![]() ![]() Other national resources for disaster management can be found at A Common Sense Grants will be made on a biweekly basis until the funds are entirely dispersed, which foundation officials anticipate will continue into the new year. In November, the New York Foundation for the Arts announced a new emergency relief fund, supported by the Andy Warhol, Robert Rauschenberg and Lambent Foundations, for artists in any discipline residing in Connecticut, New Jersey or New York who suffered damage from Hurricane Sandy. A century-old cottage used for artist housing was also destroyed. New Jersey Repertory Company, in Long Branch, was able to continue its regular season, despite being hard-hit, with significant water damage to the roof. For others, reopening will be a longer struggle, as for Brooklyn’s Coney Island USA (the presenter behind Burlesque at the Beach, the Coney Island Circus Sideshow and the Mermaid Parade), which canceled all remaining 2012 events as its team works to repair the flood-damaged first floor and New Jersey’s Surflight Theatre, located on the severely hit Long Beach Island, which postponed its December production of White Christmas until next season. ![]() Several Manhattan theatres suffered flooding (including the Financial District’s 3LD Art & Technology Center and western Chelsea’s the Kitchen), but were able to resume programming by mid-November. In the two weeks following the storm, a snapshot survey by the Alliance of Resident Theatres/New York estimated some $800,000 worth of damage to New York City’s 57 nonprofit theatres alone-but the greater monetary losses across the tristate area stemmed from weeks of canceled shows and changes to production schedules. NEW JERSEY, NEW YORK and CONNECTICUT: Thespis may have performed in broad daylight, but in today’s theatrical landscape, electrical power is essential-as many Connecticut, New Jersey and New York theatres discovered in the wake of Hurricane Sandy. That’s one thing Everyman didn’t have to change at all. It might be counted as a hopeful sign that, though the Empire Theatre, which opened in 1911, has gone by other names over the years-for a while it was a burlesque house called the Palace, then a movie theatre called the Town-it kept a prominent “E” carved on top of the building. 16, is August: Osage County, which, among other things, is a way of “celebrating our vertical space.”Īround the corner are the newly restored Hippodrome Theatre and Bromo Seltzer Arts Tower, part of what has been hopefully named the Bromo Tower arts district. (The architects, Cho Benn Holback + Associates Inc., also got one crucial detail right, Lancisi noted: “We tripled the size of the bathrooms.”) The theatre’s first production in the new space, opening Jan. “The architects knew how much intimacy meant to us, so they designed a theatre within a theatre,” says Lancisi. There was so much room for these extras because of the size of the new theatre: Though the Empire once seated 2,200, the new Everyman will seat 250-just 80 more than at the Everyman’s old storefront (now occupied by Single Carrot Theatre). The $17.7-million renovation of the Empire gutted the interior, carving out a new theatre space and adding a roomy lobby with a bar, an upstairs flexible space for rehearsals and performances, and a spacious scene shop. Lancisi, citing a growing subscriber base as the reason to leave the converted bowling alley Everyman has called home since 1994. “We’ve gone from about 10,000 square feet to about 40,000,” marvels artistic director Vincent M. Theatre, the scrappy upstart from the Station North arts district, moves into a long-shuttered vaudeville house, the Empire Theatre, a little over a mile away in the city’s historic but blighted Westside. BALTIMORE: In 1990, this port city saw one old theatre close its doors and a new one set up shop in a storefront.
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