Arena Stage Comes Home

In its 60th year of operation, Arena Stage - the preeminent local theatre institution in Washington, DC - has much more to celebrate than just its longevity. After two years of roaming productions in Crystal City, VA and the historic Lincoln Theatre on NW DC's U-street corridor, the organization has finally come "home" to its campus on the SW Potomac waterfront where it has been based since 1960 (see photo of Arena Stage below, as it appeared in 1971, with the Fischandler and Kreeger theatess joined by a 2-story office complex).

A legend in DC, Arena Stage was one of the first non-profit theaters in the country, and maintains a reputation as one of the finest regional theatre organizations in the world. And that, frankly, was Arena Stage circa 2008. After years of fund raising and planning, it was in that year that the management and artistic staff of Arena stage decided that in order to achieve their long-term goals, they needed to take drastic steps to increase their potential. The resulting plan was to abandon their main offices and venues for a 2 year period during which time the existing facilities would be almost entirely refurbished, and additional facilities would be built at the same sight.

But even that audacious explanation falls short - far short - of capturing the full wonder, majesty and ambition of the resulting Mead Center for American Theatre. Rather than just "refurbishing" the existing facilities (2 stages and an office complex) and adding more, the entire campus was re-envisioned. The drab offices connecting the two theaters were leveled, and modernist Canadian architect Bing Thom (Washington Post article on his other works) designed created a soaring new structure of wood, glass and concrete that would literally envelope the existing theatres as well as adding a third theatre space - the Kogod Cradle - and seamlessly integrating all three along with offices, technical shops, rehearsal spaces, educational classrooms, administrative offices, design studios, staff cafeteria, ticket offices, gift shop, and even a public restaurant perched atop one of the original theaters! (Concept & construction photos here; finished professional photos here; or blow your mind with this interactive graphic)

The resulting combination theatre-office-cafe-classroom-art installation (pictured at left showing the redone Fischandler Theatre INSIDE the new lobby), called the Mead Center for American Theatre, is as architecturally breath-taking as the new mandate associated with its title. For in this harmonious rebirth of new and old, Arena Stage found - or to be more pun-inducing, cemented - its purpose: a singular commitment "to the production, presentation, development and study of American theatre." These are their so-called "4 Pillars," moving well beyond being just a venue that brings in major touring works (Presentation) or which puts on works with local actors from the American catalog (Production).

Now with the additional focus - and real weight behind - "Development" and "Study," Arena Stage is launching pioneering efforts to support current American playwrights and empower them to write, workshop, and ultimately produce new works. This is supplemented by a fusion of theater practicioners and academics working to increase public education about American plays - past, present and future - at the youth, college, and adult levels.

What it all comes down to is this: In 2008, Arena Stage was a highly respected regional theater organization doing what most regional theaters do - bring in a few shows, and put up a few of their own, often without a cohesive theme or any mission more ambitious that ensuring their financial security so they can do the same the next year.

But in 2010, Arena Stage has, through programming, architecture, and an organizational mission focus rarely witnessed in institutions even 10 years old, let alone 60, declared itself the premier proponent of American theater in the world. What is most shocking is of course that they have issued no such declaration - the magnitude of their orchestrated potential makes even such a boisterous declaration unnecessary. Just look at their building. Just look at their season. Just look at their playwright-in-residence program.

It is not just obvious, it is incontestable. The most appropriate parallel would be the emergence of the United States as a Superpower following WWII, and the near absence of any contesting claims to international dominance from the British or French. When one's total dominance of any given field is this self-evident, it need not be shouted from roof tops.

Another good measure of the gravitas of the new center is the amount of coverage it received from the Washington Post. This included a full 4-page centerfold, multiple editorials, and suggestions that Arena Stage may drive DC as a whole into a new generation of public innovation and non-profit leadership. Twice.

On October 23, the new Arena Stage at the Mead Center for American Theatre opened its doors to the public for the first time (at left, interior of the intimate, organic Kogod Cradle). The all-day inaugural event included simultaneous performances in all three theaters, as well as outside stage, improv workshops in its rehearsal spaces, and childrens' activities in classrooms, the cafe, and the roof. Major Broadway stars, many of whom got their start at Arena, did solo concerts; acclaimed playwrights gave intimate discussion panels; and the cast of the debut main stage production, Oklahoma!, performed numbers from the show.

But the real star was the building itself, which felt comfortable and fluid even with thousands of patrons flowing in and out of three different theater spaces every 30 minutes.

I had the good fortune to be present for the event, as well as the added bonus of having already received a personal behind-the-scenes tour, because Shelley is currently employed at Arena Stage in a Fellowship in the Managing Director's office. For the day in question, I was treated to no special attention, but did benefit from keen observation based on our conversations leading up to this magnificent day over the past months.

It was an excellent day, full of passionate patrons celebrating the return of a beloved public institution, and the vast potential that the future holds not only for Arena Stage, but for DC residents as a whole. Broadway star Brad Oscar (left) performed an original show tune written for the occasion with tongue-in-cheek references to some of the old venue's less polished features. Major figures in the founding, and current administration of Arena Stage were on-hand, highly enthusiastic, and much in-demand.

(more photos from the grand opening here)

Congratulations go out to all of the Arena staff, especially those who conceived and have been working hard to implement this vision for not only the past 2, 5 and 10 years, but over the long arc of its 60 years history, which has, for example, featured only 3 different artistic directors.

And of course, huge kudos to Ms. Shelley, not only for landing a fellowship at one of the boldest, brightest, and biggest theaters in the country, but for the active role she played in organizing event volunteers, planning the trustee/alumni brunch, and for being the first stage manager of a public perfomance in the new Kogod Cradle.

More and More and More reasons to celebrate.

Weber

::(lame)Texpatriot