Is It Curtains?

Despite earlier optimism, two historic Philly theaters may soon disappear.

by Daniel Campo

In a city noted for architectural heritage, but not necessarily the preservation thereof, demolition seems an even more frequent occurrence this year. Now comes word that the future of two famed Philadelphia theaters is in limbo.

The Boyd on the 1900 block of Chestnut is again up for sale, according to its owner, Live Nation. (The 2,400-seat theater is the city's sole remaining movie palace and has been closed since 2002.) And over on the 1500 block of South Street, the Royal Theater also faces an uncertain future, say its owners, Universal Companies. (Closed since 1970, the theater was once the city's pre-eminent theatrical, movie and music venue for African-Americans.)

Live Nation spokesman John Vlautin acknowledged the Boyd "is currently on the market," but declined comment on potential deals. "We are keeping all of our options open," he says. That worries Howard Haas, a Center City attorney who founded Friends of the Boyd when the building's demolition looked imminent in 2002. The group drew attention to its potential loss and steered it toward Live Nation (then the entertainment division of Clear Channel) in 2005.

"What is frustrating is that they might sell the Boyd to any developer for any purpose and might include demolition," says Haas. "We want to work with Live Nation to find developers who want to reopen the Boyd for entertainment. [But], they are not being overly communicative."

While the Royal is not for sale, the Royal's owners are also examining various scenarios. Patricia Wilson Aden, who serves both as vice president for arts, culture and entertainment for Universal and executive director of the Rhythm & Blues Foundation, called returning the Royal to its traditional use "a huge challenge." She says the development of new entertainment venues in the city, including the two spaces inside the Kimmel Center and the Suzanne Roberts Theater, have complicated matters. "Do we have enough support in Philadelphia for this number of venues?" asks Aden.

What a difference three years makes. At a press conference held in the Boyd's crumbling lobby in 2005, John Street proudly announced that the theater, including its lush Art Deco interior, would be restored to previous splendor. Flanked by the theater's new ownership team, Street called it, "a great moment for the arts in Philadelphia." Clear Channel would spend up to $35 million to renovate the Boyd's main auditorium for use as a venue for 240 concerts, films and theatrical events a year while a commercial developer, the Goldenberg Group, would develop retail spots. Around the same time, Kenny Gamble's plans for the Royal took shape. Universal, his nonprofit community development enterprise, purchased the theater in 2000 from the Preservation Alliance for Greater Philadelphia. Universal envisioned that the structure could still be renovated for live performances and contribute to its larger plans to build a National Center for Rhythm & Blues.

Two of Philadelphia's most storied theaters had been saved — or so it seemed. Later in 2005, Goldenberg sold its interest in the Boyd, while keeping the adjoining properties (now a Gap Outlet). About the same time, Clear Channel spun off its music and theatrical unit, Live Nation, and recently, the company best-known for booking rock concerts, decided to sell their theatrical assets to concentrate solely on music performances. Despite all that, Aden says, "Redevelopment options are being reappraised because the neighborhood is coming back," pointing to luxury condos recently built near the theater.

Despite the potential for conflict with nearby residences, Philadelphia's near-saturated entertainment market and the limited footprint of the building, Aden remains positive. She says the reuse of the theater might involve a reconfiguration of the interior space that would combine a performance space with a restaurant or café and connect to specialty retail on adjoining lots.

Haas thinks that if restoration money can be found, the Boyd could operate in the black. He contrasted it to the Kimmel Center, whose construction was largely paid for with public money, but also requires hefty operating subsidies. Haas notes that he was looking forward to working with the new Nutter administration to find the necessary funding, adding that "investment in the Boyd makes good financial sense for the city." He just hopes that it is not too late. As for the Royal, Aden pointed to the cautionary tale of another historic African-American theater, the Lincoln in Washington, D.C., which reopened in 1994. The theater's continued operation is dependent upon hundreds of thousands of dollars in yearly operating subsidies from the District of Columbia and its long-term survival is far from certain. Given state and local subsidies already committed to other theaters here, the Royal cannot count on the same level of support, meaning mixed-use might be the answer. "These theaters," Aden says, "cannot operate in a vacuum."

(editorial@citypaper.net)