The Marcus Center for the Performing Arts,a venue that has hosted artists ranging from Bob Hope to Bob Marley,from Alvin Ailey to cast members of Zorba the Musical, turns 40in a few weeks. In addition to top-flight symphony music and theaterproductions, the Marcus Center boasts an impressive, varied history,including a concert featuring 25 tuba players all dressed in SantaClaus outfits and the largest gathering of clowns and mimes everassembled in the United States. It’s also the only house in the worldwhere Rudolf Nureyev was streaked by a naked man who jetted across thestage.
Plansbegan as early as 1945 for a war memorial to provide for “art, music,drama, public discussion and social assembly.” A $5 million,three-auditorium center was proposed, but controversy over locationscaled back plans to the Eero Saarinen-designed War Memorial on thelakefront.
Construction on what became the Marcus Center beganwith Chicago architect Harry Weese’s blueprints in June 1966. Planscalled for a major music hall, a thrust stage auditorium for livetheater (intended as a rehearsal space for the Florentine Opera) and arecital hall. Milwaukee County agreed to establish two parks inconjunction with the new center, Red Arrow to the east and PereMarquette to the west. The boat landing on the Milwaukee River was theprecursor to the current RiverWalk.
The Performing Arts Center, as it was known until a decade ago, officially opened Sept. 17, 1969, at a price of $12.7 million. The gala opening included the Milwaukee Symphony, Donizetti’s opera Lucia di Lammermoor andguest appearances by stars of the American Ballet Theatre. Touring actsduring the first month of operation included the New York Philharmonic,Duke Ellington, National Ballet of Canada, Hildegarde and LouisArmstrong.
There were a few early glitches, of course. The set for the Milwaukee Rep’s A Midsummer Night’s Dream was built offsite and didn’t fit the Todd Wehr stage. Andparts of the immense golden curtain in Uihlein Hall unraveled andpelted musicians of the Milwaukee Symphony. Overall, however, thecenter proved to be a huge success, and avoided major structuralchanges for nearly 30 years.
Renovations Needed
Renovationsbecame necessary in the mid-’90s when some of the travertine marbleencasing the building began to fall to the ground. Other changesincluded an enlarged lobby, acoustic refinements and backstageimprovements. The Performing Arts Center, Milwaukee County andindividual contributions shared the $22 million expense. In honor ofthe largest single private donation, the name of the building waschanged to the Marcus Center for the Performing Arts, though thefacility is not part of the Marcus Corp.
The reopening on Nov. 6, 1997,featured local arts groups, Aretha Franklin, artist Peter Max andsoprano June Anderson.
According to union stagehand JeffreyHicks, the backstage renovations were sorely needed. “In the 1960s, itwas not uncommon for architects to design theaters without regard forbackstage practicalities,” Hicks says. “When the decision was made torenovate the building, all department heads from both the front andback of the house were consulted, and the results were fantastic. Forinstance, the movable orchestral shell, a new idea in 1966, took ninemen to shuttle it in place. After the redesign, it takes only four.Today the center is considered one of the best-equipped venues in thecountry.”
The center’s three main performance spaces areUihlein Hall, with seating for 2,305, and Vogel Hall and the Todd WehrTheater, both seating just fewer than 500. Filling those seats is vitalto the Marcus Center’s financial success.
Balancing the Budget
“Thecenter conducts no annual fund-raising, but has managed to achieve abalanced budget every year,” says Paul Mathews, president and CEO ofthe Marcus Center. “We rely solely on earned income so as notto compete with arts organizations. The center receives 28% of itsoperating budget from the county, which today translates to $1.28million, an amount which has held steady for years.” The BradleyPavilion, rented out for weddings and corporate events, brings inadditional money as well.
One of the largest income earners forthe center is the popular Broadway touring series, in whichBroadway hits come to the stage in Milwaukee. “Our Broadwayseries is responsible not only for earned income for the center, butalso for hundreds of thousands of dollars spent at local hotels,restaurants and shops, both by local patrons and visiting artists,”says Heidi Lofy, vice president of marketing and public relations.
Supporting Resident Groups
“We schedule the Broadway series around our resident groups,” Mathews explains. “Weconsider ourselves a collaborative partner with our resident groups,and we will always provide them with affordable, nonprofit rates andother support.”
Resident organizations include the MilwaukeeSymphony Orchestra, Milwaukee Ballet, Florentine Opera, First StageChildren’s Theater, Milwaukee Youth Symphony Orchestra, City BalletTheatre and Hansberry-Sands Theatre. The building also provides officespace for the United Performing Arts Fund (UPAF).
“The centermaintains a full staff, and over 200 volunteers,” Lofy says. “Our housestaff is professionally trained in first aid and emergencypreparedness, and consistently receives the highest praise fromvisiting artists and shows.”
Fortieth anniversary celebrations have already begun with a month-long run of The Phantom of the Opera. Anew series of gospel music performances begins in September, and morefestivities will soon be announced. As Mathews says, “It’s going to bea memorable year!”
Photos by Miranda Chaput
