Embassy Theatre in Fort Wayne, Ind. (Photo by Embassy Theatre Foundation)
While many of the challenges associated with managing an older historic theater are obvious, it really is still possible to get better with age, say those who run such venues.
“With a historic theater, there is the need to respect, appreciate and value what makes it unique and special,” said Don Telford, president and CEO of San Diego Theatres and a past president of the League of Historic American Theatres. “Most apparent and visual are the ornamentation of finishes and architecture.”
Telford’s Balboa Theatre, built in 1924 with a seating capacity of 1,600, is a shining example of a venue that has not only met the challenge of age, but also come out on the other side with a nice, new makeover. As part of the venue’s $26.5-million restoration in January 2008 after the theater was closed in the mid 80s, most of the infrastructure systems were replaced but still have to operate in a unique physical structure. For example, as incandescent lamps become increasingly unavailable, challenges exist to find adequate replacements that honor the Balboa Theatre’s original appearance.
Upkeep Upsell
In Omaha, Neb., home of the Orpheum Theater built in 1927, the challenge of constant upkeep and maintenance is ongoing for the city’s historic jewel and beloved community asset.
“There is a need to balance preservation of the historic assets while at the same time providing the types of amenities that patrons have come to expect and the technical capabilities that artists require,” said Joan Squires, president of Omaha Performing Arts, which manages the Orpheum Theater. “We strategically plan for ongoing major investments such as rigging, sound and light capabilities, internet access, electronic signage, general building systems and more. We also invest in the preservation of the beautiful and historic elements that make this facility so very special.”
Because these types of theaters are indeed special to communities, operators are only too willing to ensure they continue running while offering cultural value. The inevitable expenses and challenges are just part of the deal.
“The cost of maintenance and making physical changes to the facility to save on utilities are challenges,” said Dennis Andres, executive director of the Morris Performing Arts Center in South Bend, Ind.
Opened in 1922 as the Palace Theatre and today listed on the Register for National Historic Places and the largest historic theater in Indiana, the Magnificent Morris was the beneficiary in 2011 of funds totaling $717,432 for improvements to the historic venue.
Updates included 12 pairs of front entrance doors, eight front grand windows, eight front grand window curtains, lower level restrooms and a replacement of more than 400 bricks on the historic exterior brick wall.
This came after the 2,500-seat theater was renovated in 2000 at an estimated $17.4 million and reopened with completely restored opulent interior as well as upgraded technical equipment and enlarged performance and backstage spaces.
Maintaining History
Talk to any historic theater operator and the issue of maintenance pops up as the obvious biggest challenge.
“With an 83-year-old facility, there is constantly something that needs attention,” said Josh Davies, director of theater Operations for the Historic Fox Theatre in Hutchinson, Kan. “Just in the past year we have had to replace our auditorium roof, do extensive work on our boiler, repair major water infiltration problems around the building, and repair bricks and cracking terra cotta.”
Davies said that while the Fox Theatre’s business is that of a performing arts center presenting a live season of shows every year and operating as rental facility for community arts groups, the added cost of maintaining an aging and historic building is always a great challenge.
“Memberships, ticket sales and sponsorships help our programming, but when it comes to building repairs we must find different and creative ways to cover costs,” he said. “One of the things we have in place is a Building Preservation Fund. A percentage of all tickets sold (including tickets to rental events) goes directly into this fund. Although we have maintenance lines in our operating budget, they typically run out early every year. The Building Preservation Fund has truly saved the day on many occasions by providing a bit of a back-up plan when maintenance emergencies arise.”
Ticket sales alone often don’t make enough money to sustain theaters, so it is important to be creative in other areas.
“We contract with an entertainment company who books and manages the Meyer Theatre,” said Julie Lamine, theater director of that facility in Green Bay, Wis.
Lamine cited an example of paint peeling and chipping on a ceiling that was painted to look like the evening sky with billowing clouds. She estimates the repair cost at anywhere from $80,000 to $150,000.
Whether it is a new performing arts center or a historic theater, money is always needed to pay the bills and keep the events coming.
“Maintaining a historic facility is a double-edged sword,” said Bev Ford, executive director of Marion (Ohio) Palace Theatre. “The very things that make it so unique and wonderful are the things that throw you the proverbial curve ball. I think for us staying ahead of things—having the resources to be proactive and practice preventive maintenance—is our greatest challenge.”
John Bell, president and CEO of the Tampa Theatre, said creating a sustainable business model in a building that is economically obsolete and adapting the venue to new presentation technologies are other challenges.
“The reason that many historic theaters became endangered was because the numbers no longer worked. So our challenge has been to marry a community-based mission with an effective business plan so that the building can serve the community while earning as much of its way as possible,” said Bell, who added that the technologies aren’t insurmountable, but often require additional planning and cost to get it right. The venue successfully integrated digital cinema last year.
Of course, in this day and age even historic theaters must find ways to be energy efficient while maintaining the building’s historic fabric, something that Kelly Updike, executive director of the Embassy Theatre in Fort Wayne, Ind., noted.
“Finding good replacement equipment and infrastructure materials is always a challenge,” Updike said. “And we work very hard to remain relevant to our current society. Keeping pace with technology changes is important as we don’t want to be seen as a stuffy museum but rather a place where people gather for a high-quality entertainment experience.”
Interviewed for this story: Dennis Andres, (574) 235-5603; John Bell, (813) 274-8679; Josh Davies, (620) 663-5861; Julie Lamine, (920) 433-3343; Joan Squires, (402) 345-0202; Don Telford, (619) 615-4004; Kelly Updike, (260) 424-6287