“Audience and performer response has been overwhelmingly positive to the venues and the building as a whole, measured in terms of skyrocketing enrollment in the music school, performer expressions of delight in the experience on stage, burgeoning interest from booking agents, and full houses of happy audiences.”
Listening to the Structure: A new Mass Timber Concert Hall takes shape in Massachusetts
Structure Magazine
By David J. Odeh, Carl Giegold, and Alan Joslin
“It’s not just a theater — it’s a magnet. It will bring people here during the day, into the evenings, and make this district a true cultural destination.”
Lisa Johnson, president and chief executive of Arts District Liberty Station in an interview for the LA Times by Sam Lubell
Don’t take our word for it.
Explore our news archive.
TimeLine Theatre, New Home Construction
TimeLine Artistic Director PJ Powers. “All of our decisions have been focused on making our new home far more than a theater. We hope for TimeLine to be a gathering place that adds to the vitality of the historic, rich, and vital Uptown neighborhood with expanded programming and a deepened focus on community, where we can fully embrace our belief that history belongs to everyone.”
Joan and Irwin Jacobs Performing Arts Center (Cygnet Theatre)
Completed on time and under budget at a cost of $43.5 million, the 42,166-square-foot arts complex at the southeast corner of Roosevelt and Truxtun roads has attracted national attention for how it has creatively taken shape inside a long-shuttered, 1942-era U.S. Navy recreation/retail building.
Arts District Liberty Station President and CEO Lisa Johnson said, “I’m not a cryer, but I’ve had more than one moment with this building where my breath was taken away and I was overwhelmed with emotion when I saw what we’d done.”
Lindemann Performing Arts Center, Brown University
The most striking detail of the architecture is modern in its form, but human-scaled in its effect. On the main floor of the Lindemann is a glass rectangle that protrudes through the scalloped aluminum envelope. A portion of the glass section is called The Promenade, a space where students can gather to study, socialize, and also watch performers practice. The Promenade surrounds the main hall and is open to the Brown community. This space is not only just a convenient meet-up spot, but it also cuts through to the main hall and is a billboard for the performances. When the silver black-out curtain isn’t drawn down for certain performances, (also fluted to match the exterior panel design) passerby can also glimpse the various performances occurring inside. Three prominent glass layers help with the acoustics of the various presets: The interior glass layer, hung from the ceiling, is curved to facilitate acoustic performance.
Cleveland Institute of Music, Kulas Hall
Chair of the Board of Trustees Susan A. Rothmann and President/CEO Paul W. Hogle “Our gratitude extends to the talented team that brought this vision to life. Threshold Acoustics, paired with the architectural firm of J. KURTZ, crafted a design that sings with innovation. Turner Construction, alongside their partners at Algebra AEC, Barber & Hoffman, Cost+Plus, and Theatre Projects, transformed this vision into a breathtaking reality—delivered on time and on budget. Their collaboration was a symphony of professionalism, precision, and passion. To all involved: Bravi tutti!”
Milwaukee Repertory Theater
The front rows of the splendiferously reborn Milwaukee Repertory Theater are the theatrical equivalent of business-class seats on a domestic airplane: wide girth, individual armrests and cupholders. In front of them sit four more seats that, although they don’t recline, easily qualify as first-class perches. Upstairs can be found a space reminiscent of a Chase Sapphire Lounge found in an airport. Elsewhere is a plush private dining room with seating for eight.
A fly tower and system has been built and the proscenium arch has been widened, making the 671-seat theater more competitive for pre-Broadway tryouts of musicals. A plethora of new rehearsal and classroom spaces and technical facilities have been added. And, given that the Milwaukee Rep makes no apologies for wanting to serve its mostly older audience members, new levels of accessibility have arrived. “Now a wheelchair user can roll up to the bar,” artistic director Mark Clements says. “We wanted to extend the theatergoing life of our audience members.”
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