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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 distri- bution 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 pro- ject’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.
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