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Architecture Entry to theatre with decorative brackets above Located in the Skinner Building an 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 The interior design of the 5th Avenue Theatre was modeled to reproduce some of the features of the most historic and well known Beijing landmarks The Norwegian artist Gustav Liljestrom executed the design based on his visit to China and the illustrated account of Ernst Boerschmann s travels there Chinesische Architecktur published in 1925 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 Ru Sh commonly called foo dogs or foo lions originally located outside the entry were moved inside as part of the 1979 renovation Male Imperial guardian lion 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 Dragon and Pearl ceiling centerpiece Its most imposing feature is the great dome its symbolic themes borrowed from Chinese legends its motifs from Chinese poetry Coiled within an azure sphere and surrounded by glowing hues of cloud red emblematic of calamity and welfare blue of rain green symbolic of plaque black of flood and gold of prosperity is the Great Dragon guardian genius of the place his presence shadowed and multiplied in varying forms throughout the structure On the huge beams surrounding and supporting the dome are five clawed dragons the Emperor s emblem spitting fire in pursuit of the Jewel rendered in the shape of a disc emitting effulgent rays and symbolic of Omnipotence 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 Fng hung 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 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 Stimson promoted the establishment of a theatre district like that which had developed around a theatre he had built in Los Angeles California The planned Skinner Building with a theatre owned by Arthur s company would complete the Stimson development of the Metropolitan Tract The architect Robert Reamer had joined the Metropolitan Building Company after World War I and as their house architect designed the Skinner Building and the 5th Avenue Theatre In creating the 5th Avenue Theatre Reamer was joined by his colleague Joseph Skoog of Reamer s office and Gustav Liljestrom of the S G Gump Company of San Francisco Construction began in October 1925 with construction taking 11 months and costing 1 5 million Grand opening Opening night The theatre celebrated its grand opening on September 24 1926 with an opening unit program that included both film and live vaudeville performances The opening program included the silent film Young April Fanchon and Marco s stage presentation The Night Club and Lipschultz and his Syncopated Soloists Oliver Wallace a popular local musician and composer returned from Portland Oregon to be the accompanying organist for opening night Wallace had been the first theatre organist in a Seattle motion picture house Opening night was also marked by festivities outside the theatre Seven blocks of downtown Seattle around the theatre were closed to street car and automobile traffic Lured by free street car bus and taxicab rides thousands of people packed Fifth Avenue between Seneca Street and Pike Street University and Union Streets The Seattle Times reported It is doubtful that any Friday night in Seattle s history saw more people circulating through all the downtown streets than were there last night The density in the center of the activities was such that street cars were diverted he Seattle Daily Times In the street outside the theatre a street carnival took place Living up to the moniker for the theater s marquee he Magic Sign of a Wonderful Time spotlights scanned the night sky banks of Klieg lights illuminated the streets outside the theater and flares were shot from the roofs of nearby buildings Additionally dance bands were placed at the closed intersections to provide entertainment and using giant screens to project the words a sing along was orchestrated on Fifth Avenue in front of the theatre An estimated crowd of between 50 000 and 100 000 people participated in the events Decline and restoration Following the grand opening the theatre served as a venue for vaudeville and film and following the decline of vaudeville as a movie palace until the 1970s With the economic recession the advent of television and movie complex development in the suburbs crowds dwindled and the theatre struggled to stay open It was forced to close its doors in 1978 along with the nearby Orpheum theatre A variety of re use possibilities were proposed for the theatre including a Chinese restaurant a triplex movie theater an office building or a shopping center The city of Seattle was unable to protect the theatre as a designated landmark because of its unique position on the site of the original territorial university grounds owned by the state of Washington Relief at entry In 1979 43 business leaders formed the non profit 5th Avenue Theatre Association and underwrote a US 2 6 million loan to save the theatre Among these was Ned Skinner of the Skinner shipbuilding family who was an active patron of the theatre Architect Richard McCann oversaw the restoration efforts Several changes were made during the renovation The vertical marquee the second of two citation needed which had marked the theatre s presence from 1926 to 1980 was removed the orchestra pit and auditorium seating were rebuilt the dressing rooms moved and the technical systems updated However the furniture fixtures and interior signage were retained Even the paint was carefully restored to its original luster The renovation made it suitable again for live performances and filled Seattle s need for a touring Broadway musical venue Renovation work was completed without federal state or local funds June 16 1980 marked the theatre rebirth and a new chapter in Seattle arts community At the Grand Opening Gala for the renovated theatre actress Helen Hayes christened the stage with a kiss and declared the 5th national treasure Beginning on July 3 the 5th presented Annie the first touring Broadway musical to appear at the theatre The sold out show ran for 10 weeks with a total of 77 performances The 5th Avenue Theatre continues to thrive with the assistance of many generous donors and volunteers Post 1980 history Since the renovation the 5th Avenue Theatre has become one of Seattle s most established theatres In 1989 The 5th Avenue Musical Theatre Company was established as the resident non profit theatre company In 1997 the theatre applied for a city permit to put up a vertical marquee similar to the sign that was removed as part of the 1980 renovation The proposed sign would spell out 5th Avenue in vertical letters with the word Theatre at the bottom in horizontal letters Small lights would illuminate the sign To date the vertical sign has not returned most likely due to the city height limit of 65 feet for downtown signs The theater had applied for a variance because its proposed sign would rise 79 feet from street level On February 28 2001 the Nisqually earthquake rocked the 5th Avenue Theatre At the time actors were on stage rehearsing the musical 1776 The theatre suffered minimal damages with no structural damage from the quake Earthquake repairs included removal and replacement of 72 plaster ceiling supports and the repair of numerous cracks and damaged decorative plaster pieces in the ceiling Contractors had to install scaffolding tall enough to reach the highest interior crevice in the ceiling eight stories uphe first time that area had been reached in 75 years The chandeliers had to be lowered for repair and maintenance As part of the repair work Turner Construction provided services for seismic upgrades to the Skinner Building Significance Preceding Grauman s Chinese Theater in Hollywood California 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 Fifth Avenue Theatre was added to the U S National Register of Historic Places on November 28 1978 The 5th Avenue Musical Theatre Company Genesis From the renovation in 1980 until 1985 the non profit 5th Avenue Theatre successfully operated as a venue for touring Broadway shows As the United States went through an economic downturn from 1985 to 1989 there was a shortage of touring shows for venues like the 5th Consequently many of the country s Broadway houses went unused for extended periods of time However the 5th remained open during these years with a reduced staff and was used for community events and local promoters This situation forced the theatre to move beyond merely being a presenter of touring musicals In 1989 the non profit 5th Avenue Theatre established a resident theatre company dubbed The 5th Avenue Musical Theatre Company to produce musicals locally Since the theatre company s establishment the 5th s yearly subscriber season programming has included 6 to 7 shows national touring musicals locally produced revivals of musical theatre classics and premieres of bound for Broadway shows With 150 musical theater performances each fall to spring subscriber season which attract over 30 000 subscribers and average ticket sales of 300 000 tickets annually the 5th ranks among the nation s largest musical theatre companies The musical company employs over 600 actors musicians directors choreographers designers technicians stage hands box office staff and administrators making the 5th 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 TUTS partnership Frank M Young was the first executive director of the 5th Avenue Musical Theatre Company From 1989 to 1999 a collaborative partnership existed between the 5th and Houston s Theatre Under the Stars TUTS where Young also served as executive director This partnership produced 10 seasons of musical theater including both national tours and self produced musicals On October 17 1989 the first 5th Avenue TUTS self produced 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