|Photo by Joseph Marzullo/WENN|
The Tow joins LCT's long-standing duo of spaces, the Broadway-large Vivian Beaumont and the more intimate Mitzi E. Newhouse. The two-story Tow actually sits, penthouse-like, atop the Beaumont, and is accessible via an elevator in the Beaumont lobby.
The Tow will be home to LCT3, Lincoln Center Theater's already up-and-running (it commenced in 2008) programming initiative dedicated to new works by new, and often younger, playwrights and directors. The new space's debut production will be Slowgirl by Greg Pierce and directed by Anne Kauffman. It will begin performances on June 4. Past LCT3 productions have included The Coward, Stunning, When I Come to Die and 4,000 Miles, a hit that later transferred to the Newhouse, where it is currently playing.
The theatre, which was designed by Hugh Hardy of H3 Hardy Collaboration Architecture, is named after the wife of longtime LCT board member Leonard Tow.
The dream of a third theatre is an old one, according to longstanding LCT artistic director Andre Bishop. It was, in fact, written into his contract when he assumed the post of artistic director in the early '90s. But, he got busy, as artistic directors do, and the plan was put on hold.
He began to meet with some of the young artists who ran small theatre companies in New York City and soliciting their opinions. "I thought people will think, 'Oh, Lincoln Center, now they're trying to be us.' I was expecting a fair amount of cynicism. I found the opposite of this. People were amazed Lincoln Center was going to open its doors."
One thing that all the artists Bishop spoke to agreed on was that the new theatre should be at the Upper West Side complex, not at a different location. "Everybody said, "It must be at Lincoln Center. We don't want to be the little offshoot.'"
Placing the theatre on the roof was not LCT's first idea. There was talk of fitting it into the spacious backstage of the Beaumont, which is as big as a football field. "But then we started doing shows like Coast of Utopia and South Pacific, and we didn't want to destroy that backstage." They contemplated putting it outside, near where the cars drive in, but the Metropolitan Opera general manager Joe Volpe objected, saying that space was used by stagehands for smoking breaks. "I thought, 'Shouldn't they maybe be backstage and not outside smoking?'" remembered Bishop. Finally, "somehow we came on the roof because it was the only place to be. It was here."
|1 | 2 Next|