The Old Grey Lady Flashes the Bard

09Aug08

Shakespeare Theater

Aye, There’s the Rub: Would the Bard Pay?
Thomas McDonald for The New York Times

Stratford hopes to reopen the Stratford Shakespeare theater.

STRATFORD

Thomas McDonald for The New York Times

The theater is modeled on Shakespeare’s original Globe theater.

HERE is, as Shakespeare said in another context, a tale told by an idiot full of sound and fury signifying nothing.

For 25 years, the state of Connecticut had a charmed jewel in its possession — an octagonal 1,500-seat theater here modeled on Shakespeare’s original Globe that mounted productions of the Bard’s works with some of the nation’s greatest actors. Tens of thousands of schoolchildren, not to mention tens of thousands of grown-ups, streamed here from all over the Northeast to view Katharine Hepburn as Portia in “The Merchant of Venice” (she was paid $350 a week plus the use of a fisherman’s cottage), James Earl Jones as Othello and Christopher Plummer as Iago.

Before or after the show, theatergoers picnicked on the lawn while gazing at the dreamy mouth of the Housatonic River as if they were sitting at Shakespeare’s Stratford birthplace on the River Avon. Wandering madrigal singers entertained them and Shakespeare himself (or an actor in costume) would mingle.

Then, by some accounts, the patron who had generously covered the theater’s deficits died, and his survivors could not continue writing checks. In 1982 the theater filed for bankruptcy protection and, except for one brief season, has remained dark. Today it is derelict, its gray painted exterior flaking, its outdoor balconies sagging, its signature Elizabethan sundial fading. A gaping hole in the roof lets in rain that has weakened the backstage floor.

Plenty of townspeople have wondered how this could have been allowed to happen — why a state with one of the nation’s wealthiest and most educated populations could allow a gem to rot away for a quarter century and permit a generation of Northeastern children to miss out on live Shakespeare.

Now, though, there is a chance for this story to signify something — something hopeful. In 2005, the state deeded the theater to the town, and after some stumbles, its officials are negotiating with a white knight, Bill Hanney. He is a 39-year-old movie theater builder who for the past year has operated the Theater by the Sea in Matunuck, R.I., and put on productions like “Ain’t Misbehavin’ ” and “Evita.” The mayor and town council have approved a bond for $2.5 million to renovate the theater, and Mr. Hanney has offered to put in some of his own money.

If his blueprint is realized, the curtain could go up by next year, with money flowing to hotels and restaurants and jobs created for a community of 50,000 hurt by the loss of a military tank contractor. But there are fears on all sides that the town might not get it right.

Mr. Hanney admits he has never seen a Shakespeare play and thinks Shakespeare is not what modern audiences crave. He wants to put on the same popular musicals that he shows in Rhode Island, allowing him to recycle the scenery, costumes and casts and spread his costs. Most of Stratford’s 10-member town council seems ready to take him at any price. But the mayor, two council members and a sizable slice of residents insist that Shakespeare retain a starring role — perhaps four months in a year-long season. They point out that Shakespeare is wildly successful in Stratford, Ontario; in Central Park in Manhattan; and in more than 100 countrywide festivals. Why should Connecticut be such barren ground?

So to be or not be is still the question for the Stratford theater. Councilman Michael Julian thinks that Mr. Hanney’s experience as a movie theater builder will help him to size up the refurbishing that will be needed, and he hopes Mr. Hanney can do so without demanding another pound of flesh from the council.

The mayor, James R. Miron, who preferred the developer to be a nonprofit organization that could raise government and foundation grants, is more of a skeptic. He points out that the town has received estimates of up to $20 million to restore the building to mint condition. Still, what makes him optimistic is that much of the theater is in good shape, including the framework, the proscenium stage, and the teak indoor paneling. There is even a dusty prop room with swords, masks and the head of a donkey — perhaps the mask Bert Lahr wore as Bottom in “A Midsummer’s Night’s Dream” — left over from the heyday.

“It would be a shame to let this theater stay dark,” Mr. Miron said, showing a reporter around with a flashlight. “The themes of Shakespeare are as relevant today as they were 400 years ago. They comment on the human elements we all share.”

Mr. Miron, a lawyer who grew up in Stratford, has said he would not sign any contract that “does not devote a significant portion of the year” to Shakespeare. Mr. Hanney said in an interview that “I will do as much Shakespeare as people want to pay for.” Whatever contract is finally hammered out could not dictate the degree of passion that producers put into Shakespeare, which may be crucial to success.

What everyone realizes is that more years of dawdling may leave the theater unsalvageable. There’s also a recognition that the time is ripe; the council membership changes every two years and another council may not be so kind. If the Hamlet-like indecision continues, the town will have ended up — pardon the mixing of metaphors and plays — burying Shakespeare, not praising him.

Note to Michael Julian: In our opinion, you are doing your job. Theatrics and accounting do not mix well. As far as we can tell you are the only one watching our tax dollars.

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