A Community Treasure Spring 2017 Dear Patrons & Members, There will be signs and volunteers to help you navigate the bank building, Opening day for our new wing is right around the corner. How time flies! but before you know it, you'll feel right at home making your way to the Last year at this time we launched our public campaign and kicked off the 174 seat theatre in the back of the building or the 65 seat luxe theatre construction work. Over 300 people gathered outside to celebrate with us. on the lower level at the front. Both theatres are accessible via staircase Many thanks to all who have responded with a gift to our capital campaign! and elevator and include multiple wheel chair spaces. Although we anticipate a soft opening of the two new theatres at the end of April, our campaign will continue on throughout the year. Please take a look There will be changes in programming too! Most importantly, we will be inside to learn about a great opportunity to double the impact of your gift presenting first run art and independent films, and more of them! This with a challenge grant from a dear friend and donor to the theatre. We can- means that you won't need to wait four weeks or more after a film opens not accomplish our fundraising goal without you! to see it at the Colonial; and you'll have a choice of 3-5 films to see on any given day; and the movies will stay here longer than one or two weeks. We There will be many changes at the Colonial once we open the new wing; in will also present matinees every day. Of course, we will continue to book short, your experience will change for the better! Our architectual space concerts and repertory cinema (classics, cult, horror and family films) and will be transformed and our programming expanded which means things we hope to build up those series over time. With so much happening in will be a little different than you're used to, so we wanted to take this op- three theatres, we will no longer have static start times for our films. We portunity to let you know what to expect. realize that for 17 years you could rely on the fact that the Friday night show was at 7:30 and the classic films were on Sundays at 2:00, but that model First, no matter what film you may be coming to see or what theatre it is in, will not work anymore. It will be crucial that you check our website or call you will continue to come in under the welcoming marquee to buy your us for programming start times. tickets at the box office. We have expanded the ticket window and doubled the area in the outer lobby so you will have a new experience the moment Lastly, with increased space, amenities and staff and the switch to first run you walk in the door. films comes increased operating expenses and so we will need to raise our ticket prices once the new theatres are open. Our prices have remained at $9 Passing through the new glass doors into the inner lobby you will be met by for adults, $7 for seniors and students, and $5 for members and children for one of our wonderful volunteer ushers who will tear your ticket and direct over 4 years. This Spring, ticket prices will increase to $10 / $8 / $6. Mem- you to the correct theatre for your show. You'll either walk straight ahead bers will continue to pay $4 less than an adult ticket and we will introduce to the historic auditorium, or you'll turn right and walk into the new lobby matinee pricing of $7 for adults and seniors and $5 for members students of the bank building. The first thing you'll notice, along the far wall, will and children for our first screenings of the day. be our 30 foot long concession stand serving wine and beer along with our regular concessions. Consider coming to the theatre a little earlier than Many thanks for all you have done to get us this far. We are very excited to showtime to take advantage of the new space and amenities, and to spend welcome you to the new and improved Colonial in the next couple months. time with your friends and family. Once we settle into our new wing we will Help us make this a successful transition by contributing to the Bank on the reach out to you for ideas of other treats that might be worth selling in our Arts campaign and Invest in the Heart of the Community! expanded concession area. With gratitude, Mary Foote, Executive Director CLASSICS ON SUNDAYS CHILDREN OF PARADISE THE ITALIAN JOB Marcel Carné. France. 1945. 190 m. Peter Collinson. UK. 1969. G. 99 m. Janus. Digital. Paramount. Digital. Sun, Apr 9 @ 2PM Sun, May 7 @ 4:45PM “Considered by many to be one of the "Michael Caine stars as a crafty, impish greatest films ever made, this intensely career criminal whose swinging credentials romantic melodrama wonderfully re-creates are established by his itinerary upon leav- the teeming excitement of the early 1800s ing prison: a trip to his tailor, the recovery – both for the French theatre as well as of his sports car, and a visit to a swanky Paris’ Boulevard du Crime. In a compli- hotel room filled with fetching women of cated series of events, the film follows the ill repute. Caine then sets about orchestrat- interlocking fates of four central characters: ing an ambitious heist involving millions Frederick (Pierre Brausseur), a haughty actor who communicates through in gold; a computer-engineered traffic jam; words; Baptiste (Jean-Louis Barrault), a sensitive pantomimist; Ga- red, white, and blue MINI Coopers; fiercely patriotic, patrician crime rance (Arletty) an elusive glamourous woman of easy virtue who stands boss Noel Coward (dripping aristocratic disdain in his final film role); and between them and the fourth character, a murderous thief. Using the chubby-chasing computer genius Benny Hill. The Italian Job intriguingly theatre as a metaphor for life, the Jacques Prévert-scripted story is a richly marshals the contrasting talents of the legendarily droll Coward and the entertaining, immense masterpiece of postwar cinema.” (TLA Video Film famously bawdy Hill, who by all rights should cancel each other out. But Guide, 2003) the historic meeting of the minds never materializes–the two titans of British comedy have no scenes together. Quirky casting and a hip Quincy ON THE TOWN Jones score help set The Italian Job apart, but the casting of the film's Stanley Donen. US. 1949. NR. 98 m. automobiles is arguably more integral to its success than the casting of WB. Digital. its human characters. The MINI Cooper is a delightfully preposterous- Sun, Apr 23 @ 2PM looking vehicle, and the filmmakers ratchet up its ridiculousness by “A grand, energetic and immensely enjoy- having it do things no car should. The Italian Job only begins to live up to able adaptation of the popular Broadway its revered British reputation in its last half hour, when its scene-stealing musical. With a score by Leonard Bernstein cars take center stage in an exhilarating car chase that sends them racing and a book by Betty Comden and Adolph through water and tunnels, and even up the roof of a building. As a comic Greene, directors Kelly and Donen have heist film, The Italian Job is diverting, though slight. As a feature-length opened up, with location shooting, this exu- advertisement for the MINI Cooper, however, it's an unqualified tri- berant tale about three sailors on a 24-hour umph." (Noel Murray, The AV Club) pass, and of their romantic adventures in New York City. Kelly, Frank Sinatra, and MARTY Jules Munchin are the men in uniform; and Vera-Ellen, Betty Garrett, and Delbert Mann. US. 1955. NR. 90 m. Ann Miller are the women with whom they meet and fall in love.” (TLA MGM. 35mm. Video Film Guide, 2003) Sun, May 14 @ 1:30PM “Ma, sooner or later, there comes a point QUEEN CHRISTINA in a man's life when he's gotta face some Rouben Mamoulian. US. 1933. NR. 99 facts. And one fact I gotta face is that, m. WB. 35mm. whatever it is that women like, I ain't got Sun, Apr 30 @ 2PM it.” Stuck between giving up and selling “In one of her most intoxicating perfor- out, Marty, a middle-aged bachelor, has an mances, Greta Garbo radiates sensuality average disposition when it comes to love and regal authority as the lonely but com- and marriage. His mother and family push passionate 17th-century Swedish monarch for marriage while his friends encourage – who renounced her throne rather than be a care-free life of perpetual bachelorhood. However, at a dance Marty forced to wed and produce an heir. Exqui- meets Clara, a teacher. For once, he can accept the facts and be happy but sitely photographed, the film also features his mother and his pals have to have their say. Discouraged and hopeless John Gilbert as her intended, who can’t Marty contemplates standing Clara up. Will true love win in the end? understand her reluctance and constant Either way you’ll find yourself rooting for him as he tries to find out." wearing of men’s trousers. Mamoulian’s classic works as both historical (Jordan Scharaga) epic and examination of individual expression, Garbo posed sphinx-like Tickets: $5 - $9.