The Clyde Fitch Report: I recently met with David Lan and Lucy Sexton, the formidable impresarios helming the artistic side of the effort to build a new performing arts space at the rebuilt World Trade Center in New York City. By most measures, the WTC PAC is one of the more bonkers cultural ventures in American history: all at once architecting an arts facility on some of the most contested real estate in the country, and, in doing so, reinvent the category of “the state of the art.”
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When it comes down to theatrical architecture, it seems like you're trying to minimize all of the negative aspects at once. At some point, it's impossible make it perfect, and you have to compromise, lets say, on having bigger wing space or sound proofing. However, the bigger question in mind seems to be, "why should we even build a theater at all?" In reading the article, I really agreed with the line, "History can make a poor map of the future." Bringing this into the theatrical architecture sense, while we may have learned that soundproofing the Chosky may have been beneficial, there's no way we could have accounted for the multitudes of technology we stuff into shows, ranging from lighting to sound and to media developments. On a more performance-based platform, there is definitely truth behind the idea that we can't count on patronage for live performance any more. In order to keep pressing forward artistically, we need to acknowledge the past and move on from it, therefore keeping the overall presence of audiences in our houses.
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