Teatro Gershwin

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Teatro Gershwin
Teatro Uris
Teatro Gershwin NYC.jpg

Dirección 222 West 51st Street

Manhattan , Nueva York
Estados Unidos
Coordenadas 40°45′45″N 73°59′06″OCoordenadas : 40°45′45″N 73°59′06″O
Dueño Grupo primordial
Operador Organización holandesa
Escribe teatro de Broadway
Capacidad 1,933
Producción Malvado
Construcción
Abrió 28 de noviembre de 1972
Arquitecto Ralph Alswang
Sitio web
[1]
El Teatro Gershwin (originalmente Teatro Uris ) es un teatro de Broadway en 222
West 51st Street , en el segundo piso del edificio de oficinas Paramount Plaza , en
el vecindario de Midtown Manhattan en la ciudad de Nueva York . Inaugurado en 1972,
es operado por la Organización Nederlander y lleva el nombre de los hermanos George
e Ira Gershwin , quienes escribieron varios musicales de Broadway. El Gershwin es
el teatro más grande de Broadway, con 1933 asientos en dos niveles. A lo largo de
los años, ha albergado musicales , compañías de danza y conciertos ..

El Gershwin fue diseñado por Ralph Alswang . Fue uno de los primeros teatros
construidos bajo la enmienda del Distrito Especial de Teatros de 1967. Las entradas
principales del teatro son desde un pasaje a mitad de cuadra que se extiende entre
las calles 50 y 51. Hay escaleras mecánicas que van desde la planta baja hasta el
vestíbulo y las rotondas del segundo piso. El Salón de la Fama del Teatro Americano
, que contiene inscripciones de los nombres de más de 500 personalidades teatrales
notables, está ubicado dentro del vestíbulo y las rotondas. El nivel de la orquesta
de Gershwin, que tiene unos 1.300 asientos, es más del doble del tamaño del
entresuelo, que tiene unos 600 asientos.

Uris Buildings Corporation construyó el teatro dentro del Uris Building, ahora
Paramount Plaza, en la década de 1960 a cambio de varios pisos adicionales de
espacio para oficinas. El Uris abrió el 28 de noviembre de 1972, con la
representación del musical Vía Galáctica . Después de varios fracasos , el teatro
se alquiló para conciertos y especiales de baile en la década de 1970. Los
musicales The King and I y Sweeney Todd tuvieron una duración relativamente larga
al final de la década. El teatro pasó a llamarse Gershwin durante la 37ª entrega de
los premios Tony en 1983, la primera de las seis ceremonias de los premios Tony que
se realizarán allí. En la década de 1980, el teatro acogió conciertos; es el
primerojugadas rectas ; y musicales como Cantando bajo la lluvia y Starlight
Express . El teatro continuó presentando conciertos a principios de la década de
1990, así como musicales como Show Boat , y fue renovado en 1993. El Gershwin ha
sido el hogar del musical Wicked desde 2003.

Contenido
1 Descripción
1.1 Lobbies y Salón de la Fama
1.2 Sala
2 Historia
2.1 Construcción
2.2 1970
2.3 1980
2.4 1990
2.5 2000 al presente
3 Producciones notables
3.1 Teatro Uris
3.2 Teatro Gershwin
4 Récords de taquilla
5 Ver también
6 Referencias
6.1 notas
6.2 Citas
6.3 Fuentes
7 enlaces externos
Descripción
The Gershwin Theatre is on the second floor of Paramount Plaza, also known as 1633
Broadway, north of Times Square in the Midtown Manhattan neighborhood of New York
City.[1] Ralph Alswang designed the theater, which opened in 1972 as the Uris
Theatre,[2][3] while Emery Roth and Sons designed Paramount Plaza.[4] It is one of
two theaters in Paramount Plaza; the other is the Circle in the Square Theatre in
the building's basement.[5][6] The Gershwin, Circle in the Square, Minskoff, and
American Place theaters were all constructed under the Special Theater District
amendment of 1967 as a way to give their respective developers additional floor
area.[7]

The Gershwin was decorated in what Alswang described as an Art Nouveau style.[2][8]
The theater covers 50,000 sq ft (4,600 m2) and has bronze velour decorations
throughout its major public spaces.[9] Originally decorated in white and gold, the
Gershwin was redecorated in a blue-and-white color scheme in 1993.[10] The theater
is operated by the Nederlander Organization.[11][12]

Lobbies and Hall of Fame

At the base of Paramount Plaza is a promenade that connects 50th and 51st Streets,
providing entry to the Gershwin and Circle in the Square theaters.[7][13] There are
marquees for the theaters' entrances on both 50th and 51st Streets.[9] The box
office is at ground level.[14] Escalators lead from the ground floor to the
Gershwin Theater.[2][15][14] The names of 90 celebrities who were active between
1860 and 1930 are inscribed in bronze-gold lettering along the escalators.[15]

The second floor contains the American Theater Hall of Fame, where the names of
notable theatrical personalities are inscribed in gold letters.[15][16] Eligible
inductees have had a career in American theater for at least 25 years and at least
five major Broadway production credits.[17][18] The lobby contains a white wall
behind the orchestra seats and measures 220 ft (67 m) wide.[9] The Hall of Fame's
names stretch across the four-story-high wall of the lobby.[16] The theater also
has two rotundas, one of which originally contained the music and theater
collections of the Museum of the City of New York.[9][14] The hall's names stretch
into the rotundas.[14][19]

Auditorium
Playbill cites the theater as having 1,926 seats,[11] while The Broadway League
gives a figure of 1,933 seats.[12][20] The Gershwin's seats are spread across two
levels: an orchestra with about 1,300 seats and a smaller mezzanine with about 600
seats.[2][21][a] This was based on Alswang's observation that most people wanted
orchestra seats.[2][8] The seats in the Gershwin are spaced 36 in (910 mm) apart
from row to row, compared to in older theaters where each row was only 32 to 33 in
(810 to 840 mm) apart.[7][22] The balcony has 14 rows.[22] Like traditional
Broadway houses (and unlike the contemporary Minskoff Theatre), the theater had
aisles in the center and along the sides.[22][21] The orchestra level is ADA-
accessible via an elevator from the ground story.[11][23]

The mezzanine level has protrusions on the side walls instead of box seats. The
proscenium arch is designed with light bars, which could be removed if necessary.
[2] The wall panels also contains panels that can be removed for the installation
of speakers.[22] The stage was also designed with a flexible layout in that it
could be disassembled or extended forward.[2][22] When the stage was extended
forward, it basically functioned as a thrust stage, covering the orchestra pit.[21]
[22] With a 65 ft-wide (20 m) adjustable proscenium arch and an 80 ft-wide (24 m)
stage, it is one of the largest Broadway stages, ideal for very large musical
productions.[24]

Unlike older theaters in New York City, the Minskoff and Gershwin theaters were
subject to less stringent building codes. For example, the Gershwin was designed
without fire curtains, since the city had allowed sprinkler systems to be installed
in both theaters.[22] The theater also used Hydra-Float, a computerized rigging
system.[2][8][25] This made it the first commercial theater in the U.S. to be
completely automated.[21][25] Backstage, there were eight large dressing suites for
lead performers, which were equipped with air conditioning, green rooms, and
private bathrooms.[26]

History
Construction
In September 1967, Uris Buildings Corporation leased the site of the Capitol
Theatre on Broadway, between 50th and 51st Streets, for 100 years. Uris announced
it would build an office tower and a Broadway theater on the site.[27] The Broadway
theater would have 1,500 to 2,000 seats.[27][28] In October 1967, the New York City
Planning Commission (CPC) proposed the Special Theater District Zoning Amendment,
which gave zoning bonuses to office-building developers who included theaters.[29]
[30][31] The proposed legislation would directly allow theaters in One Astor Plaza
and the Uris Building,[32][33] which would be the first completely new Broadway
theaters since the Mark Hellinger Theatre was completed in 1930.[34][35][b] The CPC
approved the theater amendment that November,[32][37] and the New York City Board
of Estimate gave final approval to the proposal the next month.[38][39] A second
theater, which subsequently became the Circle in the Square, was announced in
February 1968.[40][41]

In April 1968, the CPC scheduled a public hearing to determine whether the Astor
and Uris theater permits should be approved.[42] Six parties testified in favor;
the Shubert Organization, the largest operator of Broadway theaters, was the only
dissenting speaker.[43] The CPC approved the theaters over the Shuberts'
objections,[35][44] as did the Board of Estimate.[45] That September, Uris
Buildings Corporation made a tentative deal with James M. Nederlander and Gerard
Oestricher to operate the larger of the building's two theaters.[4][46] The larger
venue was renamed for Percy Uris, head of the Uris Buildings Corporation, in 1971.
[47] The New York Daily News subsequently said that the Uris family's decision to
name the theater for themselves "became an object of ridicule in theatrical
circles".[48]

Meanwhile, civic group Broadway Association had proposed constructing a theatrical

hall of fame in a median island of Broadway several blocks north.[49] Earl
Blackwell then suggested that the Nederlanders include a theatrical hall of fame at
the Uris Theatre.[2] Plans for the hall were announced in March 1972, as the
building and theater were being completed.[15][50] The first names were inducted
that October, just before the theater opened.[19]

1970s
The Uris Theatre was dedicated on November 19, 1972,[9][51] and hosted its first
show on November 28, a performance of the musical Via Galactica starring Raul
Julia.[52][53] The theater was cited as having 1,840,[54] 1,870,[55][56] 1,900,[2]
[3] or 1,940 seats when it was completed.[57] Alswang estimated the theater's total
cost at $12.5 million.[2][57] Despite a top ticket price of $12.75 (lower than the
typical top price of $15),[54][57] it flopped with seven performances[3][58] and
was the first Broadway show to lose a million dollars.[59] The next show was Cy
Coleman and Dorothy Fields's musical Seesaw, which opened in March 1973[60][61] and
transferred to the Hellinger that August, ultimately running for 296 performances.
[62] A revival of the Sigmund Romberg operetta The Desert Song premiered at the
Uris in September 1973[63][64] but closed after only 15 performances.[65][66] This
was followed that November by the Lerner and Loewe musical Gigi,[67][68] which
lasted 103 performances.[69] For the most part, the Uris lost money during its
first two seasons, since it was dark most of the time.[70] The Uris also hosted
annual ceremonies when people were inducted into the Theatrical Hall of Fame. Due
to a lack of money, there were no new inductions between 1973 and 1979.[71]

There were no new legitimate shows in 1974.[3][72] After singer Sammy Davis Jr. had
a highly profitable concert that May, James M. Nederlander decided to book concerts
at the theater for the remainder of the year, citing its acoustic qualities.
Nederlander said the theater could also be used for musicals if there was demand in
the future.[70][73] A New York Times critic said the Uris Building, which had just
gone into foreclosure, might be a "monument to its mortality" instead of "a leader
in the revitalization of Broadway".[74] Appearances by musicians in 1974 included
those by Mott the Hoople; Enrico Macias and his La Fete Orientale Co.; Andy
Williams with Michel Legrand; Anthony Newley with Henry Mancini; Johnny Mathis and
the Miracles; The 5th Dimension; and Raphael.[72] The Dance Theatre of Harlem
performed in March 1975,[75] and the 17th Annual Grammy Awards were presented at
the Uris that month.[76] Frank Sinatra, Ella Fitzgerald, and Count Basie had a
limited concert appearance that September,[77][78] and the Houston Grand Opera
Association presented the opera Treemonisha the next month.[79][80] This was
followed by performances from ballet dancers Margot Fonteyn and Rudolf Nureyev,
singer-songwriter Paul Anka, and the American Ballet Theatre.[72]

The Dance Theatre of Harlem returned to the theater in March 1976.[81] The D'Oyly
Carte Opera Company presented three Gilbert and Sullivan operettas at the Uris that
May,[82] followed the next month by a concert appearance from Al Green and Ashford
& Simpson.[83][84] That October, the Houston Grand Opera presented the musical
Porgy and Bess.[85][86] The theater went back to hosting concerts, with appearances
by Bing Crosby and Barry Manilow in December 1976.[72] The Dance Theatre of Harlem
canceled a planned 1977 season at the Uris due to a financial deficit.[87] Instead,
Nureyev returned in March 1977 for a ballet performance,[88][89] and Béjart: Ballet
of the Twentieth Century performed the same month.[90][91] The musical The King and
I, with Yul Brynner and Constance Towers, opened in May 1977[92][93] and ran for
719 performances, becoming the theater's longest-running show.[94] Another long-
lasting show was Stephen Sondheim and Hugh Wheeler's musical Sweeney Todd with
Angela Lansbury, which opened in March 1979[94][95] and ran for 755 performances
over the next year.[96]

1980s
In 1980, the Uris mostly hosted performances by ballet companies.[97] The following
January, the New York Shakespeare Festival produced Gilbert & Sullivan's The
Pirates of Penzance,[98][99] which relocated to the Minskoff in August 1981.[100]
This was followed immediately afterward by a revival of Lerner and Loewe's My Fair
Lady, with Rex Harrison,[97][101] which lasted 124 performances.[102][103] That
November, the musical Annie transferred to the Uris;[97][104] it ran for over a
year, concluding its run of 2,377 performances there.[105][106] Next, Nureyev
performed with the Boston Ballet in early 1983,[97][107] and the Houston Grand
Opera presented Jerome Kern and Oscar Hammerstein II's musical Show Boat that
April.[108][109] At that time, Tony Awards producer Alexander H. Cohen announced
that the 37th Tony Awards ceremony would be hosted there and that the Uris would be
renamed after musical-writing brothers Ira and George Gershwin.[110] During the
ceremony on June 5, 1983, the theater was rededicated.[111][112] Show Boat closed
shortly thereafter[113][114] and was followed in July by Mame, featuring Lansbury.
[115][116]

The Gershwin hosted a memorial for Ira Gershwin after he died in August 1983, two
months after the theater's renaming.[117] The theater continued to face issues with
booking extended runs of large musicals. In January 1984, Nederlander announced he
would again use it as a concert hall for a year.[118] This time, the theater hosted
performances from Shirley MacLaine;[119][120] Twyla Tharp;[121][122] Rudolf
Nureyev;[123][124] and Gladys Knight & the Pips with Kashif.[125][126] In addition,
the theater hosted the 38th Tony Awards in June 1984.[127] The Royal Shakespeare
Company presented Much Ado about Nothing and Cyrano de Bergerac in repertory for
ten weeks starting in October 1984.[97][128] The theater was acoustically modified
for these plays, as it was the first time the theater had hosted straight plays.
[128] This was followed in early 1985 by concert appearances from Patti
LaBelle[129][130] and Smokey Robinson.[131][132] Next, the musical Singin' in the
Rain opened in July 1985[133][134] and ran for 367 performances over the next ten
months.[135][136]

After Andrew Lloyd Webber's musical Starlight Express was announced for the theater
in mid-1986,[137] the theater was renovated to accommodate the technologically
complex set.[138] Starlight opened in March 1987[139][140] and ran for two years,
[141] closing at a loss despite critical acclaim.[142] Afterward, the Nederlanders
announced plans to use the Gershwin as a concert hall for the 1989–1990 season. At
the time, six of the Nederlanders' nine Broadway theaters were dark, and there was
a shortage of new musicals.[143] Only one live performance happened this time:[144]
a set of concerts by Barry Manilow in mid-1989.[145][146] That November, the
musical comedy Meet Me in St. Louis opened,[147] running for 253 performances.[148]
[149]

1990s
The concert special Bugs Bunny on Broadway appeared briefly in late 1990,[150][151]
followed by a revival of the musical Fiddler on the Roof.[152][153] A special
appearance by the Moscow Circus then opened at the Gershwin in late 1991.[154][155]
The musical Grand Hotel moved to the Gershwin in February 1992,[144][156] ending a
run of over 1,000 performances there.[157][158] The Gershwin hosted the 46th Tony
Awards in June 1992,[159] and the theater hosted a $1 million launch party that
October for Windows for Workgroups.[160] This was followed by concert appearances
from Tommy Tune in December 1992,[161][162] Raffi in April 1993,[163][164] and
Yanni in June 1993.[165][166] The theater was renovated in mid-1993[10] prior to
its hosting the 47th Tony Awards.[167]

A revival of Lerner and Loewe's Camelot opened in June 1993[168][169] and ran for
two months.[170] The musical The Red Shoes opened that December,[171][172] but it
was one of Broadway's biggest flops, closing after three days at a loss of $8
million.[173] By the mid-1990s, there was high competition for large Broadway
houses.[174] Less than a week after The Red Shoes closed, production company Livent
booked a revival of Show Boat for the theater.[175] The theater once again hosted
the 48th Tony Awards in 1994.[176] The awards ceremonies subsequently relocated to
Radio City Music Hall, as that theater was much larger (allowing the public to
attend) and did not require shutting down Broadway productions.[177] Show Boat
opened in October 1994[178][179] and ran for 949 performances over two years.[180]

Following this, in January 1997, John Gray performed a monologue of his book Men
Are from Mars, Women Are from Venus.[181][182] Livent's revival of Voltaire's
Candide opened that April.[183][184] and ran for 103 performances.[185][186] The
Roundabout Theatre Company then transferred the musical 1776, its most popular
production, to the Gershwin that November,[187] where it ran until June 1998.[188]
[189] The New York Shakespeare Festival's production of the musical On the Town
opened at the Gershwin in November 1998,[190][191] but it was unprofitable and
closed after 65 performances.[192][193] The Gershwin also hosted the 53rd Tony
Awards in 1999,[194] since Radio City Music Hall was undergoing renovation.[195]
[196] Also in 1999, the theater hosted the musicals Peter Pan[197] and Tango
Argentino.[198][199]

2000s to present
The dance revue Riverdance on Broadway opened at the Gershwin in March 2000,[200]
[201] running for 605 performances through the following August.[202] After
Riverdance closed, the Rodgers and Hammerstein musical Oklahoma! was booked at the
Gershwin.[203] Additionally, Linda Eder performed at the theater at the end of
2001.[204][205] Oklahoma! opened in March 2002[206][207] and ran for 388
performances for the next year.[208][209] For Oklahoma!, the first five rows of
seats in the orchestra level were removed to make way for a temporary thrust stage.
[210] In June 2002, the theater hosted a party celebrating what would have been the
100th birthday of Richard Rodgers, one of the composers of Oklahoma!.[211]

The next production at the Gershwin Theatre was Stephen Schwartz's musical Wicked,
which opened in October 2003.[212][213] David Stone, one of Wicked's producers, was
initially reluctant to book the Gershwin because of the theater's reputation for
short-lived productions, as well as its size.[214] Despite initial negative
reviews, Wicked became so popular that it continued at the Gershwin indefinitely.
[215] The theater's large seating capacity also turned out to be suitable for the
musical's popularity.[214] As part of a settlement with the United States
Department of Justice in 2014, the Nederlanders agreed to improve disabled access
at their nine Broadway theaters, including the Gershwin.[216][217] Wicked was still
playing when the theater closed on March 12, 2020, due to the COVID-19 pandemic.
[218] The theater reopened on September 14, 2021, with performances of Wicked.[219]
[220]

Notable productions
Uris Theatre
1972: Via Galactica[53][58]
1973: Seesaw[60][62]
1973: The Desert Song[63][66]
1973: Gigi[67][69]
1974: Sammy Davis Jr.[221]
1974: Mott the Hoople[222]
1974: Enrico Macias and his La Fete Orientale Co.[223]
1974: Andy Williams with Michel Legrand[224]
1974: Anthony Newley/Henry Mancini[225]
1974: Johnny Mathis and the Miracles[226]
1974: The 5th Dimension[227]
1974: Raphael[228]
1975: Frank Sinatra, Ella Fitzgerald, and Count Basie[77][78]
1975: Treemonisha[79][80]
1975: Fonteyn & Nureyev on Broadway[229]
1975: Paul Anka[230]
1975: American Ballet Theatre[231][232]
1976: H.M.S. Pinafore/The Pirates of Penzance/The Mikado[82]
1976: Al Green with Ashford & Simpson[83][84]
1976: Porgy and Bess[86][233]
1976: Bing Crosby[234][235]
1976: Barry Manilow[236][237]
1977: Nureyev[88][89]
1977: Béjart: Ballet of the Twentieth Century[90][91]
1977: The King and I[238][233]
1979: Sweeney Todd: The Demon Barber of Fleet Street[96][233]
1980: Dance Theatre of Harlem[239]
1980: The Bat[240]
1980: Coppelia[241]
1980: Makarova and Company[242]
1980: Boston Ballet Company[243]
1981: The Pirates of Penzance[100][233]
1981: My Fair Lady[103][233]
1981: Annie[105][233]
1983: Show Boat[113][233]
Gershwin Theatre
1983: Mame[116][233]
1984: Shirley MacLaine on Broadway[119][120]
1984: Twyla Tharp Dance on Broadway[121][122]
1984: Nureyev and Friends[123][124]
1984: Gladys Knight & the Pips & Kashif[125][126]
1984: Much Ado About Nothing[244][128]
1984: Cyrano de Bergerac[245][128]
1985: Patti LaBelle on Broadway[129][130]
1985: An Evening with Smokey Robinson[131][132]
1985: Singin' in the Rain[135][133]
1987: Starlight Express[141]
1989: Barry Manilow Live on Broadway[145][146]
1989: Meet Me in St. Louis[148][147]
1990: Bugs Bunny on Broadway[150][151]
1990: Fiddler on the Roof[152][153]
1991: Moscow Circus[154][155]
1992: Grand Hotel[157]
1992: Tommy Tune Tonite![161][162]
1993: Raffi[163][164]
1993: Yanni[165][166]
1993: Camelot[170][168]
1993: The Red Shoes[171][172]
1994: Show Boat[180][178]
1997: Men Are from Mars, Women Are from Venus[181][182]
1997: Candide[185][186]
1997: 1776[188][189]
1998: On the Town[246][190]
1999: Peter Pan[197]
1999: Tango Argentino[198][199]
2000: Riverdance on Broadway[202][200]
2001: Linda Eder at the Gershwin[204][205]
2002: Oklahoma![208][206]
2003: Wicked[247][233]
Box office records
When Starlight Express opened in 1987, it had the highest single-week gross of any
show in both the Gershwin Theatre's history and Broadway history. Starlight Express
broke this record several times,[248] ultimately grossing $617,022 during the last
week of 1987.[142] Fiddler on the Roof set the record for the highest number of
tickets sold for a Broadway production in a single week during the last week of
1990. From October 4 to 9, 1994, Show Boat sold $842,636 worth of tickets. This was
the highest single-week ticket sale for any Broadway production, in terms of
monetary profit, as well as the second-highest in number of tickets sold.[249]

Wicked set the box office record for the Gershwin Theatre multiple times.[250][251]
In 2010, the musical became the first Broadway show to gross over $2 million in a
single week.[214] Wicked held the record for the highest single-week gross of any
Broadway show from its opening until 2011, when the musical Spider-Man: Turn Off
the Dark earned $58 more during a single week (both shows had earned $1.5 million).
[252] The theater's current record was set in 2018, when Wicked grossed $3,411,819
over nine performances for the week ending December 30, 2018.[253]

See also
List of Broadway theaters
References
Notes
According to Back Stage magazine, the theater has 1,296 seats in the orchestra and
599 in the mezzanine.[21] However, Alswang cited the orchestra as having 1,280
seats and the mezzanine as having 660 seats.[2]
The Hellinger was initially a movie theater and did not become a Broadway venue
until 1949. The Lunt-Fontanne Theatre and Palace Theatre were converted from movies
to Broadway theaters afterward, but both theater buildings are physically older
than the Hellinger.[34] The last venue to be built as a Broadway theater, operating
continuously in that capacity, was the Ethel Barrymore Theatre, completed in 1928.
[36]
Citations
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Botto & Mitchell 2002, p. 321.
Bloom 2007, p. 92.
Zolotow, Sam (September 11, 1968). "Uris Arranges Deal for New Theater". The New
York Times. ISSN 0362-4331. Archived from the original on April 8, 2022. Retrieved
April 3, 2022.
Botto & Mitchell 2002, p. 313.
Botto & Mitchell 2002, p. 315.
Calta, Louis (August 3, 1971). "4 Office Theaters Are Taking Shape". The New York
Times. ISSN 0362-4331. Archived from the original on February 5, 2022. Retrieved
February 5, 2022.
Stern, Alfred (December 2, 1970). "New Uris Theatre (Ex-B'way Capitol) Augurs
Automated Legit Economies". Variety. Vol. 261, no. 3. pp. 1, 48. ProQuest
963021973.
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28. p. 24. ProQuest 963171357.
"Legitimate: New--And Adaptable--Theatre Design For Capitol And Astor Site
Playhouses". Variety. Vol. 254, no. 3. March 5, 1969. p. 77. ProQuest 1505789519.
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