Heritage Heroes: Meet the man who has spent 35 years behind the scenes at Leeds’ Grand Theatre

At four o’clock in the morning, long after the applause has faded and the stage has been cleared, Alan Dawson pauses on the floor of Leeds Grand Theatre.

“You’d be literally sweeping up at 4am and just turn around and look at that auditorium,” he said.

“It’s just spectacular. I really feel when I’m in this venue that it really envelops you. It almost holds you.”

Alan has earned the right to those moments.

He has worked at Leeds Grand since 1989 and now serves as Head of Technical and Properties for Leeds Heritage Theatres, overseeing both the Grand and City Varieties Music Hall.

Over more than 30 years, there are few places backstage, or beneath it, that he hasn’t explored.

He said: “I’ve been here since 1989, in the building, in the ground. I started with a bit of casual work and then became a full-time member of the crew.”

His career began on the operational side, as a stage manager, deeply embedded in the rhythms of touring shows, installing productions and clearing them away again.

Moving into senior leadership meant trading some of that immediacy for responsibility - a shift he didn’t take lightly.

“The thing I miss the most is being part of that live backstage atmosphere,” he admitted.

“A busy show, a full house, and literally being behind the scenes, making it all happen.”

Today, Alan’s role is about far more than what happens on stage.

He is responsible for the technical infrastructure, maintenance and long-term development of two of Leeds’ most important heritage buildings, both Grade II* listed, while ensuring they can meet the demands of 21st-century productions.

He said: “I see myself as a custodian of this venue. If we do anything, the first thing we look at is: is it sympathetic to a Grade II* listed building? There are certain things you would just never do.”

At the same time, the venues must be capable of hosting the biggest touring shows in the country. Recent productions such as Miss Saigon arrive with vast technical requirements, and Alan is determined that audiences in Leeds get the full experience.

He said: “If you’ve seen Saigon in London and then came to Leeds, you shouldn’t be thinking, ‘Where’s all the production gone? We’re keen that people get the same show here.”

That philosophy has driven years of complex and often invisible work: installing steel roof structures to support ornate plaster ceilings; commissioning bespoke wallpaper based on historic designs; and carefully researching heritage paint colours.

Alongside this are major upgrades to ageing systems that audiences never see, but productions rely on.

Much of this work has taken place while the theatres have remained open.

Alan said: “When we close to do works, we just haemorrhage money. So we’ve learned that with some clever managing, we can achieve bigger projects and remain live.”

One of the proudest achievements came following a major 12-week closure last year, during which around £1.4m of work was completed.

“We did it on time and on budget. I think I had about six grand left. That doesn’t really happen,” said Alan.

Behind the scenes, the pressure can be immense. Alan recalls the challenge of hosting Phantom of the Opera, a production so large it arrived with 26 articulated lorries of equipment.

He said: “They were genuinely worried it wasn’t going to fit. From a stress point of view, the fact it actually happened left a lasting impression on me.”

Despite the scale of his role, Alan remains deeply connected to the buildings themselves. On difficult days, he admits to taking a quiet moment to look up at the ceiling or chandelier.

He said: “If I’m having a rubbish day, I might just walk into the auditorium and look up. It gives me a little boost. Not ownership - nurturing.”

His relationship with the two venues is distinct. Leeds Grand Theatre feels enveloping and majestic; City Varieties, more intimate and playful.

“I get a different feeling at the Varieties,” he said.

“A good feeling. I don’t know how to describe it. Is it a wife and a mistress thing? I don’t know.”

Choosing a standout performance from thousands is not easy, but one remains vivid.

“Rooster by Ballet Rambert,” he said.

“That blew my mind. I love contemporary dance and I love the Rolling Stones, so it was two of my favourite art forms coming together.”

Looking ahead, Alan’s focus is firmly on the future: improving dressing rooms, upgrading customer-facing areas, making the venues more accessible and ensuring they remain financially sustainable.

He said: “We love the venues. We love what they offer.”

After more than three decades, that sense of responsibility has never faded.

“They’re our asset. And it’s really important that we look after them,” he said.

The Yorkshire Evening Post teaming up with partners across the city -led by Leeds-based heritage consultancy Wafer Hadley - to help shape and develop a new heritage framework for Leeds.

As part of a special series of reports shining the spotlight on our city’s very own Heritage Heroes. We’re showcasing those people in the heart of our communities across the city who preserves, champions and inspires others to ensure each place’s story continues to be known, understood and cherished.

To nominate a group or individual to feature in this series email [email protected] to feature.