The State Theatre is a real jewel in the Portland-area music scene and a legacy in New England. Originally constructed and opened on November 8, 1929, the State was designed in a semi-Atmospheric/Spanish style with an original seating capacity of 2,300. It operated as a first-run movie house until the late 1960s, when it became a porn theatre. In 1989, it was closed and fell into a state of disrepair. In the mid-1990s, the theatre was saved and restored, but closed again for a brief time after its restoration, reopening soon after as a performing arts and concert venue. The State Theatre hosted such diverse acts as Wilco, Modest Mouse, Gillian Welch, David Byrne, Interpol, Snoop Dogg, Ray LaMontagne, Sonic Youth, John Hiatt and Kings of Leon before it closed again in early 2006.
The State Theatre reopened last year under the partnership of The Bowery Presents, an independent concert promoter based in New York City, and Alex Crothers, owner of Higher Ground in South Burlington, Vermont, and an independent concert promoter company and who produces more than 420 events a year in the New England region. The partners hired me to serve as General Manager and Talent Buyer for the venue in June of 2010, and we soon underwent four months of extensive renovations that included raising the stage, installing new seats and carpet, painting, and building administrative offices and a new sound and light package. This was in addition to the previous two years of work that our landlord, Stone Coast Properties, put into the space – including rewiring the room, building new fire escapes and totally restoring the ceiling.
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Opened in 1922, the Waterbury Place Theater has a glorious—and inglorious—history. Theatrical impresario Sylvester Poli hired period architect Thomas Lamb to build another in his string of movie palaces. Designed in what is described as a Renaissance Revival style, the Palace Theater featured an eclectic mix of Greek, Roman, Arabic and Federal motifs and boasted grand lobby spaces, and ornate dome ceilings, in a palatial setting fit for a king—but intended for the people of Waterbury.
In its heyday, stars of vaudeville, stage and screen made personal appearances. The likes of Eddie Cantor, Rudolph Valentino, the Glenn Miller Orchestra, Frank Sinatra, Jackie Gleason, the Andrew Sisters, Tommy Dorsey and Tony Bennett were some of the greats who performed in front of packed houses. It became the Loew’s Poli in a corporate merger with Loew’s, and was the premier movie house in a city that boasted small theaters in most neighborhoods.
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 When The Music Hall’s Executive Director Patricia Lynch came on board seven years ago, The Music Hall was a historic local arts venue not widely known beyond the New Hampshire Seacoast community—and Portsmouth was a quiet seaport town. Now, thanks in large part to Lynch’s visionary leadership, the streets are buzzing nearly every night of the week in what the Miami Herald recently called “New England’s most appealing city,” with a wide spectrum of shows, films, and literary and educational events at both The Music Hall’s 900-seat Historic Theater on Congress Street, and around the corner in an intimate new venue opened last spring, the 124-seat Loft. “The Music Hall is more than just an arts organization and a regional destination,” says Lynch. “It’s a lifestyle choice that says you love life, embrace the beautiful, get a kick out of exploring and learning, and are dedicated to our community. Of course the whole Portsmouth scene—the setting, restaurants, great shops, and other cultural attractions all make this the place to be.”
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Standing in the back of the room, I watched from a distance. There was something about Jim Bianco that commanded my attention. It wasn't his drop-dead, handsome good looks or his rough and raspy vocals. No, it was much deeper than that. It was raw energy, penetrating like lightning, through flesh and bone to the very core that is Jim Bianco's essence. I watched as women, drawn like moths to light, fluttered around the stage. This guy certainly had charisma and, I have to admit, his gripping green eyes were getting to me too. Glass in hand, he sings "My friends and I are sinners. We'll take you home to bed. And if you knew the things we'd do your face would turn all red. But when we tell the story, we won't recall your name. But I'm sure that you prefer that that's how it remain." Not sure whether to run, call a priest or order another drink, I chose the latter and stayed.
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I think Tupelo Music Hall is a magical place, and I have several reasons for feeling that way. The first is how I came to open Tupelo in the first place. Music had always been my passion but never my occupation until eight or so years ago. At the time I was a financial consultant and was looking for office space. There was an old farmhouse for sale in Londonderry, N.H., that housed a gift shop called the Gray Goose. It looked like a great spot for my business.
Attached to it was a coffee house called the Muse, where the owners presented primarily traditional folk music. Since I was interested in the building, I decided to check out a show. As soon as I walked in, I can honestly say I had a vision. I knew the room had great potential, and I wanted to make it into something special. My dream was to open a room where people could hear top-name artists up close and personal, an intimate room with great acoustics and the best sound reinforcement system available, a room where people could hear music unhindered by cocktail servers pushing drinks, a room where both the artist and the audience would be met with respect and treated to a truly memorable concert experience. As our slogan at Tupelo says, “it’s all about the music.”
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