Theatre Design & Technology - Dec 1972 - 7

BEFORE AND AFTER:
THE RENOVATION AND RECONSTRUCTION OF PHILADELPHIA'S
WALNUT STREET THEATRE
GLENN N. LONEY, The City University of New York

Inside Philadelphia's Walnut Street Theatre, there is a
handsome bronze plaque. It identifies the structure as a
Registered National Historical Landmark. Not content
with that, it enlarges upon the distinction: "This site
possesses exceptional value in commemorating and illustrating the history of the United States."
Those are bold words. They should inspire awe in even
the most jaded theatre-goer. But no! They are not enough.
On another wall of the foyer is yet another plaque. Th is
piece of metal offers the debatable information that the
Walnut Street Theatre is the oldest theatre in continuous
use in the English-speaking world. An even more extravagant version of that claim appeared in the brochure for
the 1971-72 season. It read, somewhat immodestly: "The
oldest theatre in the English-speaking world proudly
begins its one hundred and sixty-third year restored,
renovated, and ready for its premiere season.
I t may be questioned how a theatre so venerable cou Id
be enjoying a premiere season. Apparently words do not
mean what they once did. Or perhaps a little press-agentry
is a dangerous thing. New York Times critic Clive Barnes,
reviewing the initial production, was quick to point out
that "The Theatre Royal in Bath and the Theatre Royal
in Bristol both predate it and are, both, architecturally,
far more distinguished and in their original condition." t
Barnes' intentions are good, but the theatre in Bath
burned in 1862 and was later replaced. The Theatre Royal
in Bristol, however, dates from 1764/5. British theatre
historians Raymond Mander and Joseph Mitchenson,
queried about the Walnut Street Theatre's claim, were
emphatic in supporting Bristol as the oldest theatre. 2
There was a temporary closure in Bristol, owing to World
War II. That may be what the unnamed archivist, who
advised the Walnut Street's restorers, had in mind. If so,
the Walnut Street has hardly been in continuous use
either. It has seen service as a cinema, rather than a
legitimate theatre. I t has also had months of darkness,
even under Shubert management, not to mention the
closing necessitated by the recent renovations.
Perhaps there was a verbal schizophrenia at work
during the opening weeks of the old/new Walnut Street
Theatre. The Philadelphia Drama Guild's brochure, adver-

THEATRE DESIGN AND TECHNOLOGY

tlslng such stars as Tammy Grimes, E. G. Marshall, and
Ruby Dee, also referred to the theatre's landmark status.
I n the next breath, it described the playhouse as: "now
luxuriously restored and modernised."
Both semantically and actually, it just isn't possible to
do both. To restore and to modernise. The architect
responsible for the Walnut Street's rebirth, F. Bryan
Loving, would be the first to admit that he could hardly
have achieved a luxurious restoration. In its earliest form,
that of a Circus in 1808/9, the Walnut Street was not
luxurious by any charitable interpretation of that word.

And, as for reconstitution of bygone glories, what
restoration has been attempted has been confined to the
facade on the Walnut Street side of the playhouse, (Figure
2) which sits on the corner of Walnut and Ninth Streets.
This is not the facade of the long·forgotten circus building.
I t is, instead, the John Haviland design for the theatre's
first renovation in 1828.

Clive Barnes condemned the [nama Guild's production
of Moliere's The Imaginary Invalid. He praised the decision to save the Walnut Street from destruction, however. His words are worth thinking about, at a time when
many

old

theatres and opera-houses are threatened:

"America has such an insubstantial, even casual, grasp
upon its architectural past that any attempt at architectural restoration and restitution is to be applauded. It
never ceases to amaze me how much of our history in the
streets we have senselessly demolished and how little remains of what was once a rich heritage."3

Ironically, the Walnut Street's gala re-opening occurred
only two months after another Philadelphia theatre,
once known as the City Museum, was reduced to rubble.
Fortunately, the work of the National Park Service in
aiding restoration of many historic buildings around
Independence Hall has had its effect elsewhere in the City
of Brotherly Love. With the nation's bi-centennial drawing
near in 1976, the impetus is becoming even stronger.
Recently the Philadelphia Academy of Music underwent

DECEMBER. 1972

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