Greater Boston Chapter
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Greater Boston Chapter |
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Stephen Landrigan 215 Willow Street West Roxbury, MA 02132 USA Telephone: 617-325-9386 landrigans@ aol.com
22 January, 2003
Elaine Moran The Acoustical Society of America 2 Huntington Quadrangle Melville, NY 11747-4502 Dear Ms. Moran, As I mentioned in our telephone conversation earlier today, I am seeking information about Wallace Sabine and his possible involvement in the acoustical design of a theatre in Boston that has long been known as The Gaiety, but which was called the New Lyceum at the time of its construction. The theatre was designed by architect Clarence Blackall and constructed in 1908. Blackall designed more than a dozen other Boston theatres. Sabine is known to have worked with him on several of them. Dr. David Griesinger, a Boston-based acoustical engineer, has recently conducted tests in The Gaiety and discovered that its acoustics rank with those of Boston’s Symphony Hall and Jordan Hall. He also found several structural evidences that point to Sabine’s being actively involved in the theatre’s design. The high quality of the acoustics has come as a surprise to all. The theatre has been closed for more than 20 years. It showed adult and kung-fu films for the 20 years before that. No live performance has been held there since before World War II. The theatre is now in danger of being torn down to make way for an apartment complex. But a group of us who have come together to try to save the theatre believe that if we can document any involvement in its construction by Sabine, we stand a good chance of keeping it. Structurally, the theatre is in excellent condition. There is no reason why it could not be incorporated into the design of the new building. But we are facing a very short deadline. The Boston Landmarks Commission is presently giving the theatre a final look. They will submit a report to the City of Boston in six to eight weeks. We are eager to strengthen their argument for preserving the theatre by demonstrating a Sabine connection. Would any of your members know of any documentation that either links Sabine directly to the design of The Gaiety/New Lyceum, or at least demonstrates an ongoing working relationship with architect Blackall? Indeed, does anyone know where Sabine’s papers are archived? Also, would any of your members who are knowledgeable about, or interested in the work of Wallace Sabine be willing to examine the theatre, and to offer their thoughts on his involvement in its design? I am enclosing a copy of the brief report on the acoustics of The Gaiety submitted by Dr. Griesinger. He conducted his tests at the request of the Friends of The Gaiety Theatre, an informal assemblage of folks who hate to see a fine theatre destroyed – especially at a time when Boston could well use another first-rate concert hall. Any help that you or your members can provide will be greatly welcomed. Again, I can not stress the urgency involved. The theatre very nearly was torn down in December. Had not a doctor at the Harvard School of Public Health who is interested in Boston’s architectural history noticed a small mention in the newspaper about The Gaiety’s impending demolition, it would have been gone by now. The stay of execution that he and others have managed to effect is brief. It would be a terrible shame to learn too late that this is indeed another one of Sabine’s masterworks.
All the best, Stephen Landrigan (via e-mail), Friends of the Gaiety Theatre |
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Acoustics at the Gaiety Theater By Dr. David Griesinger The Gaiety was built as a Vaudeville theater for programs that included both music and speech. As such, the Gaiety is larger than I would have expected. The shape is a rectangular shoe-box having two balconies with dimensions typical of a concert hall. I was surprised when I visited the theater to discover its large volume and general shape. It was not what I would have expected for a theater designed for the spoken word. It would seem to be better suited to music. There is evidence that the designers were aware of this difficulty, and took measures to reduce the reverberation time to the point where speech would be easily understood. Along the side walls above the first balcony are panels that are filled with horsehair padding, covered with a fabric that at one time would have been porous. These panels were clearly designed as sound absorbers, active above about 1 kHz. I infer from this that the hall was designed with the help of an acoustician. The work seems similar to the panels in Paine Hall at Harvard -- so I suspect Wallace Clement Sabine was involved. With the acoustic treatment in place I suspect the Gaiety would have an excellent compromise between acoustics for speech and acoustics for music. The design is particularly impressive for music, as there is an unusually high ceiling between the first balcony and the second balcony, and ample volume above the second balcony for a feeling of spaciousness around the music. In sum -- with modern seating the Gaiety would have a capacity of around 1500 seats. The reverberation time could be controlled by the same means employed in the original design. The result would be a music theater -- similar in many ways to Jordan Hall, but the acoustics in the Gaiety could be made less dependant on the size of the audience. The Gaiety could be an excellent venue for small operas particularly if the reverberation time at 1 kHz and above could be restored to its original value. The acoustics in Jordan hall are strongly dependent on the number of people who show up. When the hall is half-full the acoustics can be truly excellent for chamber music and small orchestra performances. As the hall fills up the acoustics become steadily dryer. When it is full the hall seems rather dead. With modern seating the Gaiety could have more uniform acoustics, with a reverberation time similar to Jordan when it was about 3/4 full. On the average people would be further away from the stage in the Gaiety than in Jordan. One of the great strengths of Jordan is its horseshoe shape, which puts the audience unusually close to the stage. The Gaiety would provide a somewhat more distant seating, but nowhere nearly as distant as Boston Symphony, which as we all know, is extremely well regarded acoustically. If you want another good music theater -- one that would work for small operas, chamber music, orchestra and choral performances -- the Gaiety would provide it.
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Friends of The GAIETY THEATRE PO Box 9 Boston, MA 02134
23 January, 2003
To My Friends in the Boston Music Community: The Gaiety Theatre, an historic music hall at the heart of the Boston theatre district, has recently been discovered to possess acoustics equal to those of Symphony Hall and Jordan Hall. This came to light as steps were being taken to tear down The Gaiety to make way for a 30-story apartment complex. The Gaiety has been closed for the past 20 years, and was a second-rate movie house for the 20 years before that. Nobody knew what an acoustical jewel it is. Most still do not. For the moment, the destruction of The Gaiety has been delayed to allow a last-minute review by the Boston Landmarks Commission. The Friends of the Gaiety Theatre are using this brief stay of execution to get the word out that Boston is on the verge of losing an exceptional performance space. Given the recent revelations about the acoustics, my hope is that you and members of your organization would be willing to join us in making the case to the City that this new information warrants giving the Gaiety a second look. Boston would greatly benefit from having another first-rate concert hall. Any plans to destroy the theatre should be put on hold until the music community can consider the issue.
The Gaiety was designed by Clarence Blackall, who also designed the Colonial, the Wilbur, and the Wang, as well as many other Boston theatres that have been demolished. He was assisted in some of his designs by Wallace Sabine, the Harvard professor who is generally considered the founder of interior acoustical science. Sabine is credited with creating the exquisite acoustics in Symphony Hall. The recent acoustical tests that have revealed the Gaiety’s exceptional sound properties were conducted by Dr. David Griesinger, a Harvard-trained physicist and a world expert in theatrical acoustics. A copy of Dr. Griesinger’s report is attached. Please note especially the last paragraph, which states: "If you want another good music theatre – one that would work for small operas, chamber music, orchestra and choral performances – the Gaiety would provide it." If the Gaiety is to be saved, it important that all those who value hearing good music performed in worthy surroundings make their feelings known without delay. Therefore, I urgently request that you write to Mayor Thomas Menino immediately. We have very little time to make our case. Letters should be addressed to: Mayor Thomas Menino, City Hall, Boston, MA, 02201. If you would be so kind to send a copy of your letter to me, I would value having it. If you have any questions, or would like further information regarding the Gaiety, please do not hesitate to contact me. Yours truly, Dr. John Little, President, Friends of the Gaiety
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February 6, 2003 Honorable Thomas M. Menino Subject: Gaiety Theatre, Boston Dear Mr. Mayor, I am a lifelong resident of the Greater Boston area, born in Dorchester and educated in the Boston Public Schools (English High School 1946) and at MIT (B Arch 1951). I have worked in acoustical consulting continuously since my military service during the Korean War, for the past 48 years, first for 17 years with the internationally prestigious Cambridge firm, Bolt Beranek and Newman, Inc. and, since 1970, in my own independent consulting practice. I have served as consultant on the acoustics of a great many new and refurbished buildings in the Greater Boston area and throughout the United States and abroad. I have recently learned that the Gaiety Theatre which was originally designated the Boston Lyceum Theatre is about to be torn down to make way for a new development in the lower Washington Street Theatre District. To destroy this valuable cultural resource in a city that has a renowned reputation for preserving its historic buildings would be a travesty. The Gaiety Theatre should be restored and made part of this important development project. The loss of this moderate sized performance hall whose acoustics were designed by the late Harvard Professor Wallace C. Sabine at the turn of the 20th century rank with that of Boston's famous Symphony Hall whose acoustics he also designed. Indeed, Wallace Sabine is regarded as the father of the discipline of architectural acoustics practiced by countless scientists, engineers and consultants, like myself, throughout the world. And like the American Revolution itself, it all began in Boston. I respectfully urge that you support the efforts underway by the Friends of the Gaiety to save this valuable theatre for the enjoyment of the people of Boston for decades ahead. Sincerely,
William J. Cavanaugh Fellow, Acoustical Society of America
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The Honorable Mayor Thomas M. Menino One Dear Mayor Menino:
I have just learned of the existence in
I strongly urge you to take the steps needed to preserve this theater
and to assist some coalition of local musical organizations and others
to find the money to renovate it. I know that Stephen Landrigan
(email Landrigans@aol.com) has
contacted you. Because of my age, I do not feel that I could take
leadership in the saving of this theater, but I am sure that Landrigan
will be a good person to start with. Sincerely, Leo L. Beranek (Former President of Bolt Beranek Newman, Inc. BBN)
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