This is because projection has started to become one of the key means of expression. Within the Large Stage space, this task has been entrusted to two projectors – BARCO UDM W30 4K and EPSON EB-PU2116W. An identical second EPSON projector serves as the basis for the Small Stage projection. Each of the stages features a separate production stand with a media server (RESOLUME ARENA 7 + VMIX Pro software) and a Blackmagic Design ATEM Television Studio 4k8 video mixer.

STRAIGHT INTO THE DEEP END

The Żeromski Theater’s calendar is tightly packed with both well-known plays adapted for local stages and fresh premieres, often falling beyond the conventional schemes. In addition, there are also workshops, meet and greet with artist, discussion panels, read-through performances and other miscellaneous theater-related events. During the renovation, the theater rented space belonging to the Provincial House of Culture, so that, although in a somewhat reduced form, it could continue to execute the aforementioned calendar. The time when Żeromski Theater’s actors and employees returned to the renovated premises coincided with the 6th Theater Festival in Kielce, which is held on a regular basis.

“It was a real test for both the artistic and technical crew and the applied technology itself. The amount of information necessary to acquire the information related to operating of the various technological subsystems in such a short period of time was extremely high, and after all, it was still necessary to familiarize the visiting technical teams from various countries with all the systems capabilities and configuration.” – said Dominik Drobisz, M.Sc., who was supervising the ongoing work on behalf of PS TEATR and providing technical support during the Festival. “Teams from different parts of Poland, Iceland, Germany and France gave a very good feedback on the existing stage technology elements and the cooperation with the technical team of the Theater itself – it’s really a team of professionals with a lot of experience and skills. From my own perspective, I can conclude that both during the ongoing consultations at the implementation phase as well as during the launches, I could always count on their meritorious approach,” adds Dominik Drobisz.

THE ENDING

The elegance and prestige of the modernized headquarters can be seen at virtually every turn – strolling down the Sienkiewicz Street and admiring the lavishly decorated façade with the four muses, waiting for the performance in the exclusive interiors of the Foyer, or being brought into the center of events as a spectator through state-of-the-art technology. After 145 years, the historic edifice has regained its former splendor, worthy of the vision of its initiator, Ludwig Stumpf.

An accurate summary of the entire investment can be found in the words of the President of Kielce – Ms. Agata Wojda – “Modernity and new quality entered the tenement house at the Sienkiewicza Street. Yet, the theater has not lost what is most important – the unique atmosphere of a place which you visit not only for entertainment, but above all for emotion and reflection.”