EVEN on a cold and miserable winter's evening, there's something magical about the Crucible.

The theatre has recently closed its doors for a major redevelopment, but even despite the wear and tear, Nikolai Foster's final production of Amadeus looked spectacular and the venue really is one of the most beguiling stages in British theatre.

In the last few years the space has been transformed by some incredible sets. Don Carlos, Michael Grandage's last production before he quit as artistic director, looked epic. Sam West, Grandage's replacement, di- rected As You Like It on a white canvas that seemed to stretch out to infinity and an Italian courtyard drew audiences in for Much Ado About Nothing.

Its history may well be impressive, but a new chapter will soon open for the venue which has long been in need of an overhaul.

Twelve months ago, plans for the theatre, built in 1971, were unveiled and it was clear that more than just a lick of paint was needed.

Over the past 12 months, the funding for the £15m refurbishment has been secured and the work is ready to begin.

At the end of Amadeus, the theatre will close its doors and they will not re-open for two years.

It is a long time to close one of Yorkshire's most significant theatres, but, say chief executive Angela Galvin and executive producer Mark Feakins, it is necessary.

As beautiful as the theatre is, it needs a lot of TLC. You wouldn't know it, but even the roof of the theatre leaks.

"We simply have to do this," insists Feakins.

"The theatre just wasn't built to be accessible enough to people with disabilities. It no longer complies with health and safety legislation or the Disability Discrimination Act.

"This isn't just about giving the building a facelift; really important, fundamental changes need to be made to the building if it is to become completely accessible to everyone. But it's not just about that. The building needs some fundamental work on its structure.

"The past 10 years have seen the Crucible reach an artistic pinnacle, but if that is something we are going to maintain, then all of this work is vital."

The plans to carry out the necessary work on the Crucible have been in the pipeline for several years. The board of trustees, along with Galvin, have been working on getting the proposal absolutely nailed down, so that when it came to trying to secure the funding, they knew they would stand a good chance of winning it.

With the money now in place, thanks to grants from the Arts Council, Sheffield City Council and its own fundraising, the refurbishment is ready to begin. Feakins was appointed in February this year after artistic director Sam West left. West had hoped to stay but disagreed with the board on how the theatre could continue to programme during the closure of the Crucible.

Although no shows will be on the stage of the Crucible theatre, the studio space will continue to host work and the Lyceum will remain unaffected by the closure.

Feakins had previous experience of guiding a theatre through a period of refurbishment, having overseen the two-year development programme of the Young Vic, where he was general manager, and seemed the perfect man for the job.

"Having arrived in Sheffield at a late stage of the development, I really do think that this project will be absolutely fine," says Feakins.

"It is such a well thought out, well planned project. It feels absolutely solid, well supported by the board."

All this management speak is well and good and the closure was inevitable whenever it came. But at the end of the Nineties the theatre was in dire straits: there was talk of closure. The board decided to plough money into the Crucible, not give up on it and the serendipity of the appointment of Michael Grandage helped to raise the Crucible to the heavens. It became one of the most important theatres in the country.

What will happen now? For two years the Crucible will not be a part of the life and fibre of Sheffield. Will it find an audience when it re-opens? "The whole point of the refurb is to make the whole theatre more welcoming," says Feakins.

"The audiences built for the Crucible in the past few years are incredibly loyal. We know the theatre will be missed, but we're confident that the audience will return."

And the stage?

Feakins says it will remain in the same style.

This is endorsed by project manager Chris Recce, brought in to oversee the development which has been named Next Stage.

"It's important to play to your strengths, and the thrust stage is the jewel in the crown of the Crucible."