Spokane's 21st Century Fox


Uploaded by kspstv on 10.03.2011

Transcript:

RISING FROM STREET LEVEL IN
GRACEFUL SIMPLICITY, WITH ITS
THIN STRAIGHT LINES AND
ORNATE, FLOWING FLAT SURFACES,
IS A BUILDING KNOWN SIMPLY AS
"THE FOX."
IT'S ONE OF HANDFUL OF
HISTORICALLY SIGNIFICANT
BUILDINGS IN DOWNTOWN SPOKANE,
WHERE THANKS TO AN ELEGANT
BLEND OF ARTISTIC STYLE AND
FUNCTION IT INSTANTLY, WHEN
OPENED, BECAME AN INDELIBLE
PIECE OF THE COMMUNITY'S
FABRIC.
IN THE TIME OF THE DEPRESSION,
MOVIE THEATERS ALL OVER THE
COUNTRY PLAYED A SPECIAL ROLE.
BECAUSE IT WAS POSSIBLE FOR
PEOPLE, SOME OF WHOM WERE
GOING THROUGH VERY DIFFICULT
TIMES, TO LOSE FOR A MOMENT,
THE REALITIES OF THE DAILY
LIFE, AND GET ENVELOPED IN THE
MYSTICAL WORLD OF HOLLYWOOD.
THE FOX IS A LIVING MEMORIAL
TO SPOKANE IN THE 30S
AND BEYOND.
THIS IS JUST AN
AMAZING PLACE.
IT IS NOT ONLY A SPECTACULAR
ARCHITECTURAL WONDER AND VERY
MUCH A PART OF SPOKANE'S
HISTORY AND THIS COUNTRY'S
HISTORY BUT IT IS JUST A
WONDERFUL PLACE TO MAKE MUSIC
AND A WONDERFUL PLACE FOR THE
SYMPHONY, BUT THERE ARE JUST
SO MANY REASONS TO BE PROUD OF
THIS AND SO MANY REASONS THAT
IT IS IMPORTANT.
I MEAN JUST FRANKLY
FUNDAMENTALLY PROFOUNDLY
IMPORTANT THAT THIS HOUSE BE
AN ACTIVE CONCERT HOUSE FOR
THE NORTHWEST AND SPECIFICALLY
FOR SPOKANE.
AS WITH ANY GRAND OLD BUILDING
WHOSE HISTORY SPANS OVER 7
DECADES AND ACROSS TWO
CENTURIES, THE STORY BEHIND
SPOKANE'S FOX THEATER PLAYS
OUT LIKE AN OSCAR WINNING
MOVIE...
PACKED WITH GREAT
PERFORMANCES, ARTISTRY,
INNOVATION, THRILLS, ROMANCE,
CONFLICT AND ULTIMATELY THE
PERFECT ENDING...
AND NOW, ENCORE PERFOMANCE AS
SPOKANE'S 21ST CENTURY FOX...
TO RECOUNT THE TALE OF
SPOKANE'S FOX THEATER WE MUST
REWIND OVER 75 YEARS TO THE
EARLY STAGES OF WHAT WAS A
BLEAK PERIOD IN OUR NATIONS
HISTORY, "THE GREAT
DEPRESSION."
LIKE MOST COMMUNITIES, SPOKANE
WAS NOT IMMUNE TO THE ECONOMIC
DESPAIR AND PERSONAL HARDSHIPS
THAT FOLLOWED THE CRASH OF THE
STOCK MARKET IN OCTOBER
OF 1929...
BY 1930 THE FULL IMPACT OF THE
DEPRESSION WAS BEING
FELT BY ALL.
YET, DESPITE THE DOOM AND
GLOOM OF THE TIME, THE
COLLECTIVE SPIRIT OF THE CITY
AS WELL AS THE ENTIRE INLAND
NORTHWEST WAS ABOUT TO GET A
MUCH NEEDED BOOST FROM AN
UNLIKELY SOURCE...
HIS NAME, WILLIAM FOX...
A HOLLYWOOD MOVIE MOGUL WHO IN
THE FALL OF 1928 PICKED
SPOKANE AS THE SITE FOR A NEW
FOX THEATER...
AT THE TIME THERE WERE ABOUT
14 MOVIE THEATRES HERE IN
SPOKANE.
MOST OF THEM WERE SMALL.
THEY WERE BUILT FOR VAUDEVILLE
AND SILENT MOVIES.
SO IN THE LATE 20S, EARLY 30S
WHEN TALKING MOVIES CAME INTO
BEING THERE WEREN'T THESE BIG
DRAMATIC THEATERS.
WILLIAM FOX WAS THE HEAD OF
20TH CENTURY FOX,
IS WHAT IT BECAME.
IN THOSE DAYS IT WAS KNOWN AS
WEST COAST FOX ENTERTAINMENT
AND HE BUILT MOVIE THEATRES
ACROSS THE COUNTRY TO SHOW OFF
FOX MOVIES.
SO IN THE EARLY DAYS IF YOU
WENT TO A FOX MOVIE YOU SAW IT
AT A FOX THEATRE.
FORTUNATELY, THE FOX THEATER
PLANNED FOR SPOKANE WOULD BE
NO ORDINARY THEATER ... WITH A
PRICE TAG OF ONE MILLION
DOLLARS WILLIAM FOX ANNOUNCED
THAT THIS MOVIE PALACE WAS
GOING TO BE ONE OF THE FINEST
OF ITS SIZE ON THE
WEST COAST...
IT WAS A LOT OF MONEY FOR A
PRIVATE INDIVIDUAL TO INVEST
IN SPOKANE AND I THINK THAT
SPEAKS A LOT ABOUT FOX AND HIS
VISION, NOT JUST FOR SPOKANE
BUT FOR AMERICA.
I'M SURE THAT IT WAS SELF
SERVING IN A WAY.
HE WAS BUILDING A MOVIE
THEATRE BUT HE ALSO, I THINK,
UNDERSTOOD THAT THESE KINDS OF
BUILDING WERE PART OF THE
CULTURE OF A COMMUNITY.
SOON AFTER CONSTRUCTION BEGAN
THERE WAS LITTLE DOUBT THE NEW
FOX THEATRE, AS PROMISED, WAS
GOING TO PROVIDE SPOKANE WITH
SOMETHING EXTRAORDINARY.
WELL THE THEATRE WAS DESIGNED
BY ROBERT REAMER WHO IS A
SEATTLE ARCHITECT.
REAMER GOT HIS START IN THE
EARLIER PART OF THE 20TH
CENTURY BY DESIGNING THE OLD
FAITHFUL INN, AND MANY OF THE
OTHER BUILDINGS IN YELLOWSTONE
NATIONAL PARK.
THIS WAS AN EXTREMELY MODERN
BUILDING AND SPOKANE DIDN'T
REALLY KNOW HOW TO HANDLE IT,
HOW TO TAKE IT WHEN IT WAS
BUILT BECAUSE IT WASN'T BRICK
AND IT WASN'T FACED IN
TERRA COTTA.
THIS WAS ONE OF THE FIRST
POURED-IN-PLACE CONCRETE
BUILDINGS.
IT WAS WHAT THEY CALLED A
CONTINUOUS POUR SO THERE ARE
NO EXTERNAL SEAMS IN THE
BUILDING.
THE BUILDING FROM THE OUTSIDE
IS QUITE STARK AND THAT'S BY
DESIGN.
ART DECO INCORPORATED THE
DESIGN OF THE BUILDING IN AS
ORNAMENTATION ITSELF.
SO ON THE EXTERIOR, ALL OF THE
EAGLES AND THE MOUNTAIN GOATS
AND THE MOUNTAINS AND THE BIG
BUTTERFLIES THAT ARE ON THE
MONROE STREET SIDE, THOSE WERE
ALL POURED AS THEY WENT SO
THAT THE ORNAMENTATION WAS A
INTEGRAL PART OF THE BUILDING.
WHILE THE APPROACH TO THE
BUILDINGS EXTERIOR WAS SLEEK
AND UNDERSTATED THE SAME COULD
HARDLY BE SAID OF THE
THEATER'S LAVISH INTERIOR...
THE ARTWORK IN HERE WAS
DESIGNED BY A MAN NAMED
ANTHONY HEINSBERGEN AND HE WAS
ONE OF HOLLYWOOD'S BEST
INTERIOR DESIGNERS.
HE HAD A GREAT RELATIONSHIP
WITH WILLIAM FOX.
FOX USED HIM A LOT IN MANY OF
HIS THEATRES.
THE ARTIST'S SON CAME UP
SEVERAL TIMES AND WALKED US
THROUGH AND TALKED ABOUT
COLORS THAT HIS FATHER
HAD USED.
HE THINKS THAT IF YOU START ON
THE LOBBY LEVEL DOWN BELOW US,
WE ARE UNDER THE WATER AND AS
YOU MOVE UP THROUGH THE
THEATRE YOU MOVE THROUGH THE
WATER COLUMN AND THEN
ON TO THE LAND.
AND THERE ARE CLOUDS AT THE
LOBBY LEVEL THAT GO ALL THE
WAY AROUND THE MEZZANINE ON
THE SAME LEVEL.
SO ON THE MEZZANINE WE'VE
MOVED UP ONTO THE LAND AND
THERE ARE CASTLES, AND THESE
STORY BOOK CLOUDS LIKE THE
BOOKS THAT WE READ AS KIDS,
RIVERS AND MOUNTAINS.
AND THEN AS WE MOVE INTO THE
BALCONY AND THE AUDITORIUM
WE'RE UP IN THE TREES.
AND THE AUDITORIUM IS
DOMINATED BY THIS 50-FT WIDE
SUNBURST THAT RADIATES LIGHT
OUT OVER THIS FOREST OF TREES.
IT IS QUITE ELEGANT.
THE WOW FACTOR GENERATED BY
THE THEATER'S ARTISTIC
ELEGANCE WAS JUST THE
BEGINNING.
THE FOX WAS ALSO BILLED AS A
STATE OF THE ART THEATER THAT
WOULD BECOME THE CITY'S MOST
MODERN BUILDING...
WELL, THE FOX WAS AT THE TIME
A MAJOR INNOVATION, A MAJOR
MOVE TO BRING AHM SOUND ON
FILM TO SPOKANE.
FOX HAD BOUGHT A NUMBER OF
PATENTS FROM VARIOUS SOUND
PIONEERS.
AND ERPI AND SOME OF THE OTHER
ORGANIZATIONS THAT FOLLOWED
ALLOWED FOX TO COMBINE PATENTS
TO PULL TOGETHER A SOUND
SYSTEM THAT ALLOWED VERY
PRECISE IMAGING ON THE FILM OF
THE SOUND, SO THAT YOU COULD
CAPTURE THAT SOUND AND PLAY IT
BACK IN SYNCHRONY.
THE ACOUSTICS OF THE HALL WAS
REALLY QUITE UNIQUE
AT THE TIME.
THE STAGE INCLUDED A LOT OF
INNOVATIONS.
FIRST OF ALL THERE WERE THREE
ELECTRIC CURTAIN PULLS WHICH
THEN COULD BE DONE FROM THE
PROJECTION BOOTH OR
FROM ON STAGE.
IT ALSO HAD A MULTI-CHANNEL
WESTINGHOUSE DIMMER SYSTEM
THAT WAS TWO UNITS.
ONE DOWN ON STAGE AND ONE UP
IN THE PROJECTION BOOTH.
AND THEY WORKED TOGETHER IN
TANDEM, WHICH WAS KIND OF
UNUSUAL FOR THE TIME.
OF COURSE THE
AIR-CONDITIONING, THAT WAS
RELATIVELY NEW.
PEOPLE FOR A YEAR AND A HALF
PRECEDING THE BUILDING OF THE
FOX, WERE GOING OVER TO
SEATTLE TO FEEL THAT KIND OF
AIR CONDITIONING AND ALSO TO
HEAR THE TALKIES.
THE FIRST OF THE SYSTEMS
INSTALLED THERE, WE HAVE IT AS
A YORK SYSTEM, THAT WAS A
RATHER AMAZING SYSTEM
FOR THE TIME.
PEOPLE WOULD LINE UP AROUND
THE BLOCK THERE JUST TO SEE
INSIDE THE BUILDING TO SEE HOW
THAT COLD AIR WAS PRODUCED.
FROM ITS UNDERSTATED YET
HANDSOME ARCHITECTURE OUTSIDE
TO ITS ALLURING ARTISTRY AND
DAZZLING TECHNOLOGY INSIDE,
THE CITY'S LARGEST THEATER WAS
NEARING COMPLETION BY LATE
SUMMER OF 1931...
I GREW UP HERE IN SPOKANE
DURING THE DEPRESSION YEARS
AND WE LIVED UP ON GRANDVIEW
HILL AND WE COULD OVERLOOK
THE CITY.
AND I REMEMBER MY DAD POINTED
OUT THE FOX LETTERS THAT WERE
BEING PUT UP ON THE FOX
THEATER, AND THAT WAS ADDED TO
OUR SPOKANE VIEW.
AFTER NEARLY A YEAR OF
CONSTRUCTION AND THOUSANDS OF
YARDS OF CONCRETE, SPOKANE'S
BRAND NEW 2300 SEAT MOVIE
PALACE WAS READY FOR
SHOWTIME...
AS ANTICIPATED THE GRAND
OPENING ON SEPTEMBER 3RD 1931
WOULD BE AN AFFAIR TO
REMEMBER...
STARTING PROMPTLY AT 7PM THE
FESTIVITIES BEGAN WITH A
PARADE OF STARS FROM THE
DAVENPORT HOTEL TO THE FOX.
AMONG THE HOLLYWOOD NOTABLES
WERE GEORGE O'BRIEN, ANITA
PAGE & MITZIE GREEN...
FOLLOWING A BRIEF OUTSIDE
CEREMONY TO DEDICATE THE
BUILDING, THE CELEBRATION
MOVED INSIDE, WHERE LUCKY
TICKET HOLDERS WERE TREATED TO
A NIGHT OF ENTERTAINMENT,
INCLUDING THE NATIONAL
PREMIERE OF FOX STUDIO'S
LATEST FEATURE FILM "MERELY
MARY ANN," STARRING JANET
GAYNOR AND CHARLES FARRELL...
TO THIS DAY THE 1931 DEBUT OF
THE FOX REMAINS ONE OF THE
MORE MEMORABLE EVENTS IN
SPOKANE HISTORY...
WELL IT WAS EXCITING BECAUSE
THE INTERSECTION WAS CROWDED
WITH PEOPLE.
AND GOING INTO THE STREETS
EVEN, BUT THERE WAS HUNDREDS
AND HUNDREDS OF PEOPLE THERE
AND IT WAS AN EXCITING EVENT.
THERE WERE KLIEG LIGHTS
WASHING THE SKY ALL THE TIME.
AH, THERE WERE BIG CROWDS
STANDING ALONG THE STREET, AND
AH, AS I REMEMBER IT, WHEN
THEY OPENED THE FOX, THEY
ANNOUNCED THAT THERE WOULD BE
A BIG RED CARPET SORT OF
WELCOMING TO THE STARS.
AH, I WAS PARTICULARLY
INTERESTED WHEN THESE OPEN
CARS WOULD DRIVE BY, AND THE
YOUNG LADY WHO PLAYED ORPHAN
ANNIE IN THE MOVIES, MITZI
GREEN STARTED TO COME BY AND I
SAW HER AND HER DOG SANDY WAS
SITTING THERE AND SO I RAN
AWAY FROM MY PARENTS, JUMPED
UP ON THE RUNNING BOARD, AND
THEY CHASED ME DOWN THE STREET
TRYING TO GET ME OFF.
THAT WAS MY FIRST INTRODUCTION
TO THE FOX.
I WAS SO EXCITED, AND I WAS AN
ONLY CHILD, AND MOTHER AND
DADDY HAD THIS LITTLE STORE,
AND AH, SO THEY DECIDED THAT
WE SHOULD GO.
THE OPENING NIGHT, IT WAS A
MOVIE AND VAUDEVILLE.
AND SO WE GOT THERE EARLY AND
AH, GOT TICKETS, AND IT WAS
REALLY SO MUCH FUN.
EVERYBODY THAT COULD BE THERE
WAS THERE, BECAUSE THIS IS,
YOU KNOW, YOU DON'T BUILD A
BUILDING, ESPECIALLY A
BEAUTIFUL BUILDING LIKE THAT
VERY OFTEN.
FOLLOWING THE GLITZ AND AWE
GENERATED BY OPENING NIGHT,
THE FOX THEATRE QUICKLY BECAME
A SPECIAL GATHERING PLACE FOR
THE COMMUNITY.
WHETHER IT WAS TO SEE THE BEST
OF HOLLYWOOD ON THE SILVER
SCREEN OR ONE OF THE GIANTS OF
20TH CENTURY MUSIC LIVE ON
STAGE COURTESY OF THE
COMMUNITY CONCERT SERIES, THE
FOX EXPERIENCE, FOR ALL WHO
CAME, WOULD LEAVE A LASTING
IMPRESSION...
WELL IN THE BEGINNING, WHEN
YOU CAME TO THE MOVIES YOU
WOULD GET A LIVE VAUDEVILLE
SHOW, STAGE SHOW THEY CALLED
IT, THEN YOU WOULD GET A NEWS
REEL, THEN YOU WOULD GET THE
FIRST HALF OF YOUR FEATURE
FILM, AND THEN AT INTERMISSION
THE PIPE ORGAN WOULD PLAY AND
THEN YOU WOULD GET THE SECOND
HALF OF YOUR MOVIE.
THE VAUDEVILLE PART DIDN'T
LAST VERY LONG, I THINK WITHIN
6 TO 8 MONTHS THE VAUDEVILLE
PART WAS GONE.
THE '30S AH, WE DIDN'T HAVE
TELEVISION OF COURSE AND AH,
THE SATURDAY RITUAL OF KIDS
GOING TO MOVIES WAS AN
ESTABLISHED PART OF THE WEEK,
AND THERE MUST BE AT LEAST 11
THEATERS IN DOWNTOWN SPOKANE
IN THAT ERA.
BUT THE LARGEST, THE COOLEST,
BOTH IN TEMPERATURE AND IN
STYLE WAS THE FOX.
AND TO COME IN THIS GREAT
CAVERNOUS THEATER AS IT SEEMED
TO US, AND WATCH, YOU KNOW,
WHATEVER MOVIE IT WAS, "DAWN
PATROL", OR SOMETHING.
AH, WAS A THRILL, AND I'VE
NEVER FORGOTTEN IT.
THERE WAS SOMETHING ABOUT THE
BUILDING THAT JUST MADE YOU
WANT TO BE THERE, ALL THE BIG
EXCITING THINGS YOU KNOW, TOOK
PLACE AT THE FOX THEATER.
THE BIGGEST ONE I THINK THAT
TO ME AS A PIANIST WAS
PADEREWSKI, AND HE WAS THIS
WONDERFUL OLD GUY WHO HAD BEEN
A GREAT PIANIST IN POLAND AND
AH, MOTHER AND DADDY HAD THIS
LITTLE STORE IN MOUNT HOPE AND
THEY COULDN'T AFFORD TO GO AND
GET ME THERE, SO I HAD TO GO
BY MYSELF.
THEY GOT ME A TICKET IN THE
FRONT ROW, PRACTICALLY.
I REMEMBER SHIRLEY TEMPLE'S
BIRTHDAY IS APRIL 23.
AND ON HER BIRTHDAY UM, I
DON'T REMEMBER HOW OLD I WAS.
UM THEY SHOWED HER FILM, I
THINK IT WAS THE "LITTLE
COLONEL" AND THEN THEY HAD
BIRTHDAY CAKE OUT IN THE LOBBY
AND EVERYBODY GOT SOME
BIRTHDAY CAKE.
I WAS LUCKY TO BE ABLE TO GROW
UP IN THAT TIME AND SEE THE
FOX IN ITS HEYDAY.
I HAD LONG BEEN ENAMORED OF
OPERA, BUT I ONLY HEARD IT ON
THE RADIO.
THE TEXACO BROADCAST IT ON
SATURDAY MORNINGS.
SO AT ANY RATE I HAD A GREAT
LOVE FOR THE OPERA BUT HAD
NEVER SEEN ONE.
AND LA TRAVIATA CAME TO THE
FOX AND SO I SAW MY
FIRST OPERA.
AND THEN THE NEXT THING
THAT I SAW THERE WAS
PROFESSIONAL THEATER ARSENIC
AND OLD LACE WITH THE
ORIGINAL BROADWAY CAST, BORIS
KARLOFF ETC. THE ONLY WAY WE
HAD ANY ACCESS TO THAT SORT OF
THING WAS THROUGH THE FOX.
WHEN I CAME HERE IN '42 DURING
THE WAR, I WAS LIVING WITH 3
OTHER GALS.
WE SHARED AN APARTMENT, AND
EVERY FRIDAY NIGHT, WE CAME TO
THE FOX THEATER TO WATCH THE
SHOW AND AH BECAUSE IT WAS
DURING THE WAR YEARS AND A LOT
OF THE GALS HAD DATES IT WAS
USUALLY CROWDED.
WE'D GO ACROSS TO THE CANDY
PLACE; I THINK IT WAS
MATTHEW'S CANDY COMPANY.
THEY MADE THE BEST HOMEMADE
FUDGE YOU EVER ATE SO WE'D
EACH BUY A SACK FULL, SIT
THERE AND EAT IT BEFORE THE
SHOW WAS OVER.
I WAS A DOORMAN.
IT WAS A VERY VERY EXCITING
PLACE TO WORK.
I HAD A HAT, AND THE PANTS
WERE GRAY WITH A RED STRIPE
ALONG THE SIDE, AND THE JACKET
WAS OF MAROON MATCHING THE
STRIPE, BUT YES, OH YES, YOU
FELT GOOD SAYING "I WORK AT
THE FOX THEATER."
THROUGHOUT THE WAR YEARS
SPENDING AN EVENING ENJOYING A
MOVIE OR A LIVE STAGE SHOW AT
THE FOX, FOR MANY, SERVED AS A
MUCH NEEDED DISTRACTION FOR
MANY ... ONE SHOW IN
PARTICULAR WOULD TURN OUT TO
BE ONE OF THE BIGGEST EVENTS
IN THE THEATER'S HISTORY.
ON JUNE 15TH 1943 THE FOX
WELCOMED HOME 18 YEAR OLD
SINGING SENSATION PATRICE
MUNSEL, WHO JUST RECENTLY
BECAME THE YOUNGEST SINGER
EVER SIGNED TO STAR AT THE
METROPOLITAN OPERA.
BORN AND RAISED IN SPOKANE
UNTIL THE AGE OF 15 WHEN SHE
LEFT FOR NEW YORK, MUNSEL'S
HIGHLY ANTICIPATED HOMECOMING
CONCERT WAS A MAGICAL MOMENT
FOR BOTH THE COMMUNITY AS WELL
AS THE PERFORMER HERSELF...
I HAD JUST SUNG WITH THE MET
ORCHESTRA AND THEY HAD INVITED
ME TO COME HOME TO DO A
CONCERT AND I WAS THRILLED...
IT WAS AN AMAZING DAY FOR ME
TO RETURN TO SPOKANE DOING
WHAT I LOVE TO DO SO MUCH AND
WHAT I'D ALWAYS KNOWN I WAS
GOING TO DO.
AND I HAVE TO TELL YOU I WAS
SO PREPARED FOR THIS.
I HAD WORKED SO HARD STUDYING
VOICE, LEARNING FRENCH &
ITALIAN.
I KNEW 9 OPERAS.
THIS IS WHAT I KNEW I WAS
MEANT TO DO AND I HATE TO SAY
THAT I DIDN'T HAVE A NERVE IN
MY BODY BUT I DIDN'T.
I WAS READY FOR THIS WONDERFUL
MOMENT AND TO HAVE THIS
WONDERFUL MOMENT AT THE FOX
THEATER IN SPOKANE WITH A
SPOKANE AUDIENCE, WELL YOU CAN
IMAGINE HOW EXCITING
THAT WOULD BE.
IT WAS A THRILLING, THRILLING
MOMENT THAT I HAD PREPARED ALL
MY LIFE FOR.
ACCORDING TO THE SPOKESMAN
REVIEW PATRICE MUNSEL'S
HOMECOMING CONCERT "ACHIEVED A
TRIUMPH LONG TO BE
REMEMBERED."
YET, THIS RENOWNED,
INTERNATIONAL STAR WOULD GRACE
THE STAGE OF THE FOX TWICE
MORE OVER THE NEXT 11 YRS...
AS THE THEATER MARCHED OUT OF
THE 40'S AND INTO THE 1950'S
IT SEEMED AS THOUGH GREAT
PERFORMANCES OF ALL KINDS WERE
BECOMING COMMON PLACE
AT THE FOX.
A CASE IN POINT OCCURRED IN
1951 WITH THE APPEARANCE OF
THE INCOMPARABLE KATHARINE
HEPBURN IN THE TRAVELING
STAGE PRODUCTION OF
"AS YOU LIKE IT."
FOR FORMER SPOKANE RESIDENT
THERESA HAUER AND HER FRIEND
DICK RUDFELT FROM LEWISTON,
THE EVENT WOULD PROVIDE A
LIFELONG MEMORY...
AFTER THE PERFORMANCE WE
STOOD OUT IN FRONT WAITING
TO SEE HER.
LO AND BEHOLD SHE APPEARED
WEARING A BLACK CAPE AND A
CHIFFON SCARF.
HER FIRST WORDS TO US WERE,
"COULD YOU HEAR?"
YES.
"WHERE WERE YOU SITTING?"
THE REST OF THE CONVERSATION
I CANNOT REMEMBER.
THERE WE WERE JUST THE
THREE OF US.
WE EASILY FELL IN STEP WALKING
ALONG SPRAGUE AVENUE TO
POST STREET.
WE LEFT THE REGAL KATHARINE
HEPBURN AT THE POST STREET
ENTRANCE OF THE DESERT HOTEL'S
COFFEE SHOP.
REGARDLESS OF WHERE YOU WERE
SITTING, KATHARINE HEPBURN'S
THREE CAPTIVATING PERFORMANCES
IN FEBRUARY OF 1951 WOULD
USHER IN ANOTHER DECADE OF
EXCELLENCE AT THE NOW TWENTY
YEAR OLD FOX.
FOR MOVIEGOER'S THIS WOULD
MEAN FEATURE FILMS SHOWN IN
3-D AND CINEMASCOPE WITH
STEREOPHONIC SOUND.
IT ALSO WOULD MEAN A FEW
COSMETIC CHANGES LIKE FRESH
PAINT, NEW CARPET AND EXPANDED
CONCESSIONS INSIDE AS WELL AS
A NEW MARQUEE OUTSIDE.
HOWEVER, DESPITE THE EXTENSIVE
UPGRADES ALL AROUND, THE ART
DECO ELEGANCE OF THE FOX
REMAINED UNTOUCHED.
ANOTHER CONSTANT WITHIN THE
THEATER WAS THE IMPORTANT ROLE
OF THE MYSTERIOUS MAN
BEHIND THE CURTAIN,
"THE PROJECTIONIST."
WELL, THE PROJECTION ROOM WAS
REALLY A SPECIAL ROOM.
VERY FEW PEOPLE GOT A CHANCE
TO SEE WHAT WAS GOING
ON IN THERE.
AND WHEN YOU WENT UP TO THAT
AH, ROOM, THE FIRST THING YOU
SAW WAS A GREAT DEAL OF
MASSIVE EQUIPMENT THERE.
SEVEN PROJECTORS WERE AH,
ORIGINALLY INSTALLED, THREE OF
THOSE WERE DEVOTED TO EFFECTS.
THE OTHERS WERE DEVOTED TO
FILM SHOWING AND THOSE
REQUIRED EVACUATION OF THE
SMOKE THAT CAME FROM THE ARC
CHAMBERS, THE LAMP HOUSES OF
THE PROJECTORS.
PROJECTIONISTS WERE KNOWN BY
HOW WELL DID THEY DO A CHANGE
OVER, FROM ONE 20 MINUTE REEL
TO THE NEXT.
AND SO IT WAS A DEAL OF WORK
TO GET THE SOUND EQUIPMENT
ADJUSTED, GETTING THE EXCITER
LAMP POSITIONED PROPERLY ON
THE FILM, AND THEN STARTING OF
THE PROJECTOR AND IF YOU LEFT
THAT PROJECTOR STARTED TOO
LONG YOU COULD HAVE A FIRE
FROM A PIECE OF FILM GETTING
STUCK IN THE FILM GATE BECAUSE
THAT NITRATE FILM WAS VERY
EXPLOSIVE, AND SO YOU HAD TO
BE AWARE OF THAT.
AND THEN YOU JUST HAD A
FRACTION OF A SECOND TO MAKE
THAT TRANSITION FROM THE FIRST
REEL TO THE SECOND.
CLEARLY, ATTENTION TO DETAIL,
TECHNICAL SKILLS AND COURAGE
WERE SOME OF THE MORE
IMPORTANT ATTRIBUTES REQUIRED
TO BE A QUALITY PROJECTIONIST.
HOWEVER, ACCORDING TO FORMER
FOX EMPLOYEE DICK HAZELMYER,
THAT WAS NOT ALL...
THEN IT USED TO BE
SHOWMANSHIP.
AH, TO START A SHOW THERE
WOULD BE A PATTERN OF LIGHT
MOVING ON THE STAGE.
AH PRETTY SOON THE HOUSE
LIGHTS WOULD DIM SOMEWHAT AND
THAT WOULD FADE OUT AND ON
WOULD COME THE NEWS REEL.
YOU'D OPEN THE CURTAIN ON THE
NEWS REEL, RUN THE PREVIEWS,
CLOSE THE CURTAIN,
PAUSE FOR A MOMENT.
THE HOUSE LIGHTS WOULD
COME DOWN.
THE START OF THE FEATURE WOULD
COME ON.
YOU WOULD OPEN A
CURTAIN ON IT.
I DON'T KNOW, YOU HAD THE
SATISFACTION OF PUTTING ON A
NICE PRESENTATION OF A SHOW.
WITH THE ARRIVAL OF THE SPACE
AGE AND THE 1960'S, THE FOX
WAS STILL THE "PLACE TO GO"
FOR BOTH ONSCREEN AND STAGE
ENTERTAINMENT...
BY THE MID 60'S IT WAS KNOWN
AS THE HOME OF DISNEY UNDER
THE DIRECTION OF THE ENERGETIC
FAY MILLS, WHO WOULD MANAGE
THE FOX FOR NEARLY 20 YEARS...
I WAS 25 YRS OLD AT THE TIME
AND IT WAS STILL A VERY, VERY
GLORIOUS YOU KNOW TYPE OF
THEATRE AND WE'D HAVE A WALT
DISNEY AND YOU'D HAVE LINES
AROUND THE BLOCK.
AT THAT TIME YOU STILL HAD THE
USHERETTES AND THE DOOR MAN.
IT WAS A SIN ANYBODY THAT CAME
INTO THE THEATRE THAT HAD TO
SEAT THEMSELVES.
WELL MY FIRST MEMORIES OF THE
FOX THEATER ARE OF COMING HERE
WHEN I WAS A KID.
THEY HAD A SATURDAY MATINEE,
AND I REMEMBER SEEING YOU
KNOW, THE DISNEY ANIMATED
FILMS THAT CAME OUT.
SOMETIMES BECAUSE WE WERE SO
LOUD, THEY WOULD GET UP ON THE
STAGE AND SAY, 'IF YOU DON'T
SHUT-UP WE'RE TURNING OFF THE
MOVIE AND YOU WON'T GET TO SEE
IT' CAN YOU IMAGINE YELLING AT
LIKE 1000 KIDS?
AND WE'RE LIKE, 'OKAY, YEAH, I
GUESS WE'LL BE QUIET'.
BUT IT WAS ALWAYS SUCH A
SPECIAL PLACE TO GO AND SUCH
AN IMPORTANT THING.
IN THE FALL OF 1969, THE FOX
AND ITS GENERAL MANAGER WOULD
GENERATE A BUZZ AS WELL AS
HEADLINES BY SIMPLY
SHOWING A MOVIE...
THE PROBLEM WAS THE MOVIE
WASN'T YOUR TYPICAL DISNEY,
BUT RATHER THE X-RATED FILM.
"I AM CURIOUS YELLOW."
WELL YOU HAD TO BRING THAT
UP DIDN'T YOU?
BACK THEN THE PROSECUTING
ATTORNEY, THE POLICE CHIEF AH
THEY FELT THAT IT WAS NOT
APPROPRIATE TO BE SHOWN
IN SPOKANE.
SO I GOT ESCORTED DOWN TO THE
POLICE STATION AND THE FILM
WAS CONFISCATED AS EVIDENCE
AND I HAD AN ATTORNEY
WAITING FOR ME.
OF COURSE I WAS IMMEDIATELY
RELEASED.
AND THE JUDGE IMMEDIATELY
RELEASED THE FILM AND AH WE
PLAYED IT FOR ANOTHER 2 WEEKS
TO RECORD CROWDS...
AS THE FOX THEATER MOVED INTO
THE 1970'S IT REMAINED A
POPULAR DOWNTOWN MOVIE THEATER
AS WELL AS THE HOME OF THE
SPOKANE SYMPHONY, WHICH HAD
MOVED THERE IN 1968.
HOWEVER, NOW A HALF CENTURY
OLD, THE FOX WAS BEGINNING TO
SHOW ITS AGE, A FACT THAT
WOULD LEAD TO BIG CHANGES FOR
THE THEATER BY THE MIDDLE OF
THE DECADE...
BUT FIRST THERE WAS STILL TIME
FOR A LITTLE THEATER HIJINX...
I GOT HIRED, I BELIEVE, IN
SPRING OF 1973.
I WAS LOOKING FOR A JOB THAT I
COULD WORK IN THE EVENING AND
GO TO SCHOOL AND IT WAS A
GREAT OPPORTUNITY.
I GOT HIRED AS A DOORMAN, AND
THEN 6 MONTHS LATER I WAS
PROMOTED TO ASSISTANT MANAGER.
UM MAYBE FOR THOSE OF US
INSIDE OUR MOST NOTORIOUS
LITTLE EVENT WAS AH WHEN WE
HAD HERBIE THE LOVE BUG.
AH THE FOX WAS THE LARGEST
HOUSE IN TOWN SO WE COULD
ENTERTAIN AND HAVE THE DISNEY
MOVIES DURING SPRING BREAK AND
DURING THE SUMMER.
AND SO WE HAD AN ACTUAL HERBIE
VOLKSWAGEN IN THE LOBBY, AND
WE KNEW WHERE THE KEYS WERE.
SO ONE SATURDAY NIGHT AFTER
THE THEATRE CLOSED DOWN WE GOT
IN AND STARTED UP HERBIE AND
DROVE IT THROUGH THE LOBBY AND
UP THE STAIRS ONTO THE LANDING
AND DOWN THE STAIRS ONTO THE
OTHER SIDE.
THAT WAS A BIT OF FUN.
NOT LONG AFTER THE INFAMOUS
LOVE BUG CAPER, THE BEGINNING
OF THE END OF THE FOX
THEATER'S REIGN AS SPOKANE'S
PREMIER PERFORMING ARTS CENTER
WAS AT HAND.... THE YEAR WAS
1975 AND THE CITY, FRESH OFF
THE SUCCESS OF EXPO 74, HAD
ITSELF A SHINY NEW
OPERA HOUSE.
IT WAS EVERYTHING THE 44-YEAR
OLD FOX THEATER WAS NOT.
IT WAS MODERN, SPACIOUS AND A
PERFECT FIT FOR TRAVELING
STAGE PRODUCTIONS AS WELL AS
THE SPOKANE SYMPHONY...
WITH THAT PART OF ITS VALUE
NOW GONE, THE AGING FOX HAD TO
RE-INVENT ITSELF AND THAT IT
DID THANKS TO TECHNOLOGY AND
THE EMERGENCE OF FILM
PROJECTOR AUTOMATION...
EVERYTHING IS BUILT ON
ECONOMICS AND AT THAT TIME
THE BALCONY WASN'T USED
THAT OFTEN.
YOU HAVE LIKE 1500, 1700 SEATS
ON THE MAIN FLOOR SO THEY
THOUGHT HEY WE CAN UTILIZE THE
BALCONY AND PUT TWO THEATERS
UP THERE.
AND IT DESTROYED SOME OF THE
GRANDEUR OF THE FOX BUT PEOPLE
WERE GOING TO THE THEATRE WERE
NOT REALLY GOING FOR THE
PER SE, THE LOOKS OF THE FOX
THEY WERE GOING TO THE
MOVIE ITSELF.
ON NOV 15 1975, FOLLOWING A
LAVISH RIBBON CUTTING CEREMONY
FEATURING ACTRESS RHONDA
FLEMMING, THE FOX BECAME
EASTERN WASHINGTON'S FIRST
EVER MULTISCREEN THEATER ....
WE DID A LOT OF PROMOTIONS AND
A LOT OF BALLYHOO.
I CAN REMEMBER THE FIRST
REMAKE OF KING KONG AND I HAD
THIS GUY IN A GORILLA OUTFIT
AND HE WAS CLIMBING UP THE
WALLS OF THE FOX THEATRE UP
THE LADDER AND WE HAD THESE
MODEL AIRPLANE ENTHUSIASTS
THAT FLEW THESE PLANES AT HIM
AND SO WE HAD THE TV AND
NEWSPAPER COVERAGE.
I BEGAN WORKING AT THE FOX
SHORTLY AFTER I GRADUATED FROM
HIGH SCHOOL IN 1977, AS A DOOR
MAN, AND THEN CAME BACK ABOUT
2 YRS LATER AH, HAVING A SMALL
JANITORIAL COMPANY, AND WE
GOT THE CONTRACT TO CLEAN
THE FOX DAILY.
AND I REMEMBER DURING THE TIME
THAT ET WAS PLAYING, AND IT
WAS A PHENOMENALLY
POPULAR MOVIE.
AND I REMEMBER THIS TRAFFIC
JAM ON MY WAY KNOWING THAT THE
THEATER WAS PACKED AND JUST
REMEMBER THINKING OF THESE
PEOPLE THERE SPILLING POP AND
DROPPING POPCORN ON THE FLOOR.
SO THAT'S HOW I CHARACTERIZED
THE FOX FOR A LONG TIME.
IN HIGH SCHOOL, I STARTED
WORKING HERE, WHICH WAS
REALLY EXCITING.
AND I THINK I WAS AN USHERETTE
FOR AN HOUR ON ONE OF THE DAYS
BUT MOSTLY I SOLD POPCORN
AND CANDY.
"ANIMAL HOUSE" PLAYED THE
SUMMER BEFORE I WENT TO
COLLEGE AND IT SOLD OUT ALL
SUMMER AND THE CROWD LAUGHING.
AND AHM, I JUST HAVE TONS AND
TONS OF GREAT MOMENTS AND
MEMORIES.
BORN DURING THE DEPRESSION,
SPOKANE'S FOX THEATER WITH ALL
OF ITS ELEGANCE AND ARTISTIC
SPLENDOR PROVED AT THE TIME TO
BE JUST WHAT THE COMMUNITY
NEEDED.
OVER THE 6 DECADES TO FOLLOW
THE FOX WOULD CONTINUE TO
FULLFILL THAT ROLE BY PLAYING
HOST TO A MULTITUDE OF
HOLLYWOOD AND WORLD RENOWNED
PERFORMERS, COUNTLESS
BLOCKBUSTER MOVIES FROM "GONE
WITH THE WIND" TO "ET"...
AND FINALLY, BY BEING THAT
SPECIAL PLACE WHERE MANY IN
SPOKANE GREW UP, TOOK THEIR
FIRST DATE, STOLE THEIR FIRST
KISS AND EVEN WALKED ACROSS
THE STAGE TO GRADUATE...
YET PRECIOUS MEMORIES ALONE
WOULD NOT BE ENOUGH TO SUSTAIN
THE TIRED AND FADED FOX
THEATER AS IT APPROACHED THE
START OF A NEW CENTURY.
EVENTUALLY IN EARLY 2000,
AFTER SEVERAL YEARS OPERATING
AS A SECOND RUN DISCOUNT MOVIE
HOUSE, SPOKANE'S FOX THEATRE
WAS LISTED FOR SALE AND LEFT
TEETERING ON THE EDGE OF
DEMOLITION...
FORTUNATELY, IN RESPONSE TO
THE COMMUNITY'S PASSIONATE
OUTCRY TO SAVE THE FOX, A
FORMER TENANT STEPPED FORWARD
TO SPEARHEAD A LAST MINUTE
EFFORT TO RAISE ENOUGH PRIVATE
FUNDING IN COMBINATION WITH
STATE GRANT MONEY TO ACQUIRE
THE PROPERTY...
FACING A SHORT THREE MONTH
DEADLINE, THE COMMUNITY
RESPONDED QUICKLY SO THAT BY
THE FALL OF 2000 THE SPOKANE
SYMPHONY HAD THE 1.2 MILLION
DOLLARS NECESSARY TO BUY THE
FOX AND SET IN MOTION AN
AMBITIOUS PLAN TO RENOVATE
SPOKANE'S HISTORIC ART DECO
TREASURE INTO THE NEW, OLD
HOME OF THE SYMPHONY.
THE FOX THEATER IS A GREAT
VENUE FOR US BECAUSE IT IS
MORE INTIMATE, BECAUSE
AUDIENCE AND ORCHESTRA ARE
CLOSER TOGETHER, BECAUSE IT
WILL SOUND BETTER.
IT WILL SOUND BIGGER, IT WILL
SOUND RICHER.
THIS WILL REALLY CHANGE THE
EXPERIENCE OF HOW YOU LISTEN,
HOW YOU EXPERIENCE MUSIC, HOW
IT WILL TOUCH YOU AND THAT'S
WHAT MUSIC IS ALL ABOUT.
WITH THE SYMPHONY'S PURCHASE
IN 2000, THE BUSINESS OF
DESIGNING AND PLANNING THE FOX
THEATER'S RENOVATION SOON
FOLLOWED.
HOWEVER, RAISING THE 31
MILLION DOLLARS NEEDED TO GET
THE PROJECT BEYOND
ARCHITECTUAL DRAWINGS TOOK
SOME TIME.
FINALLY, IN 2005, AFTER A
MAJOR REDESIGN TO BETTER MATCH
THE CAPACITY OF THE
FUNDRAISING EFFORTS, WHICH FOR
THE FIRST TIME IN SPOKANE
INCLUDED THE CREATIVE PAIRING
OF HISTORIC AND NEW MARKETS
TAX CREDITS, THE MUCH
ANTICIPATED RENOVATION OF ONE
OF THE LAST REMAINING ART DECO
THEATRES NORTH OF SAN
FRANCISCO WAS NOW IN SIGHT.
THIS THEATRE AND ITS ACOUSTIC
AND IT'S ATMOSPHERE IS TRULY
SPECIAL, IS TRULY ONE OF THE
MORE BEAUTIFUL REGIONAL
CONCERT HOUSES THAT I HAVE
EVER BEEN IN ANYWHERE IN THE
WORLD AND CERTAINLY THE
POTENTIAL OF A PROJECT LIKE
THIS AND A HOME FOR THE
SYMPHONY AND A RENOVATION OF
THIS BEAUTIFUL INSTITUTION IN
THIS CITY COULD BE SO
SIGNIFICANT.
ON NOVEMBER 22, 2005, IN A
FESTIVE CEREMONY MARKING THE
OFFICIAL CLOSING OF THE FOX
FOR RESTORATION, THE LIGHTS OF
THE NOW HOLLOW AND WORNOUT
ICON WERE EXTINGUISHED.
IN THE DARKNESS IT WAS EASY TO
IMAGINE THE STARS OF THE
THEATER'S PAST WAVING A FOND
FAREWELL AS THE CURTAIN CLOSED
ON WHAT HAD BEEN A GLORIOUS
FIRST ERA OF SERVICE FOR THE
PLACE SIMPLY KNOWN AS "THE
FOX"...
ONCE LIGHT WAS RESTORED
FOLLOWING THE THEATER'S
OFFICIAL CLOSING, THE FOX
RENOVATION PROJECT BECAME
REALITY.
FOR THE NEXT TWO YEARS THE
COMPELLING SIGHTS AND SOUNDS
OF PERFORMANCE THAT ONCE
FILLED THE THEATER WOULD BE
REPLACED BY THE SIGHTS AND
SOUNDS OF PROGRESS AND THE
PROMISE OF A FRESH START......
ONE OF THE KEY ISSUES WITH THE
FOX IS THAT IT WAS CHANGING
FROM A MOVIE THEATER TO A
PERFORMING ARTS FACILITY.
SO THAT MEANT A COUPLE THINGS.
AH, WITH AH, SYMPHONY
PERFORMANCE AH, IT'S MORE OF A
SOCIAL GATHERING EVENT THAN IT
IS WITH THE MOVIE THEATERS.
SO AH, LOBBY SPACE WAS
A BIG DEAL.
AND THEN THE SIGHT LINES
ARE DIFFERENT.
WHEN YOU'RE LOOKING AT A MOVIE
SCREEN VERSUS A
PERFORMANCE ON A STAGE.
ON THE MAIN FLOOR OF THE
AUDITORIUM LEVEL, AH, THAT WAS
A PRETTY EASY ONE TO FIX,
BECAUSE WE INCREASED THE SLOPE
OF THE SEATING LEVEL.
ON THE BALCONY IT WAS A
DIFFERENT STORY; THAT'S WHERE
THEY HAD IT TURNED INTO A
TRIPLEX THEATER.
THE BALCONY WAS DIVIDED IN
HALF AND THEY RECONFIGURED THE
RISERS THERE AT THAT TIME.
SO WHAT WE ENDED UP DOING WAS
CHIPPING AWAY ALL THE CONCRETE
THAT WAS ADDED, GETTING IT
BACK DOWN TO WHAT WAS
ORIGINAL, AND THEN ADDING A
LIGHT GAUGE STEEL FRAMED AH,
FLOOR SYSTEM TO IMPROVE THE
SIGHT LINES.
IN ADDITION TO THOSE THREE
ISSUES, PROVIDING SUPPORT
SPACES FOR A PERFORMING ARTS
FACILITY, AND ALSO, INSERTING
ALL OF THE MODERN SYSTEMS.
YOU THROW ALL THAT TOGETHER
WITH THE FACT THAT IT WAS A
HISTORICAL BUILDING MADE THIS
PROJECT A LITTLE MORE
COMPLICATED.
I WAS PRETTY IN AWE OF THE
WHOLE PROJECT WHEN I FIRST
ARRIVED ON SCENE.
AND I REALLY DIDN'T HAVE A
TRUE SCOPE OF THE WORK,
BECAUSE WHEN I, WHEN I FIRST
CAME HERE ORIGINALLY IT WAS
SELECTIVE DEMOLITION TO HELP
THE DESIGN TEAM.
AND AS WE GOT FURTHER INTO IT,
WE REALIZED WHAT WE WERE UP
AGAINST, AND IT WAS EVEN
GREATER THAN I THOUGHT IT
WOULD BE.
WITH MOST RENOVATION PROJECTS,
THE PROCESS OF REMOVING THE
OLD TO MAKE WAY FOR THE NEW IS
USUALLY SWIFT AND SURE.
HOWEVER GIVEN THE NATURE OF
THE FOX PROJECT, WHICH
INCLUDED THE ELEMENT OF
HISTORICAL RESTORATION, IT
WASN'T THAT SIMPLE...
ONE OF THE FIRST THINGS THAT I
SAW THAT I KNEW RIGHT OFF THE
BAT WE HAD TO PROTECT WAS
OBVIOUSLY THE ETCHED GLASS
RAILINGS IN THE LOBBY AND THE
MEZZANINE.
THOSE WERE WRAPPED AH, IN FOAM
TO PROTECT THEM.
WE HAD THE ENTIRE WALLS IN THE
LOBBY AREA AND THE MEZZANINE
COVERED IN 2-INCH RIGID
INSULATION, JUST TO KEEP
PEOPLE FROM BANGING INTO
THE WALLS.
THE LIGHT FIXTURES WERE
REMOVED PIECE BY PIECE AND
SENT OUT FOR RESTORATION, BUT
THE ORNATE PLASTER THAT
SUSPENDED THE LIGHT FIXTURES,
ONCE AGAIN WE HAD TO WRAP AND
COMPLETELY COVER IN FOAM.
THERE WAS A LOT OF TIME AND
EFFORT WENT IN FOR MONTHS JUST
GETTING THE BUILDING INTO A
POSITION TO WHERE WE COULD
ACTUALLY DO SOMETHING WITHOUT
DAMAGING ANYTHING.
ONE OF THE FIRST THINGS WE DID
AFTER WE STARTED TO DO OUR
LITTLE PROTECTION THING WITH
THE GLASS RAILS WAS WE WERE
TOLD TO GO AHEAD AND REMOVE
THE SEATS.
AHM, THIS WAS PART OF THE
GETTING READY TO DO SOME
SELECTIVE DEMOLITIONS FOR THE
DESIGN TEAM.
WE TRIED TO UNBOLT THEM, THE
BOLTS WERE SO RUSTY AH, IT GOT
TO THE POINT TO WHERE IT WAS
EASIER JUST TO SNAP THE BOLTS
OFF AND CUT THEM.
AHM, THEY HAD PEOPLE COMING IN
THAT WERE BUYING ROWS OF SEATS
TO PUT IN THEIR HOME THEATERS.
BECAUSE THE FOX PROJECT WAS
PARTIALLY FUNDED BY HISTORICAL
TAX CREDITS UNDER THE AUSPICES
OF THE NATIONAL PARK SERVICE,
THE NEW DESIGN OF THE FOX HAD
TO FOLLOW SPECIFIC HISTORIC
PRESERVATION GUIDELINES.
ONE ISSUE THAT SURFACED JUST
AS SELECTIVE DEMOLITION BEGAN
WAS THE PLACEMENT OF NEW AIR
HANDLING EQUIPMENT...
ONE OF OUR ORIGINAL PLANS WAS
TO HAVE SOME ROOFTOP MOUNTED
UNITS, AND THAT WAS NOT
SOMETHING THAT WAS ACCEPTABLE
TO THE NATIONAL PARKS SERVICE.
AND SO, WE TOOK AH, I THINK
EVERY BIT OF STORAGE SPACE
THAT WE HAD PREVIOUSLY PLANNED
IN THE BUILDING, AND FILLED IT
WITH MECHANICAL EQUIPMENT.
THE REDESIGN OF THE MECHANICAL
SYSTEM REQUIRED THAT WE HAD TO
ENLARGE THE THE ONE BIG
MECHANICAL ROOM THAT WE HAD,
WHICH MEANT WE HAD TO GO DOWN
INTO THE GROUND ABOUT 8 OR 9
FEET, AND RE-ESTABLISH THE
FOUNDATION FOR THAT WHOLE
SOUTH SIDE OF THE BUILDING.
BY THE SPRING OF 2006, AFTER A
PAINSTAKING REDESIGN OF THE
BUILDING'S MECHANICAL SYSTEM,
THE FOX RENOVATION PROJECT WAS
BACK ON TRACK AND READY TO
BUST OUT...
WITH A GAPING HOLE NOW IN ITS
BACKSIDE, THE FULL SCALE
DEMOLITION NECESSARY TO
TRANSFORM THE FOX INTO A
MODERN PERFORMING ARTS CENTER
WAS UNDERWAY.
THIS MEANT GUTTING THE VARIOUS
STORE FRONTS ON THE NORTH AND
EAST ENDS OF THE BUILDING, AS
WELL AS WELL STRIPPING THE
THEATER, OLD EQUIPMENT AND
ALL, DOWN TO ITS ORIGINAL
BONES...
FOR MONTHS THAT'S ALL WE DID
WAS DEMOLITION.
WE HAD, FOUR GUYS ON
JACKHAMMERS.
WE HAD SOME SPECIAL EQUIPMENT
IN HERE THAT HAD JACKHAMMERS
ON THEM.
I COULDN'T EVEN BEGIN TO TELL
YOU HOW MANY CUBIC YARDS OF
CONCRETE WE TOOK OUT OF THIS
BUILDING.
AND NOT ONLY CONCRETE, IT WAS
PLUMBING, IT WAS ELECTRICAL,
IT WAS OLD FIXTURES, SHELVES.
AND THEN THE OLD HVAC SYSTEM
THAT WAS IN HERE, WE HAD TO
LITERALLY CUT THIS STUFF OUT
WITH A TORCH IN PIECES TO GET
IT OUT OF THE BUILDING, IT WAS
SO BIG.
AND AHM, WE ACTUALLY GOT THE
SQUIRREL CAGE OUT IN ONE
PIECE.
WHEN WE TIPPED IT UP ON EDGE
IT JUST WENT THROUGH THE
OPENING.
THROUGHOUT THE SUMMER OF 2006,
THE FOX RENOVATION SITE BUZZED
WITH ACTIVITY.
INSIDE, DEMOLITION HAD SPREAD
TO ALL FOUR CORNERS OF THE
BUILDING WHILE OUTSIDE MAJOR
WORK WAS IN PROGRESS TO
RESTORE AN AREA OF THE
BUILDING THE PUBLIC HARDLY
NOTICES, THE PARAPET.
IT WOULD TAKE NEARLY 4 MONTHS
TO REPAIR.
THE PARAPET IS AH, THE PART OF
THE BUILDING THAT STICKS UP
ABOVE THE ROOF DECK ON ALL
BUILDINGS, AND THAT'S WHERE
MOST OF THE DAMAGE IS ON MOST
OF OUR OLD BUILDINGS IN TOWN.
ON THE FOX, IT WAS BECAUSE THE
REBAR WAS TOO CLOSE TO THE
SURFACE GOT RUSTY, AND
EXPANDED AND BLEW UP THE
CONCRETE ALL ALONG THE TOP OF
THE PARAPET.
MOST OF THE REPAIRS WERE AHM
TO CUT IT BACK TO GOOD
CONCRETE AND FORM A MOLD TO
MAKE THE RIPPLES ON THE WALL.
AND THEN WHAT WE DID IS WE
BOLTED THOSE MOLDS TO THE WALL
WITH A STRAIGHT FORM BOARD ON
THE BACK TO MAKE THE FRONT
SURFACE MATCH THE OLD SURFACE.
AS SUMMER MELTED INTO FALL, A
THREE-STORY SCAFFOLDING WAS
ERECTED IN THE THEATER'S MAIN
LOBBY TO FACILITATE THE
RESTORATION OF NOT ONLY ONE OF
THE BUILDINGS MORE PROMINENT
FEATURES, THE LUMINOUS
STARBURST LIGHT FIXTURE, BUT
THE HISTORIC WALL AND CEILING
MURALS IN THIS SPACE AS WELL.
THIS DELICATE JOB AND ALL WORK
RELATED TO RESTORING THE
THEATER'S ORIGINAL ART DECO
ELEGANCE, WHETHER IT WAS ON
THE WALLS, CEILINGS OR EVEN ON
THE FLOORS WAS IN THE CREATIVE
HANDS OF JEFF GREENE AND HIS
STAFF FROM EVERGREENE PAINTING
COMPANY OUT OF NEW YORK...
JEFF GREENE WHEN WE CAME
THERE, CERTAIN AREAS HAD BEEN
PAINTED OVER, CERTAIN THINGS
HAD BEEN PAINTED OUT, CERTAIN
THINGS WERE ORIGINAL, BUT
THEY'D BEEN AGED WITH PATINA
ON THEM, SO WE HAD TO FIGURE
OUT HOW TO REGAIN THE BALANCE,
THE HARMONY OF ALL THE
INTERIOR DECORATIONS.
WHAT WAS THE ORIGINAL
DECORATOR'S OR THE ORIGINAL
ARCHITECT'S VISION?
SO THE WAY TO ACHIEVE THAT WAS
TO TAKE CHIPS OF PAINT, LOOK
AT THEM UNDER THE MICROSCOPE,
DETERMINE WHAT WAS THE PROPER
CHRONOLOGY, WHAT WERE THE
ORIGINAL LAYERS OR STRUCTURE,
WHICH COLORS FIT WITH WHICH
OTHER COLORS, SO THAT WE COULD
RE-HARMONIZE IT.
IN THE LOBBY THERE WERE THOSE
VERY LARGE SCROLLS WERE
PAINTED IN THE FOUR CORNERS
AROUND THE CENTRAL AH,
LIGHT FIXTURE.
THEY'D BEEN COMPLETELY
PAINTED OUT.
WE DID EXPOSURE WINDOWS, WHERE
WE TAKE OFF ONE LAYER OF PAINT
AT A TIME TO REVEAL WHAT'S
UNDERNEATH IT.
AND WE FOUND IT.
BUT IT WAS NOT PRACTICAL TO
REMOVE ALL THE PAINT IN ITS
ENTIRETY.
SO WE LOOKED AT HISTORIC
PHOTOGRAPHS, ESTABLISHED WHAT
IT LOOKED LIKE, WHAT THE
COLORS WERE, AND WE REPLICATED
THOSE FOUR CORNERS ON CANVAS
IN THE STUDIO AND PUT
THEM UP THERE.
THE TASK OF RESTORING THE
LOBBY CEILING, WHICH IN SOME
AREAS MEANT GLUING IT BACK
TOGETHER ALONG WITH PATCHING,
CLEANING AND PAINTING IT,
WOULD TAKE SEVERAL MONTHS TO
COMPLETE.
AT THE SAME TIME, WORKING
ALONGSIDE THE EVERGREENE CREW,
WERE A COUPLE OF SKILLED
ARTISANS FROM A LOCAL COMPANY
CALLED REFLECTION GLASS...
THE TWO MAJOR PROJECTS WE
WORKED ON WERE THE STARBURST
IN THE LOBBY IN THE CEILING
AND THE SUNBURST ABOVE
THE STAGE.
THE STARBURST, YOU KNOW, PART
OF THE HARDEST PROBLEM WITH
THAT WAS SOME OF THE WINDOWS
IN THAT WERE SO BIG.
GETTING THEM DOWN WITHOUT
BREAKING ANYTHING, GETTING
THEM BACK UP WITHOUT BREAKING
ANYTHING, ACTUALLY WORKING ON
THEM, WE COMPLETELY TOOK THOSE
ONES APART AND REBUILT THEM.
REPLACING PIECES THAT WERE
MISSING, THAT WERE BROKEN, WE
HAD TO DO SOME SPECIAL
GLUE-CHIPPING, WHICH IS A
PROCESS WHERE YOU ACTUALLY
SANDBLAST AND THEN GLUE-CHIP
THE GLASS.
AND IT WAS DIFFICULT, BUT IT
WAS MOSTLY JUST DIFFERENT.
AND TO SEE HOW THE ARTISTS
THAT DID THIS WORK ORIGINALLY
YEARS AGO, WAS FASCINATING.
BECAUSE GLASS WHEN IT'S
VERTICAL IS NOT VERY SAFE.
AND SO TO TRY AND GET THEM IN
PLACE AND GET THEM WIRED BACK
UP THE WAY THEY WERE
ORIGINALLY WIRED, TO SUPPORT
THEM FROM ABOVE, IT WAS JUST
VERY COMPLICATED.
SPEAKING OF COMPLICATED, WHILE
STEADY PROGRESS WAS BEING MADE
OUT IN THE LOBBY, WORK IN THE
MAIN HALL CONTINUED TO CENTER
AROUND REMOVING DEBRIS AS WELL
AS THE POURING OF A NEW
CONCRETE FLOOR IN THE AREA
UNDERNEATH THE BALCONY
DESTINED TO BECOME ADDITIONAL
LOBBY SPACE.
ONCE THIS FLOOR WAS IN, THE
FIRST SECTION OF WHAT WOULD BE
A FIVE-STORY SCAFFOLDING MAZE
WITHIN THE MAIN HALL WOULD BE
ERECTED TO SUPPORT THE CEILING
BELOW THE BALCONY.
IT WAS THE BEGINNING STAGES OF
WHAT WOULD BECOME THE SINGLE
MOST DIFFICULT ASPECT OF THE
ENTIRE FOX RENOVATION
PROJECT...
THE CEILING IN BOTH THE MAIN
HALL AND THE CEILING BELOW THE
BALCONY, WERE HISTORIC PLASTER
CEILINGS, AND IT WAS VERY
IMPORTANT THAT WE SAVE THOSE.
THE ONLY PROBLEM WAS IS THAT
THEY WERE ALL ATTACHED TO THE
EXISTING STRUCTURE BY A A
FOREST OF WIRES.
WE KNEW IT WAS GONNA BE A
PROBLEM TO SOLVE IN BOTH
AREAS, BUT THE FIRST AREA WE
GOT INTO WAS ON THE BALCONY.
AND BECAUSE OF THE
RESTRUCTURING OF THE BALCONY
MEANT THAT WE HAD TO CUT
OUT CONCRETE.
WELL THIS CONCRETE IS WHAT WAS
HOLDING UP THE CEILING
BELOW IT.
SO WE HAD TO COME IN WITH NEW
STEEL STRUCTURE AND NOT DROP
ANYTHING THROUGH THE CEILING
BELOW YOU.
AND THEN THE NEXT THING ONCE
WE GOT THE STEEL PUT IN WE HAD
TO GET ALL THE DUCT WORK AND
ELECTRICAL WORK IN THAT SPACE
BETWEEN THE CEILING AND THE
STRUCTURE OF THE BALCONY,
WHICH MEANT THAT ALL OF THOSE
SUPPORT WIRES HAD TO BE CUT
OFF AND REATTACHED.
YEAH EVERYBODY WAS PRETTY
STRESSED OUT ABOUT THAT.
ONCE AGAIN, WHEN WE SUSPENDED
THE CEILING, WE MADE SURE THAT
IT WAS WRAPPED IN INSULATION
AND FOAM AND PLYWOOD AND
COMPLETELY SUPPORTED.
AND ACTUALLY, WHEN WE TOOK IT
ALL DOWN, I WAS PRETTY
IMPRESSED IT WAS IN AS GOOD A
SHAPE AS IT WAS.
WHILE THE BALCONY CEILING
PROVIDED THE CONSTRUCTION CREW
A STEEP CHALLENGE, IT PALED IN
COMPARISON TO THE ORNATE
40,000- POUND PLASTER CEILING
SPANNING THE ENTIRE
AUDITORIUM...
THIS MAJOR SIX-MONTH ORDEAL
BEGAN SHORTLY AFTER THE
POURING OF THE MAIN FLOOR JUST
TWO MONTHS INTO THE NEW YEAR
OF 2007.
AND ONCE AGAIN, IT COMES BACK
TO THE PRESERVATION ISSUE AND
THE FACT THAT THERE ARE SO
MANY PARTS AND PIECES TO THE
CEILING, THAT NOBODY REALLY, I
DON'T THINK, UNDERSTOOD UNTIL
WE ACTUALLY GOT UP THERE AND
STARTED DOING IT, JUST HOW
DIFFICULT IT WAS GOING TO BE.
I'M NOT EXAGGERATING IF I SAY
THAT SOME OF THIS DUCT WORK IS
AS BIG AS A CITY BUS, UP ABOVE
THAT CEILING.
AND THE CEILING WAS SUPPORTED
BY THIS FOREST OF WIRES UP
THERE THAT WERE GOING TO BE
INTERRUPTED BY THE DUCT WORK.
SO WE HAD TO COME UP WITH A
SYSTEM THAT WHERE WE COULD CUT
ALL THE WIRES OFF UP ABOVE AND
RE-ATTACH THE CEILING WITH
STEEL,AND INSTALL THIS
DUCT WORK.
THE FIRST THING WE HAD TO DO
WAS RE-SUPPORT THE CEILING ON
THE SCAFFOLD.
THE SCAFFOLD WAS THERE
FOR TWO REASONS.
ONE IS TO TO WORK OFF OF AS A
PLATFORM, AND THE SECOND IT
WAS THERE TO SUPPORT THE
CEILING SO WE COULD TAKE ALL
THE WEIGHT OF THE CEILING ON
THE SCAFFOLD.
WELL, OBVIOUSLY AFTER THE
CEILING WAS SHORED AND WE WERE
COMFORTABLE WITH THAT, WE WENT
ABOVE THE CEILING AND COVERED
ALL THE COLD ROLL THAT
SUPPORTS THE PLASTER WITH
PLYWOOD TO GIVE US SOME KIND
OF A WORKING SURFACE.
THEN WE BEGAN TO REMOVE SOME
STRUCTURAL STEEL TO ALLOW US
TO PUT NEW I-BEAMS.
THERE WAS A LOT OF NEW I-BEAM
STEEL AND STRUCTURAL STEEL
THAT WENT UP THERE.
THE PROBLEM WAS HOW DO YOU GET
25-FOOT STEEL BEAMS THAT WEIGH
1200 LBS INTO AN AREA THAT'S,
YOU KNOW, ANYWHERE FROM 7 TO
20 FEET TALL, WHEN YOU CAN'T
COME DOWN AND YOU CAN'T GO UP?
SO WE DECIDED TO CUT A HOLE IN
THE SOUTH SIDE OF THE BUILDING
AT THE PROJECTION LEVEL
ELEVATION JUST ABOVE THE
CEILING.
AHM, WE GOT OUR STEEL IN, AND
THEN WE HUNG THE CEILING
FROM THAT.
BY THE TIME THE HISTORIC
AUDITORIUM CEILING WAS
REATTACHED AND MUCH OF THE AIR
HANDLING SYSTEM WAS IN PLACE,
IT WAS JULY AND A GOOD DEAL
HAD CHANGED AROUND THE FOX.
IN THE MAIN HALL THE CREW FROM
EVERGREENE, USING PARTS OF THE
SCAFFOLDING AS A PLATFORM, HAD
CLEANED AND REPAINTED MOST OF
THE COLORFUL WALL MURALS.
MOVING OUT TO THE MAIN LOBBY
THE SCAFFOLDING MAZE THAT ONCE
DOMINATED THIS SPACE WAS GONE
AND THE PROCESS OF RESTORING
WALL MURALS LEADING TO BOTH
THE LADIES AND MENS RESTROOMS
AS WELL AS THE CLEANING AND
REPAINTING OF CEILING ART WORK
IN THE LOBBY ENTRANCE AREAS
AND THE NEW FOUNDERS GALLERY
WERE WELL UNDERWAY.
MEANTIME, ON THE BUILDING'S
EXTERIOR, THE PROCESS OF
PREPARING ITS PEELING AND
CRUMBLING CONCRETE SURFACE FOR
A NEW PAINT JOB WAS
PROGRESSING.
IN ADDITION, NOW MISSING WERE
TWO OF THE THEATER'S
DISTINQUISHING FEATURES: ITS
OLD MARQUEE AND THE ORIGINAL
ROTATING "FOX" SIGN, WHOSE
PLUCKING FROM THE ROOF EARLIER
IN THE SPRING BY A SIGN
COMPANY OUT OF BOISE, IDAHO
PRODUCED QUITE A SHOW...
WELL, YOUNG ELECTRIC SIGN,
BECAUSE THEY WERE GOING TO
REBUILD THE SIGN, THEY WERE
VERY CAREFUL IN
TAKING IT DOWN.
IF THEY'D RECOGNIZED HOW BAD A
SHAPE IT WAS IN, THEY PROBABLY
WOULDN'T HAVE BEEN SO CAREFUL
TAKING IT DOWN, BUT THEY
CAREFULLY TOOK IT DOWN
THINKING THAT IT WOULD
BE RESTORED.
SO IT MEANT HAVING TO SHUT
DOWN LINCOLN STREET IN
DOWNTOWN AND BRING IN A
BIG CRANE.
IT HAD LESS THAN A FOOT OF
BOOM LEFT IN IT WHEN THEY
FINALLY GOT IT PICKED OFF.
THE INTERESTING THING WAS THAT
THE PIGEONS HAD BEEN LIVING IN
THAT TOWER FOR 75 YEARS.
AND THEY ACTUALLY FOUND WHEN
THEY GOT TO BOISE THEY STILL
HAD PIGEONS LIVING INSIDE
THE TOWER.
IN THE END THE OLD SIGN WOULD
BE USED AS A TEMPLATE TO BUILD
A REPLICA THAT WOULD BE
HOISTED BACK ON THE ROOF 5
MONTHS LATER...
THE BUILDING OF A NEW FOX SIGN
AS WELL TWO NEW MARQUEES IN
BOISE WAS A SHINING EXAMPLE OF
SOME OF THE FOX RENOVATION
WORK THAT WAS HAPPENING
OFFSITE...
ANOTHER INVOLVED THE
RESTORATION OF MANY OF THE
THEATER'S HISTORIC LIGHT
FIXTURES
WE WERE REALLY
FORTUNATE CAUSE WE WE'D DONE A
NATIONAL SEARCH FOR COMPANIES
THAT COULD DO THE RESTORATION
OF THESE THESE PRICELESS
LIGHT FIXTURES.
WE WERE TOLD BY THE EXPERTS
THAT WE DIDN'T HAVE ANY OF
THAT KIND OF LOCAL TALENT.
WELL WE FOUND LOCAL TALENT IN
REVIVAL LIGHTING.
THEY'RE LIKE EVERYBODY ELSE.
THEY'VE TAKEN THIS PROJECT
TO HEART.
WITH ITS SMALL STAFF EVERYONE
AT REVIVAL LIGHTING PLAYED A
ROLE IN HELPING TO EITHER
RESTORE, REPLICATE OR CREATE
NEW FIXTURES FOR THE FOX.
ONE OF THE PRINCIPAL ARTISANS
RESPONSIBLE FOR RESTORING MANY
OF THE THEATERS ORIGINAL
FIXTURES WAS MORGAN
SCOFIELD...
THIS ONE AND FOUR OTHERS THAT
MATCH WERE SOME OF THE MAIN
LIGHTING IN THE AUDITORIUM.
AS YOU CAN SEE, THIS ONE'S IN
PRETTY BAD SHAPE.
SOMEONE ATTACKED THIS WITH
SOME SODA AT ONE POINT, I
DON'T KNOW HOW OLD IT IS, BUT
IT'S PRETTY OLD.
I'M GONNA SOAK IT IN WATER FOR
AS LONG AS I CAN.
WE HAVE A STRONGER CLEANING
SOLVENTS, BUT THE FINISHES ARE
KIND OF TOUCHY ON THESE, SO WE
JUST USE SOAP AND WATER.
IT'LL BE COMPLETELY TAKEN
APART.
SOME OF THESE FINS ARE GOING
TO BE SPLINTED BACK ON.
THESE FINS HOLD UP THE BLADES
OF GLASS THAT ACCENT THE
FIXTURE.
BUT THEY HAVE BEEN BROKEN, SO
THEY'LL HAVE TO BE REATTACHED
TO THIS MAIN BODY PIECE.
ALL THE WIRING INSIDE WILL BE
REPLACED.
ALL THE PORCELAIN SOCKETS WILL
BE REPLACED WITH NEWER MORE
EFFICIENT ONES.
WORKING IN CONJUNCTION WITH
REVIVAL LIGHTING WAS ANOTHER
LOCAL GLASS ARTISAN,
JUDY KLIER.
FROM HER STUDIO IN COLBERT,
WASHINGTON, JUDY REPLICATED A
VARIETY OF CARVED AND ETCHED
GLASS PIECES FOR THE FOX,
INCLUDING PIECES FOR THE
BUILDING'S NEW & OLD LIGHT
FIXTURES, CEILING STARS
AND ENTRY DOORS.
SHE EVEN CREATED ORIGINAL
GLASS PIECES FOR THE MAIN
LOBBY'S NEW BAR AREA.
HER BIGGEST CHALLENGE WAS THE
REPRODUCTION OF FOUR OF THESE
EXQUISITE GLASS PANELS MISSING
FROM THE FOX THEATER'S
GRACEFUL, ONE- OF- A- KIND
STAIRCASE...
I HAVE A COMPUTER PROGRAM THAT
I USED AND I SCANNED THE
ACTUAL PIECE INTO THE COMPUTER
AND THEN I WAS ABLE TO AHM,
HAVE THAT STENCIL MADE AND
THEN USE THAT TO RECREATE THE
PATTERN.
THE ORIGINAL PIECES WERE
SANDBLASTED AND THEY WERE ALSO
WHEEL ETCHED.
WHICH I DON'T DO THE WHEEL
ETCHING, BUT I WAS ABLE TO USE
SANDBLASTING AND RECREATE THE
LOOK OF THE WHEEL ETCHING.
I WAS PRETTY HAPPY WITH HOW
THEY ALL TURNED OUT AND SEEMED
TO MATCH PRETTY WELL,
IN MANY WAYS THE FOX
RENOVATION PROJECT WAS LIKE A
MASSIVE JIGSAW PUZZLE WITH
THOUSANDS OF PIECES.
AND WHETHER THEY WERE NEWLY
RESTORED OR REPLICATED
HISTORIC PIECES, OR COMPLETELY
BRAND NEW, EACH PIECE
DELIVERED BY THE VARIOUS
ARTISANS INVOLVED WAS
SIGNIFICANT.
AS AUGUST 2007 APPROACHED, A
NUMBER OF THESE PIECES WERE
NOW STARTING TO ARRIVE ONSITE
READY TO BE PUT IN THEIR
PLACES.
ONE AREA WHERE THE
INSTALLATION OF A NUMBER OF
INTRICATE PIECES WAS NECESSARY
TO COMPLETE ITS RESTORATION
WAS THE ORNATE CEILING ABOVE
THE AUDITORIUM...
ONCE WE GOT THE CEILING
RE-ATTACHED TO THE POINT WHERE
WE COULD TAKE THE FIRST LAYER
OFF AND GET THE SHORING OUT OF
THE WAY, THEN ALL OF THE WORK
BELOW FOR THE RESTORATION OF
THE CEILING, AND EVERYTHING
ELSE THAT HAD TO BE DONE
COULD GO ON.
I'LL REMIND YOU THAT ONE OF
THE ORIGINAL PROPOSALS IN THE
DESIGN PROCESS WAS IT WOULD BE
CHEAPER AND EASIER TO SIMPLY
TAKE THAT CEILING OUT OF THERE
COMPLETELY, AND THEN PUT A NEW
CEILING AND REPLICATE IT.
AND WE ADVOCATED VERY
STRONGLY, NO, THIS IS AN
ORIGINAL CEILING, IT'S IN GOOD
SHAPE, YOU CAN MAINTAIN IT,
YOU HAVE TO PRESERVE IT.
AND ULTIMATELY WE WON
THAT ARGUMENT.
AS FEARED, DUE TO ITS AGE AND
6 MONTHS OF EXTENSIVE
CONSTRUCTION ABOVE IT, THE
RESTORATION OF THE HISTORIC
AUDITORIUM CEILING WOULD
DEMAND ALL THE CREATIVE
ABILITY THE CREW FROM
EVERGREENE PAINTING COULD
MUSTER...
EARLY ON, FOLLOWING THE
REMOVAL OF SHORING IN MID
JULY, THIS MEANT WIDESPREAD
PATCHING & GLUEING OF THE
CEILING TO REPAIR
CONSTRUCTION DAMAGE.
THEN, ONCE THIS WORK WAS
COMPLETED, THE FOCUS SHIFTED
TOWARDS THE PROCESS OF
CLEANING AND REPAINTING THE
CEILING MURALS JUST LIKE THE
WALL MURALS EARLIER.
BECAUSE THE WALL TEXTURE WAS
SO THICK, AH, AND THE PAINT
WAS ORIGINALLY A GLUE-BASED
PAINT MADE FROM AH, ANIMAL
SKINS OR SOMETHING LIKE THAT,
VERY WEAKLY BOUND PAINT.
AH, SO YOU COULDN'T CLEAN IT
WITH ANYTHING AQUEOUS.
WE HAD TO DO A LOT OF PATCHING
AND PLASTERING, AND IT WASN'T
PRACTICAL AT THAT POINT TO
SIMPLY CONSERVE IT AND CLEAN
IT, AND IT ENDED UP BEING
LARGELY REINSTATED.
BEYOND THE ABILITY TO APPLY
PLASTER AND A FRESH COAT OF
PAINT, THE PRESERVATION OF
EVERY ELABORATE DETAIL IN THE
AUDITORIUM CEILING REQUIRED A
WIDE RANGE OF SKILLSETS...
THESE LOVELY THREE DIMENSIONAL
GLASS STARS DOTTING THE
CEILING WERE JUST ONE
EXAMPLE...
INITIALLY WE THOUGHT THEY WERE
GALVANIZED METAL.
AND WHEN WE GOT UP THERE WE
REALIZED THAT THEY WEREN'T
METAL, BUT THAT THEY WERE
ACTUALLY TRIANGULAR
SHEETS OF GLASS.
ONE SIDE WOULD BE A MIRROR,
THE OTHER SIDE WOULD BE WHAT
LOOKED LIKE GLUE-CHIP AND THEY
WERE HELD TOGETHER WITH A
LITTLE FINIAL AT THE END, AND
MY FOREMAN, MIKE CARPENTER,
PUTTING THEM BACK TOGETHER,
SAID IT WAS REALLY DIFFICULT
BECAUSE YOU HAD TO HOLD THEM
ALL IN PLACE WHILE YOU PUT
THIS LITTLE FIXTURE IN THERE,
AND THEY'RE ALL HELD TOGETHER
WITH JUST ONE SCREW.
IN THE END, WHILE THE
RESTORATION OF THE FOX
THEATER'S ORIGINAL AUDITORIUM
CEILING PROVED TEDIOUS AT
TIMES, ITS COMPLETION WOULD BE
A SOURCE OF PRIDE FOR ALL WHO
WORKED ON IT...
I'M SURE THAT THE CRAFTSMEN
WHO WORKED ON IT ORIGINALLY,
BROUGHT THIS, YOU KNOW, REALLY
VAST ARRAY OF KNOWLEDGE TO
COME TO BEAR ON THIS PROJECT.
AND YOU SEE THAT IN THE IN THE
VARIETY OF TECHNIQUES THAT
THEY EMPLOYED AND HOW THEY
BROUGHT IT ALL TOGETHER.
SO FOR US, IT'S THE
SAME THING.
THERE'S AN ENORMOUS
SATISFACTION IN REDISCOVERING
THESE TECHNIQUES, BRINGING
THEM TO BEAR, AND AND HAVING A
PROJECT THAT AT THE END OF THE
DAY, WHEN THE SCAFFOLDING
COMES DOWN, YOU SAY,
"LOOK AT THAT".
THE REMOVAL OF THE SCAFFOLDING
THAT CROWDED THE SPACE OVER
THE BALCONY AND PORTIONS OF
THE MAIN HALL FOR OVER SIX
MONTHS WAS A CRITICAL STEP IN
THE THEATER'S RENOVATION...
HUGE BECAUSE FALL WAS FAST
APPROACHING AND WITH IT THE
RECENTLY ANNOUNCED GRAND
OPENING DATE OF
NOVEMBER 17TH...
THE BIGGEST CHALLENGE FOR US
WAS THAT ONCE EVERYTHING
STARTED TO BREAK DOWN, WE HAD
TO MAKE SURE THAT EVERY ASPECT
OF THAT CEILING WAS 100% AS
WE CAME DOWN.
SO WE HAD TO MAKE SURE THAT
AHM, NOT ONLY THE LIGHT
FIXTURES, BUT EVERY BIT OF
PAINTING AND RESTORATION WAS
COMPLETELY DONE, THE
HVAC SYSTEM WAS AH,
COMPLETELY DONE.
THE GRILLS WERE IN PLACE.
BECAUSE ONCE WE GOT DOWN,
THERE WAS NO GOING BACK UP.
NOW FREE OF SCAFFOLDING...
SERIOUS WORK TO REBUILD THE
BALCONY'S FLOOR AND RISERS
SOON BEGAN...
AS THE SPARKS FLEW IN WHAT WAS
NOW A WIDE OPEN BALCONY THE
CENTER OF THE MAIN HALL
REMAINED CONGESTED WITH
SCAFFOLDING.
THIS WAS NECESSARY BECAUSE
THERE WAS STILL ONE MORE
EXTRAORDINARY, HISTORIC PIECE
OF THE CEILING THAT HAD TO BE
RESTORED...
FOR MONTHS THE ARTISANS AT
REFLECTION GLASS HAD BEEN BUSY
IN THEIR STUDIO RESTORING HUGE
GLASS PANELS THAT HAD BEEN
REMOVED MONTHS EARLIER FROM
ONE OF THE FOX THEATER'S MOST
REVERED FEATURES ...THE
DRAMATIC SUNBURST LIGHT
FIXTURE...
SUSAN KIM JUST THE ENORMITY OF
SOME OF THE PIECES IN THAT
SUNBURST WAS A BIG CHALLENGE.
WE DIDN'T ACTUALLY TAKE THOSE
ONES APART, ALL WE DID WAS
CLEAN THEM, PULL OUT BROKEN
PIECES AND REPLACE THOSE.
THERE WERE A LOT OF BB HOLES
AND DIFFERENT THINGS THAT YOU
COULDN'T EVEN SEE UNTIL WE GOT
THE DIRT OFF THE GLASS.
WE USED SOME DIFFERENT
CLEANING CHEMICALS, WATER,
SOAP, SCRUBBING, A LOT OF
SCRUBBING.
WHEN WE HAD TO PUT THEM BACK
IN, A LOT OF THE SCAFFOLDING
WE HAD WALKED DOWN TO GET THEM
OUT WAS NOT THERE ANYMORE.
SO TO TRY AND GET THEM BACK UP
ENDED UP BEING VERY
INTERESTING.
THEY ACTUALLY TOOK THEM UP
WITH A PULLEY, AND IT WAS FUN
TO WATCH.
I GUESS FUN'S THE RIGHT WORD.
THE 11 FOOT WINDOWS
ESPECIALLY, WERE VERY
DIFFICULT TO PUT ON, BECAUSE
THEY'RE BEING HELD AT AN ANGLE
SUPPORTED BY A PIECE OF METAL
ON THE FRONT FACE OF THE
WINDOWS, AND BOLTS THAT GO
STRAIGHT THROUGH THE LEADED
GLASS AND THROUGH THE METAL.
SO TO TRY AND GET 28 BOLTS
LINED UP WITH THE HOLES AND
GET THEM ON THERE, WAS VERY
COMPLICATED.
GLASS DOESN'T LIKE TO FLEX, SO
THERE WERE A FEW BREAKS.
WHICH WAS REALLY HARD TO
WATCH, BECAUSE WE'D SPENT SO
MUCH TIME WORKING ON GETTING
THEM PERFECTLY CLEAN,
PERFECTLY FIXED, AND BACK UP
THERE IN ONE PIECE.
IF WE HAD ANOTHER MONTH, WE
COULD HAVE REPAIRED THOSE
BROKEN PIECES, BUT THERE
WASN'T TIME FOR THAT.
SO THE BROKEN PIECES WERE
CAULKED AND FOR THE MOST PART,
THEY'RE FAR ENOUGH FROM THE
FLOOR THAT THEY SHOULDN'T BE
VERY NOTICEABLE.
ONCE ALL THE AUDITORIUM
RESTORATION WORK THAT REQUIRED
THE USE OF SCAFFOLDING WAS
FINISHED, WHAT SCAFFOLDING
REMAINED WAS HASTILY REMOVED.
IT WAS NOW OCTOBER AND WITH A
HARD DEADLINE LOOMING THE
ANXIETY LEVEL ALL AROUND THE
WORK SITE WAS PALPABLE...
THERE WERE A LOT OF
SLEEPLESS NIGHTS.
THERE WERE NIGHTS THAT I WOULD
WAKE UP 2 OR 3 TIMES AND
ACTUALLY WRITE THINGS DOWN.
AHM, I HAD SO MUCH GOING AND I
WAS BEING BOMBARDED FROM EVERY
SUB ON THIS PROJECT, BECAUSE
WE WERE STILL RUNNING INTO
PROBLEMS, STILL HAVING
DESIGN ISSUES.
IT SEEMED LIKE EVERY TIME THAT
I SAW THE LIGHT AT THE END OF
THE TUNNEL, IT TURNED OUT TO
BE A TRAIN, IT WAS ONE OF
THOSE THINGS, YOU KNOW, BUT IT
ALL CAME TOGETHER AND IT'S
BECAUSE OF THE TOTAL
TEAM EFFORT.
EVERY WEEK WE HAD NOT ONLY
PROGRESS MEETINGS WITH THE
DESIGN TEAM AND THE OWNERS,
BUT I PERSONALLY HAD MEETINGS
WITH THE FOREMEN FROM ALL THE
SUB CONTRACTORS.
AND AH, I THINK THAT THAT WAS
A CRITICAL PART OF IT.
BECAUSE WE NEEDED TO KNOW
WHERE WAS THE FLOW IN THE
BUILDING.
AND WHAT WAS OUR NEXT STEP.
AND THEN IF WE HAD ISSUES,
THEN WE WOULD TAKE THOSE TO
THE TABLE, TO THE DESIGN TEAM.
SO, HERE AGAIN, IT WAS IT WAS
A TOTAL TEAM EFFORT AND MY
ROLE WAS JUST TO KEEP
EVERYBODY MOVING FORWARD, IT'S
THAT SIMPLE.
ONE OF THE LOGISTICAL
NIGHTMARES FACING THE PROJECT
MANAGERS AS THE RENOVATION
HEADED TOWARDS THE FINISH LINE
WAS THE LAYING OF NEW CARPET.
THE LOBBY CARPET, WHICH WAS A
NEAR REPLICA OF THE ORIGINAL
1931 CARPET IN COLOR & DESIGN,
WAS THE LAST MAJOR PIECE OF
THE FOX RESTORATION PUZZLE TO
BE SET IN PLACE...
SOME OF THE ISSUES, AH,
ESPECIALLY WITH THE CARPET,
WAS THAT IT'S A DOUBLE GLUE
CARPET, WHICH MEANS THAT THEY
GLUE THE PAD DOWN, THEN THEY
GLUE THE CARPET TO THE PAD.
THE PROBLEM WITH THAT IS IT
CAN HAVE NO FOOT TRAFFIC ON IT
FOR 72 HOURS.
SO, WHEN WE TURNED IT OVER TO
THE CARPET GUY WE NEEDED TO
HAVE A PLAN TO BE WORKING
SOMEPLACE ELSE FOR AT LEAST
THREE DAYS TO ALLOW
THIS STUFF TO.
AND THEN ONCE IT WAS DOWN, WE
HAD TO COVER IT, WE COVERED IT
WITH MEAT PAPER AND PLYWOOD,
BECAUSE ANYTHING HEAVY THAT
SAT ON IT WILL CREATE A DIMPLE
IN THE CARPET.
SO THAT WAS A BIG DEAL.
FROM HANGING PRICELESS LIGHT
FIXTURES OF EVERY SIZE AND
SHAPE INSIDE TO INSTALLING
PLENTY OF NEON OUTSIDE IN THE
FORM OF A NEWLY REPLICATED
"FOX" SIGN AND TWO COLORFUL
MARQUEES, THE AMOUNT OF WORK
COMPLETED OVER THE LAST 60
DAYS OF THE PROJECT LEADING TO
THE SYMPHONY'S FIRST REHEARSAL
IN THEIR NEW HOME WAS
ASTOUNDING.
AT TIMES THERE WERE AS MANY AS
80 CONTRACTORS WORKING THE
SITE AT ONCE, AND ALL WITH ONE
COMMON GOAL... GET IT DONE...
I MEAN THERE WERE A THOUSAND
THINGS THAT HAD TO BE DONE IN
THE LAST 6-8 WEEKS.
AND AHM, THERE WAS MOMENTS
THERE THAT I HAD MY DOUBTS,
BUT I DIDN'T EXPRESS THEM.
THE CREW WAS OPTIMISTIC.
I MEAN THEY THEY'D SAY "GOD,
WE GOT A LOT OF TO DO".
BUT THEY NEVER SAID THEY
COULDN'T GET IT DONE.
I THINK TOWARDS THE END OF THE
PROJECT WHEN THE SEATS WERE
GOING IN AND THE WORK ON THE
STAGE WAS BEING DONE, THE
LIGHTS GOING IN THE SOUND
SYSTEM GOING IN, AND AH
KNOWING THAT WE WERE GETTING
READY FOR THE INITIAL
REHEARSALS THE END OF OCTOBER,
I THINK THAT'S THE BEST DAY I
FELT ON THE JOB.
ALTHOUGH THERE WAS A LOT OF
GOOD DAYS.
BUT HAVING THAT FIRST
REHEARSAL UNDER OUR BELT, THAT
WAS, THEN YOU KNEW YOU WERE
OVER THE HUMP.
IN WHAT SEEMED LIKE A BLINK OF
AN EYE WHAT EMERGED OUT OF THE
DUST AND FRENZY PRODUCED BY A
LAST SECOND PUSH TO GET THE
JOB DONE WAS A FULLY RESTORED
FOX THEATER FOR SPOKANE...
AN INVITING, ART DECO BUT
MODERN PERFORMING ARTS CENTER
COMPLETE WITH NEW & IMPROVED
SIGHTLINES, COMFORTABLE
SEATING FOR OVER 1700 GUESTS,
A MUCH-NEEDED STAGE CROSSOVER,
EXPANDED LOBBY SPACE, MORE
RESTROOMS, UPDATED DRESSING
ROOMS, AN ELEVATOR, AND EVEN A
BRAND NEW NAME, IN HONOR OF A
MAJOR CONTRIBUTOR WHOSE EARLY
GIFT WAS INSTRUMENTAL TO THE
PROJECT'S SUCCESS.
NOW, ALL THAT WAS LEFT TO DO
BEFORE OPENING NIGHT WAS TO
MOVE THE SYMPHONY IN AND
FINETUNE THE BUILDING...
THIS WOULD BE AN EXTREMELY
SENSITIVE TASK REQUIRING THE
EXPERTISE OF PROFESSIONALS
LIKE THE ACOUSTICAL ENGINEERS
FROM JAFFE/HOLDEN OUT OF
CONNECTICUT.
INTERESTINGLY, THE FOX IS
REALLY WHAT WE CALL A MOVIE
HOUSE, A 1930S ART DECO
MOVIE HOUSE.
AND SO THE ACOUSTIC DESIGN WAS
PRIMARILY TO REINFORCE AH,
SPEECH AND MUSIC THAT CAME
FROM BEHIND THE SCREEN.
WHEN YOU'RE DEALING WITH A
SYMPHONY, YOU'VE GOT 80 OR 100
DIFFERENT SOUND SOURCES,
INSTRUMENTS ON STAGE, WHICH
ARE PROJECTING IN MANY
DIFFERENT DIRECTIONS.
AND ONE OF THE THINGS THAT WE
NEEDED TO CALCULATE AND TO
COME UP WITH AH, A DESIGN, A
CONCEPT THAT WOULD TRANSFORM
THE ACOUSTICS FROM A FILM
SOUND ROOM INTO A MORE OF A
SYMPHONIC ROOM.
FOR THE NEW FOX THIS MEANT THE
INSTALLATION OF AN ULTRA QUIET
AIR HANDLING SYSTEM, THE
REMOVAL OF SEATING UNDER THE
BALCONY WHERE ACOUSTICS WERE
POOR, AND MAKING SURE EVERY
SURFACE WITHIN THE MAIN HALL
WAS SOUND FRIENDLY...
EVERY SURFACE PLAYS A PART IN
THE ACOUSTICS.
YOU CAN PAINT IT ANY COLOR YOU
WANT, BUT THE MATERIAL, THE
TEXTURES ON THE WALLS, THE
FABRIC ON THE SEATS, AND IF
YOU LOOK AT THE SEATS VERY
CAREFULLY, THE BACKS ARE MADE
OF WOOD, THAT'S FOR
ACOUSTIC REASONS.
SO EVERYTHING IN THE ROOM FROM
THE ORCHESTRA SHELL ON STAGE
TO THE CARPETING TO HOW THE
BALCONY WAS REBUILT WAS
TOTALLY TESTED TO MAKE SURE IT
WAS THE RIGHT ACOUSTIC
MATERIAL.
ONCE ALL THE ACOUSTIC
CHALLENGES PRESENTED BY THE
FOX WERE ADDRESSED EITHER WITH
DESIGN OR SURFACE TREATMENT,
THE NEXT STEP IN TUNING THE
BUILDING FOR OPTIMUM SOUND WAS
MORE SUBJECTIVE...
WELL, IT'S A COLLABORATIVE
PROCESS AND WE WE'RE WORKING
WITH THE MAESTRO ON THIS, AS
WELL AS OTHER MUSICIANS AND
AND MY ASSOCIATES, AHM, AND
TOGETHER WE'RE AH, LISTENING
TO VARIOUS DIFFERENT PARTS OF
THE ORCHESTRA.
BECAUSE IT REALLY IS A PROCESS
OF SUBJECTIVE LISTENING THAT
FINE TUNES IT ALL.
WE CAN DO ALL THE OBJECTIVE
CALCULATIONS AND NUMBERS, BUT
WHEN IT REALLY COMES DOWN TO
IT, IT HAS TO DO WITH HUMAN
SUBJECTIVITY.
AND OUR EARS ARE MUCH MORE
SENSITIVE THAN ANY INSTRUMENT
DESIGNED TO MEASURE SOUND.
MAESTRO ECKART IS AHM, HE'S
REALLY STARTING TO FEEL VERY
POSITIVE ABOUT, JUST ABOUT
EVERYTHING.
IT'S JUST A PHENOMENAL SPACE.
I MEAN WE ARE SO HAPPY BECAUSE
IT JUST SOUNDS SO GREAT AND A
HALL IS AN INSTRUMENT.
I MEAN YOU ALWAYS PLAY WITH
THE ACOUSTICS THAT THE HALL
PROVIDES.
AND SO THIS HALL IS JUST
PHENOMENAL BECAUSE YOU GET ALL
THIS FEEDBACK FROM THE HALL
AND YOU CAN ACTUALLY PLAY WITH
THE SOUND AND YOU CAN TEST
CERTAIN THINGS OUT.
AND SO THAT IS THE MAIN THING
THAT WE REALLY HAVE A HALL
THAT SOUNDS GREAT, AND I THINK
IT WILL RAISE US TO A
DIFFERENT LEVEL.
I MEAN, YOU ALWAYS HAVE TO
PLAY TO THE LEVEL OF THE HALL.
IF THE IF THE HALL AHM, IS
ACOUSTICALLY GREAT, THEN YOU
HAVE TO LIVE UP TO THAT.
RALPH WALDO EMERSON ONCE SAID,
"THE REWARD OF A THING WELL
DONE IS TO HAVE DONE IT...
AFTER 7 YRS OF PLANNING,
FUNDRAISING AND EXTRAORDINARY
EFFORT TO RESTORE AND
RENOVATE, THE TALE OF THE FOX,
FOLLOWING SOME LAST MINUTE
TOUCH UP, WAS ABOUT TO COME
FULL CIRCLE.
ON SATURDAY NOVEMBER 17TH
2007, SPOKANE'S FOX THEATER,
FOR A SECOND TIME IN IT'S LONG
HISTORY, WOULD CELEBRATE A
GRAND OPENING...
LIKE THE ORIGINAL IN 1931, THE
TWENTY FIRST CENTURY VERSION
WOULD BE QUITE A GALA...
IT WAS A WEEKEND AFFAIR
HIGHLIGHTED ON SATURDAY BY A
RIBBON CUTTING CEREMONY HOSTED
BY THE STATE GOVERNOR.
THEN ON SUNDAY THERE WAS A
SPECIAL COMMUNITY DAY
FEATURING A VARIETY OF
CULTURAL PERFORMANCES, WHICH
THE NEW FOX IS LOOKING TO BE A
CENTER FOR IN THE FUTURE.
IN ADDITION, THE SPOKANE
SYMPHONY CLOSED OUT EACH
EVENING OF THE CELEBRATION
WITH AN INSPIRED PERFORMANCE
THAT YOU WOULD EXPECT FROM AN
ORGANIZATON THAT HAD JUST
FOUND NEW MEANING TO THE
WORDS, "THERE'S NO PLACE
LIKE HOME."
IN MANY WAYS, IT WAS THE
PERFECT SETTING TO MARK THE
END OF AN INCREDIBLY LONG
JOURNEY FOR THE PLACE SIMPLY
KNOWN AS "THE FOX"...
YET, FOR ALL WHO WERE THERE TO
BEAR WITNESS TO THE THEATER'S
NEW INCARNATION, IT WAS
OBVIOUS AS THEY SOAKED UP
EVERY SYMPHONIC NOTE
RESONATING WITH CLARITY OFF
THE BEAUTIFULLY RESTORED ART
DECO SURROUNDINGS, THAT THIS
WAS NOT THE END, BUT RATHER
JUST THE BEGINNING FOR WHAT
WAS NOW, SPOKANE'S 21ST
CENTURY FOX...
IT'S SUCH AN IMPORTANT PLACE
FOR ME AND I THINK IT'S SUCH
AN IMPORTANT PLACE FOR
SPOKANE.
I MEAN, THESE ARE THE THEATERS
THAT CAN MAKE THE IDENTITY OF
A CITY SO MUCH MORE UNIQUE AND
IMPORTANT.
AND IT'S SUCH AN AN IMPORTANT
PART OF THE HISTORY OF
SPOKANE, AND MY HISTORY, SO
IT'S IT'S LIKE A PERFECT
MARRIAGE OF THAT.
I THINK THAT YOU CAN YOU CAN
WORK WITH ARCHITECTS AND YOU
CAN WORK WITH CONTRACTORS, AND
YOU CAN HAVE AN IDEA KNOWING
WHAT THE BUILDING LOOKED LIKE,
OF WHAT IT CAN LOOK LIKE, BUT
UNTIL ALL OF IT COMES
TOGETHER, YOU REALLY HAVE NO
IDEA, AND WITH THIS PARTICULAR
PROJECT, WE'VE WORKED WITH A
WONDERFUL TEAM OF BOTH
NATIONAL EXPERTS AND
LOCAL EXPERTS.
AND IT'S BEEN DELIGHTFUL TO
SEE ALL OF THE PARTS COME
TOGETHER AND THE SUM IS MUCH
MORE THAN THE PARTS.
IT'S JUST BEEN A AMAZING
TRANSFORMATION.
WE HAVE A NICHE IN THE
HISTORICAL RENOVATION SIDE OF
THINGS, AND WE ALWAYS ENJOY
BEING ABLE TO BRING OLD
BUILDINGS BACK TO LIFE.
IT'S IMPORTANT TO DO SO.
I THINK THIS IS ONE THAT AH,
THAT SPOKANE IS GOING TO
RELISH BRINGING BACK TO LIFE
FOR A LONG LONG TIME.
I THINK BRINGING A A MOVIE
HOUSE AH, OF THIS TYPE AND
TURNING IT INTO A SYMPHONIC
ROOM AND A MULTI-USE
PERFORMANCE CENTER FOR ALL
EVENTS, IS AN INCREDIBLY
POSITIVE USE OF A RESOURCE
THAT'S IN THE COMMUNITY, AND
IT'S GONNA BE HERE FOR ANOTHER
50 OR 100 YEARS.
AH, AND IT'S, I THINK IT'S
SOMETHING PEOPLE WILL REALLY
LOOK AROUND AND SAY, WOW, THIS
IS A MAGNIFICENT BUILDING,
AND THIS IS A TREASURE
FOR SPOKANE.
WHEN THE JOB IS DONE, WE KNOW
THE DOORS OPEN AND
OUR JOB IS DONE.
THEN THE REAL WORK
STARTS RIGHT.
SO ON ONE LEVEL, YOU KNOW,
DOES IT LOOK RIGHT, DOES IT
FUNCTION RIGHT, DOES IT CREATE
A FEELING IN THE PLACE THROUGH
THE PAINT THAT'S ONE LEVEL.
BUT THAT'S WHERE OUR JOB ENDS.
THEN THERE'S ANOTHER JOB THAT
GOES ON, WHICH IS REALLY THE
MEASURE OF THE SUCCESS OF THE
PROJECT IS IF THE COMMUNITY
EMBRACES IT, AND
IT'S UTILIZED.
AND SO, HOPEFULLY, IF THE FOX
BECOMES SOMETHING THAT IS
RECOGNIZABLE AS A
REPRESENTATION OF THE VITALITY
OF THIS CITY, THEN IT'S
REALLY ALIVE.
THEN IT IS REALLY REBORN AND
HAS ITS OWN LIFE.
COMPARING CONCERT HALLS IN
GENERAL, ALL OVER THE WORLD,
IT'S VERY DIFFICULT TO FIND
CONCERT HALLS THAT ARE THAT
INSPIRING AND THAT BEAUTIFUL.
I MEAN, THERE ARE SO MANY DULL
CONCERT HALLS, AND HERE IT'S
JUST VERY VERY UNIQUE.
NOT ONLY FOR AMERICA BUT I
THINK ALL OVER THE WORLD.
I THINK FOR SPOKANE, IT'S JUST
REALLY, I MEAN IT'S SOMETHING
TO BE VERY VERY PROUD OF.
YOU MAY ORDER YOUR OWN COPY OF
THIS PROGRAM BY CALLING
1-800-735-2377.
OR BY VISITING OUR SECURE
WEBSITE AT KSPS.ORG
"SPOKANE'S TWENTY-FIRST CENTURY
FOX" IS A PRESENTATION OF KSPS
PUBLIC TELEVISION, AND PRODUCED
WITH THE SUPPORT OF THESE
COMMUNITY PARTNERS...
TOMLISON, WE'RE RIGHT AT HOME
IN THE INLAND NORTHWEST.
COLDWELL BANKER TOMLISON
SERVING MOSES LAKE AND THE
TRI-CITIES, WASHINGTON. BOISE,
LEWISTON AND MOSOCW, IDAHO.
TOMLISON SOTHEBY'S
INTERNATIONAL
REALTY SERVING SANDPOINT AND
COEUR D'ALENE, IDAHO.
TOMLISON REAL ESTATE IN SPOKANE
SERVING ALL YOUR REAL ESTATE
NEEDS THROUGHOUT THE
INLAND NORTHWEST.
SINCE 1974, INLAND NORTHWEST
COMMUNITY FOUNDATION HAS BEEN
CONNECTING PEOPLE WHO CARE WITH
CAUSES THAT MATTER. TOGETHER WE
HAVE IMPROVED COMMUNITIES WITH
GRANTS FOR EDUCATION, THE ARTS,
HUMAN SERVICES, THE ENVIRONMENT
AND ECONOMIC DEVELOPMENT.
WE ARE YOUR COMMUNITY
FOUNDATION.
JOHNSTON-FIX FOUNDATION
WALKER CONSTRUCTION, SERVING
THE COMMUNITY'S CONSTRUCTION
NEEDS SINCE 1983, IS PROUD TO
BE THE GENERAL CONTRACTOR FOR
THE RENOVATION OF SPOKANE'S
HISTORIC FOX THEATRE.
AND BY VIEWERS LIKE YOU...
MEMBERS OF THE FRIENDS OF
SEVEN.