5th Avenue Theatre

The 5th Avenue Theatre is a landmark theatre located in Seattle's Skinner Building, in the U.S. state of Washington. It has hosted a variety of theatre productions and motion pictures since it opened in 1926. The building and land are owned by the University of Washington and were once part of the original campus. The theatre operates as a venue for nationally touring Broadway and original shows by the non-profit 5th Avenue Theatre Association.

The 2,130-seat theatre is the resident home to the 5th Avenue Musical Theatre Company, and employs over 600 actors, musicians, directors, choreographers, designers, technicians, stage hands, box office staff, and administrators, making it the largest theatre employer in the Puget Sound region. A non-profit, the theatre company is supported by individual and corporate donations, government sources, and box office ticket sales.

The 5th's subscriber season programming includes six to seven shows per year, a mix of locally produced revivals of musical theatre classics, and premieres of bound-for-Broadway shows, and national touring musicals. The 5th Avenue Theatre has established a tradition of being a "testing ground" for new musicals before they make their debut on Broadway, launching hits such as ''Jekyll & Hyde'', '' Hairspray'', and ''The Wedding Singer''. The theatre also hosts a variety of special events, and offers education and outreach programs to school-age children and adults reaching over 61,000 students, professional performers, and audiences each year.

Architecture

Located in the Skinner Building, a historic office block ranging from five to eight stories with retail shops on the ground level, the theatre is surrounded on three sides, with its entry facing its namesake avenue. In addition to an auditorium with an original seating capacity of 3,000, the theatre contains a grand entry hall, and a mezzanine that once featured a tea room in addition to a waiting room and women's lounge.

Robert C. Reamer's design for the 5th Avenue Theatre was modeled to reproduce some of the features of historic and well-known Beijing landmarks. The Norwegian artist Gustav Liljestrom executed the design based on his visit to China, and on ''Chinesische Architecktur'', published in 1925, an illustrated account of German architect Ernst Boerschmann's travels in China.

The ornate historical Chinese style of the theatre distinguishes itself from the Neo-Renaissance exterior of the Skinner Building. Only at the street entry under the marquee does the viewer get a preview of the interior design. Here, adorning the ceiling are plaster representations of wood brackets, beams, and carved reliefs painted in a polychromatic scheme and decorated with stenciled dragons and flower patterns. Carved cloud shapes screen light fixtures to create an indirect lighting effect as the viewer approaches the wooden, brass knobbed entry doors. The original central free-standing box office was replaced by the current box office located to the side of the entry as part of a 1979 renovation. The original Imperial guardian lions (''Ruì Shī''), commonly called foo dogs or foo lions, originally located outside the entry were moved inside as part of the 1979 renovation.

The interior architecture of the theatre is an "excellent imitation of Chinese wooden temple construction". The two story rectangular lobby features red, stenciled columns wrapped in plaster rising to a timbered roof structure of decoratively painted beams supporting a canopy of bamboo, also imitated in plaster. The original pair of guardian lions, both male, guard the stairway to a second level gallery that serves the theatre balcony. In addition to the Imperial guard lions, other original furnishings, light fixtures, and decoration remain intact.

The decorative details continue in the 2,130-seat auditorium, but the highlight and focal decorative feature is the octagonal caisson from which a sculpted five-toed Imperial Chinese dragon springs. A large chandelier of glass hangs from the dragon's mouth, in reference to the Chinese symbol of a dragon disgorging flaming pearls. One claim puts the size of this caisson at twice the size of the model on which it was based in the throne room of the Hall of Supreme Harmony in the Forbidden City. The opening night program spoke effusively of it:

The dragon motif is repeated in the radial coffers of the caisson and the timbered coffers throughout the theatre. The Imperial dragon is accompanied by the symbol of the Empress, the Chinese phoenix ''(Fèng huáng)'', sometimes called Ho-Ho or Ho-Oh Bird from the Japanese. This personal symbol of the Empress is also repeated throughout the theatre, but most prominently in relief as part of the grills above false balconies that once screened organ pipes. In addition to these symbols, orange blossoms, chrysanthemums, and lotus flowers appear throughout the theatre. The highly decorated proscenium arch and safety curtain maintain the Chinese design influence.

Beyond the decorative features of the building, the 5th Avenue Theatre also contained notable technical features when originally built. An ascending orchestra pit and independent Wurlitzer organ platform allowed the musicians to be raised up to main stage height or to orchestra pit level from the basement below. The ventilation system had thermostatic controls throughout the building, and allowed the air to be 'washed' prior to its introduction into the venue at outlets under every third seat.

Significance

Preceding Grauman's Chinese Theater in Hollywood, the 5th Avenue Theatre "has been called the largest and most authentic example of traditional Chinese timber architecture and decoration outside of Asia." In addition, its association with architect Robert Reamer, whose other notable works include the nationally known Old Faithful Inn in Yellowstone National Park, as well as many important buildings in the Art Deco style add to its significance. The Skinner Building was added to the National Register of Historic Places on November 28, 1978.

History

Planning and construction

The president and general manager of Pacific Northwest Theatres, Inc., Harry C. Arthur, believed Seattle to be a place of growing importance in the motion picture industry in the mid-1920s, and consequently as the place to invest for the long term. Arthur's company absorbed a competing chain of 40 theatres by 1926, and sought further expansion. A large holder of the theatre company's stock and debt was C. D. Stimson who sat on the board of directors of both Pacific Northwest Theatres and the Metropolitan Building Company, developer of what became known as the Metropolitan Tract

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