The Leader, December 4, 1998
by Michaele Ballard
Charlotte's grand old Carolina Theatre, abandoned and forgotten for decades, suddenly has a new life — and two suitors for her time. Will she have a public or a private future? City council will decide.
The Carolina Theatre, one of Charlotte's finest historical and architectural treasures, has held on, wrecking ball poised above her head, for two precarious decades. She's been uptown's grand old lady all that time, holding her head high at the corner of Sixth and Tryon amidst the gleaming new high-rises, awaiting her fate.
Rumors circulated over those years that the historical landmark would be destroyed to make way for new development. And doubtless that was contemplated. But all the while grassroots efforts were gathering momentum to help preserve the Carolina, and last August, those efforts finally began to look like more than just wishful thinking. That's when NationsBank (now Bank of America) and the Keith Corp., announced plans to build a 46-story office tower on the CityFair site, which backs up to the theater. Restoration of the Carolina Theatre was included as part of that package, with $1.1 million pledged toward that goal.
Just three months later, all this has led to a quirky news flash: the theater, ignored and shunned for all those years, is now the subject of a bidding war. An alliance that includes the Arts & Science Council, the Carolina Theatre Preservation Society and the Performing Arts Center is competing with a private group led by businessman Victor Guzman and local theater entrepreneur Michael Vance for the rights to renovate the Carolina and all ($1.1 million for instance) that might come with that. The contest, which includes deep philosophical questions like whether public or private groups do this sort of thing better, goes before the city council again Monday. Guzman and Vance's group, called the Phoenix Group, is expected to present a plan that would rebuild the Carolina Theatre as a $30 million private concert and show hall with a restaurant and nightclub attached. The facility would have a 3,000-seat main performance hall, a rooftop "music pavilion" and a 500-seat mini-theater for local or children's productions. The Phoenix Group says it would complete the renovation by November of 2001 at no cost to the city, which owns the theater.
The ASC group has yet to provide as much detail, but ASC director Michael Marsicano says preliminary figures suggest a lower renovation cost — $15 million to $26 million, depending upon exactly what is done. And discussions with some other members of the arts community suggests that the ASC-CTPS-PAC plan would include a smaller capacity at the Carolina than what the Phoenix Group plans. The PACs' Judith Allen says a 1,200-seat facility would be a perfect fit to existing uptown facilities.
The ASC and company want an one-year extension on the option given to them by the Keith Corp., to study the project. The Phoenix Group says it also needs time to allow potential investors to study the existing facility and the Phoenix plan in detail, and wants the council to deny the ASC's request and assume unfettered ownership again so that the ownership playing field can be leveled.
Elvis, et al
Once heralded as "The Cathedral of Entertainment," the Carolina was the original home to the Charlotte Symphony Orchestra in the '30s. In its heyday, the theater featured vaudeville acts and stars like Ethel Barrymore, Bob Hope and Elvis Presley. Gone with the Wind debuted there and The Sound of Music smashed theater attendance records during a one-year run in the 1960s.
Today, the theater is a shell of its former self. In the 1980s, the lobby and retail area were torn down, so only the two-story facade remains. Standing in the dilapidated auditorium you have to use your imagination to see it in all its grandeur -rows of plush seats, a horseshoe-shaped Wurlitzer organ console (with 600 pipes) recessed in the chambers, velvet draperies, imported tapestries and fine antiques.
Only traces of torn draperies, faded murals, an aged proscenium, and some finely carved woodwork remain as a reminder of the finery that once made the grand dame of entertainment sparkle.
When the Carolina Theatre opened in 1927, it was the finest theater in the state. Everything about it was novel, including the fact that it was the only theater between New York and Atlanta that had "air conditioning." Owned by the Cutter family and leased by the Paramount Publix circuit, the Carolina was the place to see a first-run motion picture in 1927. (The theater's first film was A Kiss in a Taxi with Bebe Daniels; it was accompanied by a newsreel, organ solo, vaudeville act, and orchestra overture, all for 50 cents.) The Carolina was a major entertainment attraction in the city, maybe the major attraction. Ask just about any native Charlottean who's now in their 70s or 80s to recall a date or first kiss in the theater's balcony and generally they can.
The Carolina's exterior design was unusual and eclectic, incorporating elements of Spanish and Tudor Revival styles. It was designed by Charles Christian Hook, a prominent Charlotte architect who also designed several Dilworth homes and the Duke Mansion. The theater was built by Charlotte's famous J.A. Jones Construction Co.
Robert E. Hall, a New York architect and engineer, designed the theater space, which was inspired by John Eberson's "atmospheric theater" theory. It combined theatrical decorations and special lighting effects that, along with "manufactured weather" (air conditioning), provided the illusion of an evening outdoors, complete with sky, clouds, and stars. It was easy to imagine yourself under a glorious moonlit sky in an Italian garden, a Persian court, a Spanish patio, or in a mystic Egyptian temple yard.
When it was built, the theater's $750,000 price tag included 1,450 seats, a proscenium stage with a lush curtain, a fly loft to accommodate raising the curtain completely, an orchestra pit, dressing rooms, and the finest decorations that included wrought iron, wood and old leather. Accessories included Spanish and Italian pottery, terra cotta jars, decorative chandeliers and reproductions of old paintings and mirrors.
Renovation and decline
In 1961, the theater underwent a major modernization to usher in wide screen movies featuring Cinerama. Five years later the Carolina had the distinction of screening The Sound of Music for more people than were even recorded as living in the Charlotte area.
Not long after, the theater began to decline. By 1978, with the flight to the suburbs and the decline of the inner city, the theater presented its last film (a Bruce Lee action movie) and closed its doors.
In 1980 a fire, thought to be set by vagrants, destroyed the stage. However, the building remained structurally sound. Later that year the original developers of CityFair, Carley Capital Group, removed all the furnishings, including the seats, and demolished the front of the landmark building in preparation for their work next door.
Since 1994, when the Keith Corp. purchased CityFair after the bankruptcy of Carley Capital and the interregnum of several successors, the Carolina Theatre has been owned by the City of Charlotte. The Keith Corp. held the exclusive option to purchase it. Early in November, just short of the December 1998 deadline to exercise its option, the Keith Corp. donated the option to the Arts and Science Council, along with $100,000 toward the theater's restoration.
The Keith Corp.'s display of corporate citizenship was music to the ears of the arts community, especially the Carolina Theatre Preservation Society. For years individuals and groups have worked diligently to save and restore the theater, says John Apple, vice president of CTPS. And they've succeeded, notes Apple, despite apathy from some of Charlotte's established preservation groups and the public in general.
Today the two-year-old non-profit organization, founded by Charlie Clayton, has 100-plus members. Through tours and special events, the organization has done a good job calling attention to the plight of Charlotte's historical gem. As a result of SpringFest and First Night tours, more than 20,000 people visited the theater, and there are 10,000 signatures on petitions to save the Carolina.
Theatrical benefits
Other North Carolina cities, several smaller than Charlotte, have restored their historical theaters, explains Apple, citing Greensboro, Winston-Salem, Wilson and Lumberton as examples. Atlanta's Fox and Memphis' Orpheum Theater are among two of the most sizable and successful restorations in the Southeast.
"An uptown arts theater is really needed; it could be used for classic and first-run films, performances by local artists, barbershop quartets, magicians or mimes, for instance, and social events," says Apple. "It would provide a very affordable arts option for the community and add a new dimension to the revitalization of the city center."
Even in a state of disrepair the theater is being used by avant garde groups: Chickspeare, an all-female Shakespearean group, produced As You Like It at the Carolina. Salome and Dracula were produced there by The Moving Poets, a new and innovative dance troupe. Dracula played to standing-room-only (tickets were $12-$20), so this year the number of performances was increased. The famous boxing match between county commissioners Joel Carter and Darrell Williams, as well as the nationally acclaimed 500-person "Phantom of the Opera" dinner, orchestrated by Mary Tribble for the Performing Arts Center, were held at the theater.
There is little doubt that the Carolina Theatre would be a welcome addition to the burgeoning uptown entertainment mix. A visit to the cities where historical theaters have been restored is proof of their success.
Michael Johnston, a Carolina Theatre supporter, recalls a 1996 midnight showing of the Lon Chaney classic, The Hunchback of Notre Dame, at Richmond's restored Byrd Theater.
"Tickets were $5," says Johnston. "People were lined up to get in, mostly young people, but some middle-aged folks and seniors. The line stretched half way down the next block, and the theater was nearly filled for the black and white film with no dialogue, only a grand theater organ playing throughout the film.
"The audience gave the organist a standing ovation," recalls Johnston.
Since being restored, Greensboro's Carolina Theatre offers a variety of music, dance and drama, along with family theater and a classic film festival (films such as Key Largo, Ten Commandments and The Godfather). Durham's Carolina, renovated in 1992, features quality live performances by national and international touring artists, as well as local artists. Restored to its original Beaux Arts style, the theater has a 1,014-seat auditorium that will accommodate a film screen and has an adjustable orchestra pit. Regional businesses use the auditorium for sales meetings, award ceremonies and conferences.
"Charlotte is one of the fastest growing cities in the Southeast," says the CTPS' Clayton. "Other cities have restored their historical theaters, so can we, with a united effort between arts organizations, politicians, corporations and individuals. Restoring the theater will revere the past...we're not just saving the theater, we're preserving Charlotte's history, the city's quality of life."
The quality of life issue, particularly as it pertains to the downtown core, explains Bank of America's interest in the project. The bank, with arts fan Hugh McColl at the helm, has backed the arts at every turn and has poured millions of dollars into uptown. That's why it was interested in the plight of the Carolina Theatre while structuring its agreement with the Keith Corp. to build the 46-story office tower behind the theater.
"We have felt all along that the Carolina Theatre should not be destroyed," says John Saclarides, a top executive in the bank's corporate real estate services. "Its renovation will serve as a destination unto itself but will also add to the mix of entertainment options uptown that will draw people uptown."
In support of the renovation, the bank pledged $1 million once a viable plan is in place and renovation has begun. Whether that $1 million is available to all comers - private and public, non-profit or profit - isn't entirely clear.
Bank spokesman Ellison Clary says that at the August press conference announcing the tower plan, the bank said that if the city is presented with a plan it likes, the developer (meaning, essentially, Bank of America) has set aside a million dollars to help get that done. At that time, of course, what everyone imagined was that the ASC, or some ASC-led group, would come forward to do the job. But now that there's a private competitor, that calls into question just who can get the money. Asked if the money must go to a non-profit, Clary says, "Well, we didn't say that, but I think you can infer that. It is (meant for) a non-profit because we would like to receive tax credit for that contribution.
"We have every confidence that the Arts and Science Council is the right entity to oversee the most appropriate process for renovating the theater," Clary said in an earlier interview. "We (Bank of America) will merely be interested bystanders."
Another concession from the tower development group might not be available to all comers either. During construction of CityFair, part of the theater's stage was lost. Clary says current plans call for that area to be restored to the theater property. But no additional property is available.
According to Lisa Lee Morgan, current president of the Charlotte Theater Preservation Society, a task force comprised of representatives from the Arts and Science Council, the North Carolina Blumenthal Performing Arts Center, the Carolina Theatre Preservation Society and city officials will be recommended to oversee the overall plan, the capital fund-raising campaign, and the historical integrity and reconstruction of the theater.
"Restoring the theater to its historical integrity will certainly add a new dimension to the revitalization of uptown," says Morgan. "Several groups have already expressed an interest in the venue (as a performance site) which is unlike anything we have. The Charlotte-Mecklenburg library could use it for events, the Mint Museum for its film festival, Chamber of Commerce events, as well as classical music groups such as 'Mostly Mozart,' and organ and ensemble groups, for instance. It's the missing piece we've needed in uptown entertainment."
Judith Allen, president of the Performing Arts Center agrees.
"There appears to be a real need for this size and type of theater for local artists, community events," she says. "The Carolina Theatre's size is exactly what is needed in the area - the Blumenthal has 2,100 seats, and stays booked up; Spirit Square has 700 seats. A 1,200-seat arts and entertainment center that can be broken down into blocks of 500-600 seats if needed, is ideal."
Members of the ASC coalition say it will be 2002 at the earliest before a renovated Carolina Theatre could open. Many questions remain, including determining what sort of facility best suits the city's needs, how can the theater best be renovated to ensure its historical integrity while accommodating contemporary artists; and who will pay for the renovation and own/ manage the theater?
The size and scope of those questions is why the ASC wants a year's worth of study time, says Marsicano. He says the price will be determined by what the city needs and wants: a "Toyota Camry" renovation like Durham, or a "Lexus" makeover more like Winston-Salem work. A key component of the bottom line, at least from the ASC coalition view, is the decision on what to be done with the front of theater, now a vacant lot where the Carolina Theatre lobby once stood. One rendering shows a giant Elvis mural looming over the vacant corner.
The corner issue is not a question for the Phoenix Group, which already has a snazzy, two-story facade planned for the theater's frontage on Tryon Street. To Vance and Guzman, the biggest issue on the table is whether anyone is really willing to listen to them.
Guzman, a 22-year military veteran who now owns Automation Components and Systems, says the ASC doesn't want to see a private organization running the theater, no matter how they do it.
"That (a private organization) would detract from their power base," says Guzman. "They say the only way the theater will ever be restored properly is if it is done by a non-profit. That is silly."
Counters Scott Belford, a spokesman for the ASC, "If it is a non-profit entity (that runs the facility), it affords the greatest community access. It just won't have the same community access as a for- profit entity.
"Also," says Belford, "we don't know that it can be renovated to have enough seats to make a profit."
Guzman and company think it could, but stuffing in more seats than the ASC has in mind is crucial. That done, Guzman says Phoenix would offer a worthwhile and attractive venue that wouldn't cost taxpayers a dime. Indeed, he says that "instead of having to pay every year just to keep the doors open," taxpayers would receive the substantial benefit of having another building on the tax rolls. The Phoenix Group suggests more than $8 million would pour into assorted tax coffers from their operation. About $250,000 of that would be property taxes paid to the city.
'A probability'
Council will consider all of that Monday, although it is by no means certain that a decision will be reached. Meanwhile, planning continues on the new tower, which is definite. Bank officials estimate that interior demolition of the CityFair building will begin in January. By February or March the wrecking balls will demolish the exterior. Within 60 days construction will begin on the superstructure. It is anticipated that office space will be available to tenants by late 2000; the showcase building is expected to be completed by the year 2001.
Whether a theater next door ever becomes a reality remains to be seen, but the prospects certainly look better now than they once did. "At one time we were just looking at the potential of a restoration, now we're looking at the probability," says Greg Keith, CEO of the Keith Corp., who along with his father, Graeme, donated the theater option to the ASC, as well as with $100,000 toward its renovation.
"Bank of America has clearly made a commitment to breathing new life into the Carolina Theatre and we are delighted to be able to play a role in this community event, as well," says Keith. "We believe the theater can be a viable way to enhance the cultural aspect of the city center. We have every confidence that the ASC and the team it puts together will come up with the best possible plan. The theater will be one more wonderful option for entertainment in the business district ... for the community and visitors."
"Wouldn't that be something," asks the CTPS's Morgan, "for Charlotte to look forward to in the year 2002, celebrating the Carolina Theatre's 75th anniversary with a grand opening of our elegant new Carolina Theatre?"
You can almost hear the grand old lady on Sixth and Tryon let out a sigh of relief and say, "yes."
Freelance writer Michaele Ballard lives in Charlotte.
Leader staff writer Tara Servatius contributed to the reporting of this
story.