The National Theatre: Between the Past and Present

The National Theatre: Between the Past and Present
The National Theatre: Between the Past and Present

Translated by: Alaa Mohamed 

Reviewed by: Nouran Salah 

   A magnificent edifice bearing witness to the history of theatre in Egypt, its stage still carries the footprints of the giants of art. Near Al-Azbakeya Garden is the spot where the National Theatre was established. It was formerly known as Azbakeya Lake, named after Prince Azbak al-Yousefi al-Mamluki, who built his palace on its banks. Many princes followed suit, building their luxurious palaces, and enjoying the attractive view of the lake and the surrounding greenery. During the Ottoman era, shadow play theatres flourished on the lake's banks, becoming prominent nightspots for Egyptians. In 1799, when Egypt was under French occupation, the French established their administration outside Cairo on the banks of this lake after the Cairo Revolution. Subsequently, many theatres were established, including one  by Napoleon to entertain soldiers, but it was burnt down and destroyed during the Cairo Revolution. General Minot rebuilt the theatre and called it the ‘Republic and Art’ Theatre. It was located in the Nubian Field near the centre of the lake and was removed and demolished after the French evacuation.

   In 1870, Khedive Ismail, the ruler of Egypt, ordered the transformation of this lake into a lush garden modeled after the Luxembourg Gardens in Paris. He even imported the same types and numbers of trees found in the Parisian Garden and entrusted the task to Monsieur Lachevier, the inspector of Khedival and Princely farms at the time. It was officially opened in 1872 and covered an area of 18 acres. In the vicinity of it, Ismail established the Comedy Theatre (currently the Fire Brigade building) and the Royal Opera House in 1869, preparing them to host guests attending the inauguration of the Suez Canal. He also built a small theatre in the garden, managed by Yaqub Sanu, the pioneer of Egyptian theatre. This theatre served as the first national theatre to counter and rival the aristocratic class theatre. Furthermore, it became a destination for European troupes visiting Egypt to perform shows for foreigners residing in Egypt; the magic lantern show was also held there in 1881, along with numerous theatrical and magical performances.

   In 1917, the Arab Acting Promotion Company (Abdullah Okasha Choir, Brothers and Co.) was established through an agreement between Abdel Khaleq Pasha Madkour, Talaat Harb, and Zaki and Abdullah Okasha. They established the joint-stock company to support and fund Okasha Brothers Troupe. The company leased the Azbakeya Theatre for 50 years at an annual rent of 12 pounds under a contract allowing the troupe to renovate the theatre. Shares of the company were offered for subscription, raising the capital to 8000 pounds to cover the cost of the new construction.

   The theatre was designed and executed by the Italian engineer Ferrucci, who was the Director General of the Royal Buildings at that time. The theatre’s interior followed the prevalent architectural style of the era in terms of the oval-shaped hall that resembles a horseshoe. It was a miniature of the design of the Royal Egyptian Opera Theatre. Many theatres were modeled after the style of this theatre, such as the Mohamed Ali Theatre and Cinema in Alexandria in 1922 (Sayed Darwish Theatre), Tanta Theatre and Ritz Theatre in 1923, Damanhour Theatre in 1925, Al-Rihani Theatre in 1926, and the Arab Music Institute Theatre in 1928. The choice of  Arab style for the architectural design of the building is attributed to Talaat Harb, who established the Bank of Egypt in the same year, featuring the same architectural style and decoration.

  The Okasha troupe did not reach the expected level in supporting the serious theatre, resulting in high financial losses. Zaki Okasha did not demonstrate the desired artistic skill, leading to a decline in attendance for theatre performances, which was mostly rented out to foreign troupes  to present their shows instead. In 1934, due to the deterioration of the theatre and the decline in attendance, the Misr Company for Acting and Cinema (MCAC) rented the theatre to present its cinematic shows. It sought to liquidate the Arab Acting Company and transferred the franshise rights to it for 35,000 pounds. The front garden was prepared to become a summer cinema and was equipped with modern equipment for this purpose.

  In 1935, the Ministry of Education established the National Ensemble headed by the poet Khalil Mutran. The theatre was named after the troupe in 1958. Initially, the troupe performed at the Opera House until 1941, when an agreement with Egyptian Company for Acting and Cinema allowed them to perform at the Azbakeya Gardens Theatre after being included in the Ministry of Education, which was affiliated with the Egyptian Company for Acting and Cinema at the same time. Since its establishment, the National Ensemble laid the foundations for a serious and purposeful theatre, which was led by many great masters of theatre in Egypt. They provided  not only international plays but also  Egyptian epics that were as purposeful and constructive in plot and content as their European counterparts. Its name was changed to “National Theatre” after the July 23 Revolution in 1952.

   The National Theatre building underwent several stages of development starting in 1940 when the National Ensemble decided to occupy it. Modifications included altering the stage, replacing all furniture in the hall, carpeting the floor, and repairing entrances. Two pivotal points in its architectural history followed: fundamental modifications were made to the general theatre building in 1960, and in 1983, renovations were carried out, resulting in the architectural image we see today. This time, the renovations included changes to the theatre's external appearance and internal modifications to the horizontal layout.

  On the evening of September 27th, 2008, the theatre stage and the auditorium were exposed to a massive fire, causing extensive damage to all elements of the theatre building. After clearing the remnants  of the fire, the Ministry of Culture decided to carry out an integrated restoration and development project for the National Theatre so that it could return strongly to perform its role in artistic life with the equipment and capabilities of the twenty-first century. The greatest damage caused by the fire to the theatre was its severe impact on all the structural elements of the building. The studies and design work were assigned to a group of experts in this field. Technical studies and analyses were conducted to assess the safety of the structural elements of the theatre building and to estimate the extent of the damage to the load-bearing elements to recommend the procedures that must be followed to determine whether the building could be used again. The studies were based on structural analysis of the building and the identification of flaws and problems. It was found that all elements had moved from their supports, cracked, lost their balance, or their formations had exceeded the permissible length.  

   Based on various engineering studies and laboratory tests conducted on the old concrete, consultants concluded that the theatre’s dome and the stage’s roof, which collapsed due to the fire, were structurally unsound. The disintegration and cracks in the concrete, as well as the unsuitability of the reinforcing steel due to the severe impact of the fire, rendered the old concrete non-compliant with the current Egyptian code for concrete works.

   The start of the restoration and development work of the National Theatre was preceded by a series of studies and visions for the style and philosophy of the development project. These were designed to meet the operational needs of the theatre and in a manner that does not conflict with the fact that the old building is a registered antiquity. All relevant authorities involved with the theatre reached an agreement on these matters.

  The proposed design carefully considers the relationship with the historic building. The objectives of the project include reviving the National Theatre after it was damaged by fire, removing encroachments that have affected the building over decades, and restoring it to its original historical state. The project also aims to provide all necessary services to the public according to international standards, implement modern technologies to preserve the building’s value and ensure audience safety, equip the theatre with the latest global theatrical technologies to keep pace with modern developments, and restore the decorative and colored elements damaged by the fire. 

  The restoration and development project for the National Theatre addressed several key areas: structural restoration, architectural restoration, technical upgrades, the provision of essential services, and the creation of a museum dedicated to the history and pioneers of the National Theatre. 

  At the beginning of the meticulous restoration work, the project was divided into two main sections. The first involved restoring the gypsum decorations that were either unaffected by the fire or only slightly damaged, making them repairable. This included the decorations in the Abdul Rahim Al-Zurqani Hall at the entrance and the ceilings of adjacent halls, where preservation was achieved without replacing or completing any part of them. The restoration process involved removing soot, manually and chemically cleaning the decorations, reinforcing them, sealing them, and performing minor color retouching to highlight their decorative elements. This work extended to the ceilings of the upper-floor halls as well. The restoration of the historic façade, the only surviving part from the original construction of the theatre, breathed new life into an area that had suffered from neglect and a lack of maintenance, especially after the construction of the El Taliaa and Cairo Puppet Theatres in the late 1950s, which left the façade isolated. 

   In December 2014, the National Theatre was reopened, with the ceremony attended by Prime Minister Ibrahim Mahlab and Minister of Culture Gaber Asfour. During the event, the Prime Minister honored several actors and actresses. The theatre's first director was the poet Khalil Mutran, followed by many distinguished figures, most notably George Abiad and Youssef Wahbi. During the revolution, Ahmed Hamroush and Amal Al-Marsafy also served as directors. Despite being free officers, they made significant contributions to the theatre. Then came the great directors of the 1960s, including Nabil Al-Alfi, the lady of  Arab theatre, actress Samiha Ayoub, Hamdi Ghaith, Saad Ardesh, and Karam Mattawa, in addition to the actor Mahmoud Yassin, who made a notable contribution and was one of the most prominent directors in the theatre’s history.  

  Throughout the theatre’s history, several works by international, Arab, and local authors have been performed. Notable productions of Molière and Shakespeare have been staged, along with performances by a few important actors in the history of theatre who may not be as well known in cinema, such as Afef Shaker, sister of the artist Shadia. Other theatre stars include Nadia El Sebae, Malak El Gamal, and Naima Wasfi. Five foreign directors presented shows on stage, including (Antony and Cleopatra) directed by an English director.

Some of the most prominent works include:

“The People of the Cave” by the author Tawfiq al-Hakim, directed by Zaki Toleimat, and significant operettas that achieved success such as “Day of Resurrection” and “Shahrzad”. Additionally, there have been revolutionary performances that expressed the spirit of the July Revolution. Many giants of theatrical acting shone on its stage.

 The national theatre continues to present its distinctive theatrical performances, with its lights never dimming since it became a cornerstone in the world of Egyptian theatres.

English Language Coordinator: Asmaa Ahmed