Theatre Design & Technology - Summer 1985 - 14

the mid-1960s about its future. The
major question that defied a simple answer was: Shall we stay where we are or
sell it all and move elsewhere? In the
next eight years (1965 -1973) a number
of alternative solutions were explored,
including a joint theatre with Case
Western Reserve University. Other possible moves would have located a new
complex in Cleveland Heights in a
building originally built as a synagogue
or in the revitalized Playhouse Square
development in downtown Cleveland.
The latter project-which has no connection with the CPH-is a complex of
former film, vaudeville and legitimate
theatres.
In all of these potential affiliations
the CPH trustees recognized one inescapable factor: a merger with another
organization would bring about a loss,
to some degree, of the autonomy the
company had always enjoyed. It could
sell its theatres, along with their precious parking facilities, in return for a
merger with other arts organizations in
another part of the city, but at what cost
to its own identity? In every case a
merger and move seemed ultimately to
be an exchange of one set of problems
with another of a similar nature. As a
consequence, the trustees and artistic
staff, now headed by Richard Oberlin,
decided in 1977 to concentrate on a new
facility at either the 77th St. or 86th St.
site.
The decision on which of the two
locations to concentrate was not an easy
one. Following a number of studies
and option possibilities-at one point
serious thought was given to moving
the buildings at 86th St. to 77th St.-a
decision was made: The CPH would
remain at 86th St. The 77th St. theatre
and club would be sold, and with the
proceeds and a major capital fund
drive, a new and related facility would
be erected on the east side of 86th St. on
part of the CPH property curremly being used as a parking lot. The new
building would house a third theatre
seating an audience of 650 and dressing
rooms, larger workshops, more rehearsal space and offices pi us a new
club/restaurant. In addition, there
would be carefully planned major renoations to the Brooks and Drury theatres. The houses were 50 years old and
changes and improvemems in wiring,
stage rigging and lighting comrol were
long overdue.

Lobby of lie\\' Bo/toll Theatre

The Cleveland Play House Complex
The 1927 Building
Architects
Architect for Theatres
Artistic Director
Cost

Phillip Small & Charles Rowley
Francis K. Draz
Frederic McConnell
$285,000

The 1983 Building
Architects
Principal Architect
Associate Architects
Theatre Consultant
Acoustical Consultant
Construction Manager
General Contractor
Stage rigging
Stage lighting control
Cost

Johnson Burgee Inc.
Philip Johnson
Collins and Rimer Architects, Inc.
Brannigan - Lorelli Associates, Inc.
Klepper / King Associates
Construction Management Associates
R. P. Carbone Construction Co.
Tiffin Scenic Studios, Inc.
Strand Century, Inc.
S12,000,000

(Includes purchase and reno\alion of the Scars building)

The Cleveland Play House Slag
Director
Richard Oberlin
Managing Director
Janet Wade
Business Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
elson Isekeit

Theatre Design & Technology / USITT / Summer 1985

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1985