1998
by Michaele Ballard
At the corner of Tryon and College Streets, surrounded by fencing and scuffed brick walls, sits one of Charlotte’s finest treasures. She’s a bit tarnished but still holding her head high amidst the new high-rise office buildings, awaiting her comeback.
Once known as "The Cathedral to Entertainment," the Carolina Theatre at 232 N. Tryon St., was the original home to the Charlotte Symphony Orchestra in the ’30s. In its heyday it featured vaudeville acts and stars like Ethel Barrymore, Bob Hope, and Elvis Presley. "Gone with the Wind" debuted there and "The Sound of Music" broke all attendance records, running for over a year.
Today the theatre is a shell of its former self. Its lobby and retail area were torn down in the ’80s after a fire that was confined to the stage; however, smoke spread throughout the theatre. The auditorium remains, but you have to use your imagination to see it in all its grandeur — rows of plush seats, a beautiful Wurlitzer organ console (with 608 pipes and 14 traps 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 that once made the 71-year-old grand dame of entertainment sparkle.
When the Carolina Theatre opened in 1927 it was heralded as the finest theater in the state, the finest playhouse in the South. Everything about it was novel, including the fact that it was the only theater between New York and Atlanta that had air conditioning. The entertainment palace, which was owned by the Cutter family and leased by the Paramount Publix circuit, was the place to see a first-run motion picture in 1927. (The theatre’s first film was A Kiss in a Taxi with Bebe Daniels; it was accompanied by a newsreel, organ solo, and orchestra overture and more, all for 50 cents.)
The Carolina’s exterior design was eclectic, incorporating elements of the 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, and built by J.A. Jones Construction Co.
The theatre’s facade was representative of the Publix Theater trademark, grand theaters housed in buildings flanked by retail operations, clothing stores, music stores, and sweet shops.
Robert E. Hall, a New York architect and engineer, designed the theatre space, which was inspired by John Eberson’s "atmospheric theater" theory. Eberson believed that the splendor and glitter of the theater was directly responsible for the audience’s response. The interior design 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.
Sitting in one of his theatres it was easy to imagine that you were under a glorious moonlit sky in an Italian garden, a Persian court, a Spanish patio, or in a mystic Egyptian templeyard, canopied under a star-filled sky. "The deep azure blue Mediterranean sky has therapeutic value," he always said. "It soothes the nerves and calms perturbing thoughts".
When it was built, the theatre’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 including wrought iron, wood and old leather. Accessories included Spanish and Italian pottery, terra cotta jars, decorative chandeliers and reproductions of old painting and mirrors.
Originally the theatre presented films with Buster Keaton and Charlie Chaplin, vaudeville acts and later "talkies." By the ’40s, stars like Ethel Barrymore performed at the Carolina; Elvis Presley headlined there in the ’50s. Periodically the theater underwent renovations to add the latest lighting and sound and to update the decor.
In 1961 the theatre underwent a major modernization to usher in wide screen movies featuring Cinerama. The 1,350-seat theater was reduced to 1,200. The unique box office modeled of wrought iron became a more "functional" box office. Five years later the Carolina had the distinction of screening "The Sound of Music" for more people than were recorded as living in the Charlotte area.
Not long after, the theatre began to decline. By 1978, with the flight to the suburbs and the decline of the inner city, the theatre had shown its last film (a Bruce Lee movie) and had closed its doors.
In 1980 came the fire that was thought to be caused by vagrants, although the integrity of the building was still intact.
It stood vacant until the mid ’80s when the original developers of City Fair, Carley Capital Group, removed all the furnishings (including chairs) and demolished much of the building, which was listed as a historical landmark, supposedly fearing it was unsafe after the fire. The lobby was completed destroyed, the stage left unusable. Other than the auditorium, only the two-story facade remains, and it was saved only by the closing of City Fair due to Carley Capital’s bankruptcy.
Today the remaining Carolina Theater building is owned by the City of Charlotte; however the Keith Corporation, which in 1994 purchased City Fair along with an option of right-to-buy the Carolina Theatre (for $1.2 million, regardless of other offers), has until the end of the year to exercise their exclusive option to purchase the property from the city.
The Keith Corporation has consistently said through the years that it has no plans for the building, although Greg Keith, CEO and President of the organization, does admit that they plan to exercise their option to purchase the building by year-end.
"We don’t have any specific plans," says Keith. "We’ve talked to several people and groups, but no one has come up with a way to make it economically equitable (it could be purchased outright or leased). "Personally I believe it should be restored to its original 1927 venue or just be closed. I don’t think it should be subsidized by the city or a foundation," he explained.
"No one has yet presented us with a viable plan. It’s not like we’re out here trying to cut some kind of great deal. We’re open, receptive to any ideas that make economic sense for both of us."
At one time the word on the street was that the Keith Corporation wanted to buy the entire block, but that is now impossible since NationsBank has donated the former Montaldo Building (next door to the Carolina Theatre) to the Mint Museum. Recently it was reported that Trammel Crow is designing an office tower to be built on the City Fair site in the hopes that NationsBank will be the anchor tenant. Speculation is that NationsBank would leave the theater intact and be open to working with a group interested in preserving the Carolina.
Jim Palermo, executive vice president of NationsBank’s Management Services, says the reports of a Trammel Crow office tower are merely speculation. "NationsBank does care about supporting uptown development and the arts, but if the Carolina Theatre is to be saved and renovated it will take a lot of money. There has to be a way to blend the dream and the reality," he explained.
Meanwhile, while renovating the Montaldo Building, NationsBank has surrounded the front of theatre site with construction fencing laced with $30,000 worth of oversized historical photos of the theatre and its performers while the Montaldo Building is being renovated. A bright neon sign dedicated by Mayor McCrory now marks the Carolina Theatre’s location.
Over the years individuals and groups have spearheaded efforts to restore the theatre, according to John Apple, vice-president of the Carolina Theatre Preservation Society (CTPS), a two year old organization that sprang out of the Metrolina Theatre Organ Society.
A group of theatre organ enthusiasts, inspired by Charlie Clayton, who was involved with the "Save the Fox" (Theater) in Atlanta when he lived there, began discussions about saving and restoring the Carolina Theatre several years ago. In 1997 Clayton obtained a $50,000 state grant to generate interest in saving the theater and founded the Carolina Theater Preservation Society, which now has 100+ members in the non-profit organization.
Clayton credits Mike Collins at WBT-AM with saving the day for the Carolina Theater in December 1996. "We were going to have the theatre open for the second time since it closed its doors for First Night, when through a bureaucratic snafu, there was no electricity in the building. Mike invited me to be on his show to let the community know about our predicament," says Clayton. "By the time I got home I had a call from Randy Lail of L&P Electrical Company, who volunteered to get the electricity working. He saved the day."
In the last two years, CTPS has actively generated interest in restoring the theatre. The society has tours every Friday and has launched a campaign to let performing arts organizations that the space is available, at no cost. "During First Night and SpringFest over 7,000 people came through the theater alone," explains John Apple. "They were amazed to learn that the theatre still exists and were eager to sign petitions encouraging its restoration." An estimated 20,000 people have toured the theater in the last couple of years; 10,000 signatures are on petitions to save the building.
"Ultimately, we would like to see the theatre stay in the hands of the city," says Lisa Lee Morgan, president of CTPS. "We would like to see it be part of a constellation performing arts entity like the Mint Museum, Discovery Place, Spirit Square, operated in conjunction with the Performing Arts Center."
That would be the ideal situation, she believes. Even if someone buys the property she feels it should be restored by a non-profit entity. "I think the restoration will have to be accomplished with a combination of private and public funding, perhaps bonds," she adds. She cites Columbus, Ohio, which is comparable to Charlotte, where the Columbus Association of Performing Arts (CAPA), an umbrella theatre council, oversees 10 theatres, four of which are historical.
She is a firm believer that Charlotte can and will save and restore the Carolina Theatre. "We are doing everything in our power to zero in on the best ways for everybody to win — for it to be viable for business, the city and the community."
Other cities have restored grand theatres: Atlanta’s Fox Theater, Memphis’ Orpheum Theater; and theatres in Jersey City, Birmingham and Detroit, all of which have been restored with subsidies. North Carolina cities much smaller than Charlotte have found the enthusiasm and funding to restore their theaters including Lumberton, Wilson, and Winston-Salem.
The restored Greensboro Carolina Theatre now offers a variety of music, dance and drama along with family theater venues and a classics film festival (Key Largo, Ten Commandments, Godfather). Durham’s Carolina, renovated in 1992 without any private money, features quality live performances by national and international touring artists, as well as local artists. It has been restored to its original Beaux Arts style and has a 1,014 seat auditorium with a fly-in 19x26 film screen and adjustable orchestra pit. Regional businesses use the auditorium as a unique setting for sales meetings, award ceremonies, and conferences.
"We are one of the fastest growing cities in the Southeast," says Clayton. "Other cities have found a way, why can’t we? We can do it if we have enough people who care — not just politicians, but corporations and individuals. We need to revere the past, not tear it down. People in their 70s and 80s remember what a grand theatre it was and how it brought a sense of class and excitement to downtown. Some people don’t understand ... it’s not just about saving the theatre, its about preserving our history, our quality of life."
There’s proof of what a restored theater has done for other cities. In 1996 the Byrd Theater in Richmond had a midnight showing of The Hunchback of Notre Dame with Lon Chaney," says Michael Johnston, a theater organ enthusiast and Carolina Theatre supporter who attended the showing. "Tickets were $5. 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 theatre was nearly filled for a black and white film with no dialogue, only a grand theatre organ playing throughout. The audience gave the organist a standing ovation," recalls Johnston.
"An uptown theatre could be used for films, performances and social events," adds Apple. "It would add a new dimension to the revitalization of downtown, which needs entertainment options. It would be perfect for film festivals, local performing groups, barbershop quartets, the philharmonic, or magicians. It would have a totally different venue than the Blumenthal."
Even in a state of disrepair the theatre is being used by avant-garde groups: Chickspeare, an all-female Shakespearean group produced "As You Like lt." "Salome" and "Dracula" were produced by The Moving Poets, a new and exciting dance troupe. All three performances of "Dracula" were standing room only (tickets were $12-$20). The group will perform "Dracula" again this year and a haunted house is planned for Halloween. Of course there was also the infamous boxing match between county commissioners Joel Carter and Darrell Williams, as well as the nationally-acclaimed 500-person dinner for the "Phantom of the Opera," orchestrated by Mary Tribble of Friends of the Performing Arts, that was held at the theater.
A study conducted a year ago by Joshua Dachs, indicated that the Carolina Theatre could and should be an affordable uptown performing arts option, one that the film society and library have expressed an interest in, says Apple.
While some local politicians and business people are showing support for restoring the theatre, it is estimated that it would take $2 million just to restore the auditorium to working order (not including decorations, which Apple says would be icing on the cake). To restore the theatre to its original ambiance would take around $12 million. Conrad Dachs estimates another $2 million would be needed for wrought iron, goldleaf, and other ornamentation.
There is little doubt that the renovation of the Carolina Theatre would add to uptown Charlotte’s current revitalization. It could be a valued amenity for visitors, as well as people who live and work in the community. But even more importantly, say supporters of restoring the 1920s theater, it would be maintaining a piece of Charlotte’s heritage.
"Even after the ownership is decided there’s still a lot to be done — a unified effort must be made to save the theater, a capital campaign to finance the restoration, renovation plans and construction. It would take at least two to three years to have it restored to a performing arts facility," explains Morgan. "But wouldn’t that be something for Charlotte to look forward to .... celebrating the Carolina Theatre’s 75th anniversary in the year 2002."
As discussions continue behind closed doors and rumors run rampant, the theatre’s fate seems sure to be decided by the close 1998.
"We’re at a real crossroads," laments Apple. "It’s so important to preserve Charlotte’s past ... for its future."
Looking a bit forlorn in the shadows of a new and progressive uptown Charlotte stands the Carolina Theatre, a grand lady physically bent and broken but still spirited, awaiting her fate.