Theatre Design & Technology - Oct 1967 - 13

volves the entire city. It should be woven into the texture of
the community rather than being set apart on a hallowed
pedestal.
DeGAETANI: Our next speaker is Mr. Charles Jagels, President of the Atlanta Arts Alliance which is owner-client of
the now-abuilding Atlanta Memorial Cultural Center.
JAGELS: I not only feel like a rank amateur associating with
a group of professionals, I really am a rank amateur associating with a group of professionals. Perhaps the best thing
for me to do is to tell you very briefly the Atlanta story. In
the first place, we'd had a fairly decent symphony orchestra
for about twenty years. It had been playing in the Civic
Auditorium, which with its flat surface might host ice shows
one night, wrestling another, hockey another, and occasionally the symphony orchestra. The conditions were not great
for symphonic enjoyment. In spite of that, we developed a
rather good operation. With the decl ine of the road shows,
most of the legitimate theatres had been converted to
movies; five years ago the last theatre in town able to stage
legitimate productions was bought and taken over by Cinerama. Meanwhile, we had a family foundation in Atlanta that
decided to request a survey of what Atlanta needed. The
survey indicated that what Atlanta needed was a facil ity for
performing arts. So the anonymous foundation made a proposal to the city that it would contribute four million dollars for the development of a couple of theatres in a publ ic
park if the citizens would vote a bond issue for another
two million dollars. The bond issue was defeated. Meanwhile, just five years ago this Saturday, a plane crash killed
125 of Atlanta's leading citizens in the arts as they were
leaving Paris after a tour of the museums. The sympathetic
reaction of the people involved and, in fact, that of the entire country helped solve the Atlanta arts problem. The various groups interested in the arts began to combine forces.
The School of Art had been trying unsuccessfully to raise
money for a new Art School. The Atlanta Art Association
had a fine location, about half a mile north of the heart of
the city. The anonymous donor contributed a total of six and
a half million dollars; the public subscription came to another
six million and a half without a cent of municipal, state, or
government contribution. All of our money was privately
donated. Finally, the Atlanta Symphony Guild and the Art
Association combined forces and merged into the Atlanta
Arts Alliance. This means we are now responsible not only
for raising the money, building the building, but also for
raising the annual deficit of the symphony and of the school
and of the museum, and perhaps some day, of the theatrical
enterprises.
The Atlanta Memorial Cultural Center will have two theatres:
a multi-purpose theatre-concert hall, seating 1,850 which will
be the home of the Atlanta Symphony Orchestra, and a proscenium theatre seating 900 people. Obviously, the former
can be used for a variety of performances, such as ballet,
opera, traveling road companies. The lift of the orchestra
pit will accommodate a whole symphony orchestra, but also
provide a semi-thrust stage. In the proscenium theatre, we
hope to develop a repertory company in this facility, which
is also mUlti-purpose; its orchestra lift also applOximates the
shape of a semi-thrust theatre. In the basement in addition
to shop area and all the dressing rooms, we have a rather
ambitious rehearsal hall for the orchestra. Here the orchestra
can rehearse even while something else is on stage. We also have in this service area a studio theatre which will seat
about 250 people. This studio is for experimental theatre,
children's theatre perhaps, and maybe even for rehearsals
on various occasions. In addition, the museum has an auditorium seating 450 people, with a very narrow stage, no
dressing rooms; this will be used for lectures, chamber mus-

OCTOBER, 1967

sic, and things of that sort. I've just described to you the
Atlanta Arts All iance. The new Memorial Cultural Center
will all be one building; the museum and the theatres and
the school will be under one roof. Other developments in
the city include a new Civic Auditorium which will be completed, we hope, in time for Herman Krawitz's opera week
next year. This is a theatre with a slanting floor; it seats
4,500 people, so we will have this facility for productions
like the Met. While all of this has been going on, one of
the theatre groups in town called Theatre Atlanta has built a
theatre a block or two from the Cultural Center. It is a quite
handsome thrust theatre which seats 750 people. It is in
business now, putting on its original repertory productions.
So, we will have in Atlanta two auditoria each seating
4,500 people. We'll have a convention hall which will
accommodate 10,000 people. We'll have this cultural center,
a 1,850 seat concert hall, and a 900 seat theatre. We have
Theatre Atlanta with 750 seats. All of this indicates to me
that, after many years of being a theatrical desert, suddenly
Atlanta's been turned into a theatrical oasis. I fondly hope
that the community will have the capacity to absorb it.
DeGAETANI: Our next speaker very generously accepted a
last minute invitation to participate this morning. He is Mr.
Alex Lacey, Chairman of the Birmingham Civic Center Authority, sponsor of the Civic Center, the winning designs for
which we were privileged to see last night.
LACEY: As a mere lawyer, I feel the way one of you might
feel addressing a bar association group on a purely legal
subject. Since we are right at the stage of creating the
Birmingham Center, I think I could best contribute answers
to the questions: How do you get one started? How do you
get the community energized? And more particularly, if it is
to be a tax-supported entity, how do you get the politicians
behind it? Politicians basically do not feel that the surest
way to get re-elected is to build a cultural center. The point
is it takes a lot of background selling before you can even
begin. I would say, perhaps with cynicism, that one of the
most important things might be early involvement of the
newspaper management, not just the editorial staff, but also
the management in back of the editors and reporters. I will
pause briefly while you recall what Mrs. Chandler's husband
does for a living. The Los Angeles Center is a classic case,
and the same thing was true in our case. You don't involve
the management with a backslap saying, "Good project."
All you'll get is the promise, "We'll write an editorial about
it." No, you involve the management so much that the entire community knows they're behind it; the politicians know
they're behind it. With such an involvement, our project
began. It's very simple to get a sort of Chamber of Commerce energy about these things, but that really is the most
dangerous disease you can get. It translates itself into terms
of size and only size. "Give us the biggest cotton-pick in'
thing that anybody's got." It's like the man walking up to
a hi-fi set and asking, "How many records will it play?"
You must avoid this. So the city did a very wise thing. It
hired Bill Briggs to conduct a feasibility and program study
for this center. And so Bill Briggs came to Birmingham for
the first time.
That he hadn't been here before was to his advantage since
it contributed to his very broad view of the thing. He was
able to ask the questions we perhaps would never ask ourselves. Do you really need a Civic Center? If so, for what?
You've got a symphony, fine. You've got a ballet company,
a civic opera group, five theatrical groups, and all that. How
many weeks will this provide? Are they being adequately
taken care of now? What size rehearsal halls do you need?
What size dressing rooms? Bill asked a whole lot of ques-

13



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1967

Contents
Theatre Design & Technology - Oct 1967 - 1
Theatre Design & Technology - Oct 1967 - 2
Theatre Design & Technology - Oct 1967 - 3
Theatre Design & Technology - Oct 1967 - Contents
Theatre Design & Technology - Oct 1967 - 5
Theatre Design & Technology - Oct 1967 - 6
Theatre Design & Technology - Oct 1967 - 7
Theatre Design & Technology - Oct 1967 - 8
Theatre Design & Technology - Oct 1967 - 9
Theatre Design & Technology - Oct 1967 - 10
Theatre Design & Technology - Oct 1967 - 11
Theatre Design & Technology - Oct 1967 - 12
Theatre Design & Technology - Oct 1967 - 13
Theatre Design & Technology - Oct 1967 - 14
Theatre Design & Technology - Oct 1967 - 15
Theatre Design & Technology - Oct 1967 - 16
Theatre Design & Technology - Oct 1967 - 17
Theatre Design & Technology - Oct 1967 - 18
Theatre Design & Technology - Oct 1967 - 19
Theatre Design & Technology - Oct 1967 - 20
Theatre Design & Technology - Oct 1967 - 21
Theatre Design & Technology - Oct 1967 - 22
Theatre Design & Technology - Oct 1967 - 23
Theatre Design & Technology - Oct 1967 - 24
Theatre Design & Technology - Oct 1967 - 25
Theatre Design & Technology - Oct 1967 - 26
Theatre Design & Technology - Oct 1967 - 27
Theatre Design & Technology - Oct 1967 - 28
Theatre Design & Technology - Oct 1967 - 29
Theatre Design & Technology - Oct 1967 - 30
Theatre Design & Technology - Oct 1967 - 31
Theatre Design & Technology - Oct 1967 - 32
Theatre Design & Technology - Oct 1967 - 33
Theatre Design & Technology - Oct 1967 - 34
Theatre Design & Technology - Oct 1967 - 35
Theatre Design & Technology - Oct 1967 - 36
Theatre Design & Technology - Oct 1967 - 37
Theatre Design & Technology - Oct 1967 - 38
Theatre Design & Technology - Oct 1967 - 39
Theatre Design & Technology - Oct 1967 - 40
Theatre Design & Technology - Oct 1967 - 41
Theatre Design & Technology - Oct 1967 - 42
Theatre Design & Technology - Oct 1967 - 43
Theatre Design & Technology - Oct 1967 - 44
Theatre Design & Technology - Oct 1967 - 45
Theatre Design & Technology - Oct 1967 - 46
Theatre Design & Technology - Oct 1967 - 47
Theatre Design & Technology - Oct 1967 - 48
Theatre Design & Technology - Oct 1967 - 49
Theatre Design & Technology - Oct 1967 - 50
Theatre Design & Technology - Oct 1967 - 51
Theatre Design & Technology - Oct 1967 - 52
Theatre Design & Technology - Oct 1967 - 53
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Theatre Design & Technology - Oct 1967 - 56
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1977spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1976spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975winter
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975fall
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975summer
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1975spring
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1974Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1973Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1972Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1971Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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