Introduction

Abstract

On May 3, 2012, the lobby lights flashed momentarily, alerting the audience to the imminent performance and prompting a rush toward the entrance of the Allen Theatre. Patrons proceeded up a slight incline and around a wall, finally able to view the entire auditorium and behold the splendor of the new theatre. Framed by a wooden proscenium arch, the large stage floor was populated with chairs and music stands, ready for the musicians to begin warming up for the performance. Any set decoration behind the orchestra was minimal at best, revealing the depth and height of the stage space. Looking around the auditorium, one could see metallic acoustic panels punctured by tiny holes so that the decorative paneling and artwork along the wall could be seen through the obstruction. Patrons took their seats in the intimate, 512-seat theatre as the lights dimmed and a brief curtain speech was given. Following a brief round of applause, the house darkened further, and a blue wash of lights colored the back wall of the theatre. The conductor ascended his platform, nodded to the audience, turned to face his orchestra, and raised his baton to initiate the performance. This was the new Cleveland Play House.