Architecture

ARCHITECTURE

April 2008 • Lighting&Sound America Copyright Lighting&Sound America April 2008 www.lightingandsoundamerica.com

On the Avenue

Philadelphia Theatre Company takes its place on the city’s street of theatre

By: David Barbour

ew York has the Avenue of the with a stylish, up-to-the-minute KieranTimberlake, says Plays and NAmericas, but Philadelphia has veneer that features the amenities Players “is charming and intimate, but the Avenue of the Arts. It’s a section and virtues of a classical playhouse. technically, it’s in 1910. There’s no of Broad Street, between Glenwood Founded in 1974, Philadelphia accessibility for the disabled.” And, and Washington Avenues, on which Theatre Company is devoted to new he says, given its location on can be found a disproportionate work; indeed, it has presented more Delancey Street, “it’s disengaged number of the city’s top cultural insti- than 130 new plays and musicals, from the cultural life of the city. They tutions. These include the Kimmel including offerings by Terrence were looking for more visibility.” And Center, Merriam Theatre, Wilma McNally, Christopher Durang, and that is exactly what Philadelphia Theatre, and Academy of Music. You Naomi Wallace. Theatre Company got. can find part of the University of the For most of its history, PTC was Arts’ campus there, plus Philadelphia based at Plays and Players Theatre, a Modern lines, Academy of Fine Arts and the Fabric circa-1912 jewel box that provided an classic functions Workshop and Museum. intimate atmosphere for the presenta- As is often the case these days, PTC And now you can find the tion of new works. “It’s a wonderful found its new home, on the southern Philadelphia Theatre Company (PTC) space,” says John Tissot of Theatre end of the Avenue of the Arts, thanks in its new home, the Suzanne Roberts Projects. “But it couldn’t be replicated to a real estate deal involving Theatre. It’s a sleek, modern venue, today, because of code issues. Also, Symphony House, a big new condo- designed to fulfill this beloved institu- it has technical problems—and there minium development on Broad Street. tion’s artistic mission, while giving it are no public amenities. The lobby is By packaging space for the theatre additional visibility in the urban land- tiny, the rest rooms are difficult. into the overall development, it was scape. Indeed, with its three-story There’s no dressing room that’s con- possible for the company to land a glass façade and dramatic signage, it sidered suitable or modern.” piece of prime Philadelphia real will be virtually impossible to ignore. As time went by, PTC wanted a estate on the Avenue of the Arts. In putting together the project, home of its own, a more modern “Philadelphia Theatre Company and PTC assembled a number of top facility that preserved what was best KieranTimberlake worked with the architecture and design personnel, about Plays and Players. “They were developer and his architect to sketch including the architecture firm happy there, and did great work out the envelope of a stage house in KieranTimberlake Associates LLP, there,” says Tissot. “Part of our goal the middle of the block, fully separated theatre design consultants Theatre was not to lose that sense of intima- from the parking garage and the Projects Consultants, Inc., and the cy, which would have disappointed tower,” says Maimon. acoustical consultant Akustiks, LLC. their large subscription base.” If the company previously dwelled Their work has resulted in a building Richard Maimon, of slightly off the beaten path, it now Photo: Peter Aaron/Esto

www.lightingandsoundamerica.com • April 2008 ARCHITECTURE

The theatre’s marquee features the name “Suzanne Roberts” in neon-lined letters against a backdrop of red stainless steel.

has a dramatic look that announces it bright days. As is usually the case pattern made of glass-reinforced has arrived on the Avenue of the Arts. with resident theatres these days, the gypsum panels with a hand-stained The 130' glass façade makes a state- space is available for rental, and one finish; these have acoustical implica- ment, as does the striking marquee, imagines it would be an excellent tions, but they also make the room spelling out the name “Suzanne party spot. Given the building’s glass cozier and more accessible. (The Roberts” in letters lined in neon facade, the social activities in the panels are individual units that attach against a backdrop of red stainless lobby and the street life of the city are to the wall structure beneath.) Lighting steel. (Roberts is a prominent on display to each other. units built into the wall, located in Philadelphia-based actress and tele- The theatre itself thoroughly fulfills coves behind the curve shapes, vision personality, who has long used the requirement for intimacy and create a soft glow. At the same time, her talent to promote social causes: warmth. Indeed, entering the audito- the upper portion of the room is She and her husband, Ralph, made a rium, one feels as one has stepped unadorned, leaving the workings of donation that, combined with a chal- into one of the smaller West End the theatre largely exposed to view. lenge grant from the Commonwealth playhouses. It can accommodate 365 “The idea was to make a contem- of Pennsylvania and other donations, audience members on two levels: an porary looking setting for new allowed the company to raise over orchestra and a mezzanine that American drama,” says Maimon. “We $27 million). Beneath the “Suzanne wraps around the room on three worked with Theatre Projects to make Roberts” sign, the name of the com- sides. (The side/mezzanine seating is an exciting new space for the practice pany is spelled out in widely spaced designated for the disabled.) The of contemporary stagecraft, which letters. Also located on the façade are seats were supplied by Theatre also expressed traditional theatrical 65" LCD flat panels displays that Solutions; they are upholstered with values.” Bruce Charlick, the theatre’s have animation capability. a custom fabric that includes PTC’s director of production, says the goal The welcoming glass facades initials. The interior’s color palette was to make a space that was as conceal the enormous, double-height could best be described as deep red flexible as possible. open lobby area, which extends the wine, or aubergine; in any event, the The stage is 2,000 sq. ft. in area, glass and stainless steel theme of the result is warmly inviting. The walls are with a sprung floor to accommodate exterior, and is filled with sunlight on designed in an undulating curve possible dance performances. The

April 2008 • Lighting&Sound America stage house is 60' high by 70' wide layout “was the obvious solution,” he The lighting package, provided by by 40' deep. The trap system, which adds, “because there wasn’t any Starlite Productions, of Cherry Hill, consists of thirty 4 x 4' traps, was other way to get audiences to face New Jersey, includes 336 ETC Source installed by SECOA; it is six modules the stage and still have a fly tower Four units in various sizes, 24 Wybron wide, across the stage, and give with a sufficient height.” Coloram IT scrollers and a Wybron modules deep. An independent floor- Tissot adds that there are three Eclipse dowser, 14 Strand Lighting support system of legs and remov- lighting catwalks placed over the Fresnels, four 3" Fresnels, eight able aluminum beams allows any trap auditorium, along with side ledges, a Altman Lighting nine-cell ground to be removed singly or in combination balcony rail, and box-boom positions. cycs, and seventeen 2K Nook Lites of modules. Followspots can be contained in the from Mole-Richardson. The fixtures J.R. Clancy designed the onstage center control room when needed, were fitted with 784 lamps of various rigging system and safety curtain. located behind the seating on the types from Ushio America. Most of The rigging can hold 65 linesets in a mezzanine level. (This room features the accessories, including color counterweight-and-rope arrangement. double-glazed windows, for sound frames, color extenders, pattern At the moment, there are 45 single- isolation from the auditorium; there’s holders, top hats, donuts, purchase linesets on 6" centers, with also a special anti-reflective glass for barndoors, and irises, 46'-long pipe battens and demount- the projection position.) came from City able extensions; each has a payload capacity of approximately 1,500lbs. There’s also a rope/spotline rigging system, consisting of 120 single- groove spot blocks, 7,000' of synthetic black rope, and 100 belaying pins; pin rails are installed at three stage and two front-of-house galleries. The forestage zone has nine beam running parallel to the auditorium centerline. These have beam trolleys mounted to them. A chain hoist can be mounted to any trolley, with local power distribution to the hoists. The proscenium wall is covered with red leather tiles, in a herringbone pattern. Keeping with the company’s contemporary identity, there is no stage curtain. The company’s desire for intimacy is preserved, yet there is room for fairly sizable productions. This is a good thing, because PTC’s mission continues to evolve; since the early days of planning the theatre, it has begun presenting musicals more frequently. Tissot notes that one of the project’s big challenges was fitting the auditorium into the space allotted and also making room for other amenities. “The placement of the condo tower and the parking deck largely dictated the position of the auditorium and stage,” he says. “The remaining site for the theatre was an odd, L-shaped pattern.” The existing The curved panels are made of reinforced gypsum with a hand-stained finish. Photo left: Vince Massa/Kelly & Massa right: Mark Garvin

www.lightingandsoundamerica.com • April 2008 ARCHITECTURE

The theatre, which can seat 365, is designed for intimacy, in keeping with the company’s mission to present new plays.

Theatrical. The package also includes the Eos, because it can handle (The theatre also schedules open- 8,600' of stage cables, 5,100' of motorized lighting accessories— caption and audio-described per- multi-cable, and distribution boxes. scrollers, motorized lamps—with formances.) “The goal is to be the “One goal in creating the lighting greater ease during short production most accessible theatre in the package was to have a deep inven- periods. Everyone we talked with said region,” says Maimon. tory that allowed designers to make Eos is friendlier to motorized gear.” Tissot notes that the theatre’s last-minute changes without having The dimming package is by ETC; an original wish list, in terms of ancillary to search for gear,” says Tissot. ETC Unison system controls the facilities, shrank as the site and “Now they have an extensive pack- house lighting. Lighting, dimming, budget limitations became clear. Still, age on premises, including all the and control, as well as house lighting there’s a shop area in the back of the hardware.” There are five Lex gear, was supplied by PRG. The the- stage house, where small scenic Products company switches found atre is also equipped with black velour projects can be undertaken and throughout the building. legs and borders, two sharkstooth props can be made and stored. The theatre has an ETC Eos lighting scrims—one black and one white—a (The theatre contracts out its scenic console, making it one of the first seamless muslin bounce drop and a projects to local builders.) Also, the regional theatres to take on this new seamless plastic RP cyclorama; the theatre’s loading dock piggybacks product. “They were dead set on latter four are all 30 x 46', and were onto the dock used by Symphony ETC,” says Tissot. “Everyone who supplied by Rose Brand. House, making load-ins relatively works with them knows how to work Considerable attention has been easy. There’s also a full set of ETC consoles. Originally, an paid to ADA requirements, including dressing rooms—two single-person Obsession was specified, but this accessible bathrooms, wheelchair rooms and a suite of three rooms was during the advent of Eos. There seating in both the mezzanine and accommodating another 18 per- was some trepidation that Eos orchestra (with elevator access formers comfortably—a wardrobe wouldn’t be ready. There was a delib- between both levels), wheelchair-level room and a green room. A second eration: Should we go with a board ticket booths, assisted listening stage venue is accessible from the that the manufacturer is no longer devices, Braille signage throughout second lobby level. It is a room with supporting, or go with a new board the building, Braille programs at all windows; the closing of the shades that might not be fully debugged?” performances, and automatic signal the start of whatever event is In the end, he says, “We went with entrance doors at the street level. being held there.

April 2008 • Lighting&Sound America Acoustics for project’s mechanical engineer] on an Nittoli. “The only aspect you can see modern drama HVAC system that would meet the is the center cluster and a few under- “Intimacy was a key criterion for the PNC 15 Noise Criterion; air is delivered balcony speakers. design team,” says Paul Scarborough, to the room from above. “We tried to “Although we work with every of the acoustical firm Akustiks, get the mechanical rooms as far from company, we do use a lot of EAW echoing his colleagues. “The Plays the theatre as possible,” says products,” he adds. “It’s primarily and Players Theatre is extraordinarily Scarborough. “They’re located over because they seem to have some- intimate. The goal was to keep that in the dressing rooms on the Lombard thing for every application. Many the new building.” Street side of the building.” companies have great main arrays, This proved to be a two-part task. In the auditorium, the acoustician but not many have a good selection The first issue to be dealt with had to says, “We did have to ensure that we of smaller devices for fill and under- do with the theatre’s relationship to could get some good sonic diffusion, balcony positions. EAW has a good the rest of the Symphony House so the sound would be evenly range of products.” complex. “One challenge, which had scattered across the space. Nittoli turned to Yamaha for the to be met early on, involved isolating KieranTimberlake came up with a sound console, choosing an LS932. the theatre from the noise on Broad brilliant solution in those wave- “It has nice small dimensions, yet is Street and the garage overhead, as shaped panels that cover the walls. feature-packed,” he says. “It has a well as the Broad Street subway, We talked about the kind of diffusion very small footprint, which is great which is only 20’ from the back wall that we needed, and they responded from a production standpoint. Also, of the audience chamber. We had a with this idea. We refined them a little it’s very intuitive, one of the mostly subsurface noise and vibration survey bit, and they evolved into what you widely accepted boards available. done, to find out if the subway noise see in the theatre today. They create The company doesn’t do musicals all was intrusive enough to reach into a warm, articulated texture to the the time, so the board had to be easy the theatre. It was, so we worked with theatre, and they also serve an impor- to run. We’ve used it on quite a few Wilson Ihrig Associates [the vibration tant acoustical purpose.” projects, with a good deal of success. consultant] to ‘float’ the theatre. The Akustiks also specified a full sound A modest complement of mics steel frame of the theatre and stage system for the theatre. Anthony was specified from Shure, AKG, and bear on large rubber pads, hidden Nattoli and Sam Brandt, of that firm, Sennheiser, with an emphasis on below the floor. The audience chamber were in charge of this task. “We did a Shure. “It’s not a huge package,” and stage float on these— there’s an full sound reinforcement, technical, Nittoli says. “We didn’t specify any acoustic isolation joint around the communications, and video infra- wireless; they can rent that when perimeter of the auditorium. structure for them,” he adds. “Yes, they’re doing a musical.” There’s also “The second challenge,” he says, they mostly do straight plays, but a Telex four-channel production inter- “was creating an acoustically intimate there are a couple of musicals each com system. Philadelphia Sound environment, so unamplified speech season, and there was a strong desire Productions supplied the sound gear. could be heard. The theatre’s mission to accommodate other functions, The Suzanne Roberts Theatre is to do contemporary American such as corporate presentations. In combines the professionalism of the plays. We worked with fact, the theatre has the perfect vol- U.S. resident theatre community with KieranTimberlake and Theatre ume for a corporate meeting.” the excitement of a grand design Projects to create the smallest space In terms of sound reinforcement, statement. Charlick says Theatre possible and still accommodate the the auditorium has a left-right-center Projects was an ideal consultant, seating. We also worked with Theatre system made up of EAW loudspeak- because of its experience in the Projects on creating an efficient seating ers and subs. The center cluster con- resident theatre scene. “I have a layout. And we worked really hard to sists of that company’s AX Series, great fondness for LORT compa- push the ceiling down, as much as with JF Series units at left and right. nies,” says Tissot; “that’s where I possible without compromising The AX units are billed as providing grew up. Also, Wes Hacking, the lighting positions, to make the cubic plenty of power combined with tight project manager from PRG, was pre- volume smaller.” He hastens to add, pattern control, a feature that, one viously the assistant lighting designer “We didn’t compromise contemporary imagines, would be important here. at Philadelphia Company. I think standards of seating; there’s still plenty The JF units feature a compact we’re all thrilled with how it turned of leg room between the rows.” design—again, a useful quality in this out.” Maimon adds, simply, “It’s Akustiks also worked with Marvin intimate venue. “The system is fairly based on the idea of theatre as both Waxman Consulting Engineers [the well integrated into the space,” says performance and event.” Photo: Mark Garvin