Director’s View: I’ll take a center aisle

Why doesn’t Penn State’s Eisenhower Auditorium have a center aisle? It’s all in the timing. The auditorium was built in the early 1970s when a seating arrangement called “continental seating” was in vogue.

The advantages for patrons are many—more legroom, good sight lines to the stage, and the possibility of being able to sit anywhere in relationship to the stage, including in the middle of the auditorium. Each row also functions as an exit row, so patrons can leave the auditorium quickly and easily, through the side doors, after an event.

On the other hand, some patrons lament that the seating configuration requires a longer and more difficult walk to the middle seats before an event and during intermissions. In addition, the only aisle seats are on the ends of rows.

Despite the advantages of continental seating, we know that many people would prefer to have a center row or perhaps two side-of-center-section rows.

Prior to the seats being removed for refurbishment in 2006, we considered if changes to the seating configuration would be possible. Our study concluded that because of the way Eisenhower was constructed and due to current code requirements, changes would require significant and expensive physical alterations to the building. We also would have lost a  considerable number of seats, thus eroding the Center for the Performing Arts’ ability to attract large-scale, high-quality touring Broadway and other productions. 

We have recently had Westlake Reed Leskosky, a renowned architectural engineering firm, weigh in on the issue. We’ve been working with the firm for about a year on a potential project at the auditorium. In the course of the study, the firm’s representatives mentioned they have had experience reconfiguring halls such as ours to add aisles. Westlake Reed Leskosky designed a recent reconfiguration at the Phoenix Symphony Hall.

Despite our previous findings, I thought it would be prudent to ask the firm to take a look at Eisenhower to determine if alterations would be possible after all. Since the firm already had all the diagrams of our facility, a review was easy. The firm’s findings confirmed that our previous study was correct. The architects for the Phoenix project said that even if it were possible to reconfigure the auditorium, it would take major relocations of exits, stairs, and support spaces; not be cost effective or practical; and result in a significant loss of seats.

So, we hope you can appreciate the ample legroom, the great views of the stage, the chance to sit in the middle of the house, and the easy exiting that our seating configuration affords. And even though many patrons don’t leave their seats at intermissions, I do notice a lot of conversations taking place with those sitting nearby—another nice part of attending events at the Center for the Performing Arts.   

And now, here are a few thoughts about the varied presentations covered in this issue of PreViews.

The Sphinx Organization came to my attention shortly after I became director of the Center for the Performing Arts in 2004. The organization is dedicated to increasing the participation of African Americans and Latinos—as artists and audiences—in classical music.

A group of my colleagues started a conversation about whether we could support a tour of the Sphinx Chamber Orchestra, and thereby help to spread the word about this incredible organization. It took four years to pull it off, but we did it. On its way to perform for a fourth time at Carnegie Hall, the orchestra, comprised of laureates from the Sphinx Competition, will be on tour for three weeks.

Not only are the presenters involved proud to bring a concert of the highest quality to our stages, we are also happy to provide a platform for extraordinarily talented classical musicians of color. The fact that Aaron Dworkin, Sphinx founder and MacArthur “Genius Award” winner, has Penn State connections (his father teaches at the University and he was a student here before earning degrees at The University of Michigan) is icing on the cake.

The great American String Quartet returns to complete a cycle of Brahms viola quintets. I’m so pleased that Timothy Deighton, our talented viola faculty member in Penn State’s School of Music, again joins the quartet for a performance that also features a Mozart viola quintet. This is a rare opportunity to hear works that were among favorites of Brahms and Mozart.

Coming on the heels of the hit film adaptation of the musical HAIRSPRAY, we’re excited to bring the touring stage production back to Penn State. This is the ultimate feel-good show as loveable Tracy Turnblad fulfills her passion to dance, becomes an overnight celebrity, and desegregates a TV show.

I just love our Sunday afternoon matinees for children. In the first matinee of the season, Dallas Children’s Theater brings us Mufaro’s Beautiful Daughters. This critically acclaimed national touring company presents an African Cinderella tale based on the Caldecott Award-winning book. When a king decides to marry, the most desirable maidens in the land are invited to meet him. Mufaro’s two daughters travel half a day to meet the king. As they encounter the forest, each experiences a rite of passage. Traditional chanting and African song enhance the play. Come early for our Kids Connections activities starting one hour before the performance.

I am so pleased this season to present two women—Angélique Kidjo in October and Mariza in February—who are among the greatest world music artists. West African singer and songwriter Kidjo brings a magnetic stage presence as she conjures a zesty mix of funk, Latin, jazz, gospel, Caribbean zouk, Congolese rumba, and Afro-pop grooves. Kidjo has to her credit four Grammy nominations, a mantel-full of international awards, several dance hits, and notable appearances on film and TV soundtracks. Her latest album, Djin Djin (the title refers to the sound of a bell in Africa that greets each new day) won the Grammy for Best Contemporary World Music Album. Hear for yourself why this UNICEF Goodwill Ambassador has developed an international following for her unique performances.