uilt in 1900, The Colonial Theatre is the oldest continuously operating theatre in Boston. The creation of this jewel sparked a theatre building boom, which included the construction of the Majestic in 1903, the Shubert in 1910, the Wilbur in 1914 and the Metropolitan (now the Wang Theatre) in 1925. The Colonial, designed by Clarence Blackall, the most experienced and celebrated theatre architect of his era, is ideal for both musical and dramatic productions.
he Colonial opened on December 20, 1900 with the heroic melodrama, Ben-Hur, featuring a cast of 350 and a chariot race using 8 live horses! The theatre has hosted many world premieres and pre-Broadway productions including Porgy And Bess; Oklahoma!; Thornton Wilder’s The Merchant Of Yonkers (the inspiration for Hello, Dolly!); Born Yesterday; Carousel; La Cage Aux Folles; Grand Hotel; and Prince and Sondheim’s Follies and A Little Night Music. In recent years, The Producers and Monty Python’s Spamalot have begun their national tours here.
mong the many great actors and entertainers who have appeared at the Colonial are: George M. Cohan, W. C. Fields, Fannie Brice, Irving Berlin, The Marx Brothers, Eddie Cantor, Fred Astaire, Cole Porter, Paul Robeson, Ethel Barrymore, Tallulah Bankhead, Gertrude Lawrence, Bella Lugosi, Ethel Merman, Celeste Holm, Lawrence Olivier, Henry Fonda, Helen Hayes, Orson Welles, James Earl Jones, Yul Brenner, Will Rogers, Carol Burnett, Bob Hope, Danny Kaye, Vincent Price, Jessica Tandy, Barbara Streisand, Julie Harris, Katherine Hepburn, Carol Burnett, Ann Reinking, Gwen Verdon, Natalie Portman, Jerry Lewis, Carol Channing, Harry Connick Jr, Ann-Margret, Mandy Patinkin, Kelsey Grammer, Chita Rivera, Donny Osmond, Bob Fosse and Tommy Tune.
s to the building itself, Blackall’s sophisticated design incorporates a theatre within an office building. It presents a sedate and elegant exterior that conceals the surprise and scope of the elaborate decoration within. The enchanting interior decorated by H. B. Pennell begins with a striking 70-ft. long vestibule. The walls are lined with Italian marble and the floor is a striking 40,000-tile crescent-design mosaic. The inner lobby is painted with an “extensive sequence of murals which are of their type and period unique in Boston,” according to historian Douglas S. Tucci; and the walls and ceiling sparkle with gilt and mirrors. It provides a visually apt warm-up for the splendors to be seen in the auditorium. As stated by critic Elliot Norton, “the Colonial is not only handsome, it is also intimate: its auditorium, designed in a wide fan shape, seems to bring actors closer to the audience.” With its superior sight lines, excellent acoustics (designed by Thomas Alva Edison), dazzling chandeliers, twinkling lights and glorious murals overhead, the Colonial Theatre is, avows Norton, “among the best in the US in all ways.”
y 1960, changes of ownership and years of wear and tear had taken their toll on the Colonial interior. A full-scale restoration was undertaken in which the interior design was freshened up with a contemporary color palette, modern amenities and showers were installed backstage in the dressing rooms, the fire exits were expanded for faster evacuation of the theatre, and a state-of-the-art air conditioning system was installed. But in 1995 the Theatre again needed major work. The project that ensued was a labor of love for then Colonial President, Jon Platt and his staff. During six weeks of down time, after Moon Over Buffalo closed and before Three Tall Women opened, the interior of the Colonial Theatre was overhauled. Scaffolding was erected in the auditorium; carpeting was torn out and replaced; new seats were installed; the floor plan was re- configured to ease handicap access; and the ladies’ lounge was enlarged and refurbished. But the most miraculous work was done by a team of painters and leafers from Conrad Schmitt Studios, known worldwide for its restoration work. The eight artisans had many challenges to face, literally, on their backs, atop the 60’ scaffold. Large portions of the original murals and decorative plasterwork had deteriorated and some areas had been harmed by prior touch-ups. The goal was to “follow the style of the original and blend the old and new elements,” so that 100 years of tradition were enhanced rather than diminished. Indeed, entering the auditorium now, with its vividly restored murals and stenciling and 5,000 shimmering square feet of gold leaf, you can imagine the thrill of opening night in 1900.
on Platt supplied the icing for this glorious cake when he arranged for the return of the famous Ladies’ Lounge table. Most of the original furnishings have disappeared from the Colonial, but Platt kept track of the table and delighted Boston theatre-lovers with its surprise return. During the try-out of their first collaboration, Away We Go!, Rodgers and Hammerstein sat at this table and transformed their show into Oklahoma!, setting new standards for the American musical. In a different theatrical era, Bob Fosse leapt onto the tabletop to demonstrate a particular tap step during a notes session.
second phase of restoration took place in 2004 under the direction of then Manager Larry Finlayson. Artisans from Conrad Schmitt Studios with master artisan Wil Kolstad once again returned to the Colonial for a series of dark weeks between shows to work on the lobbies. In the first week workers began scraping and chipping away at years of paint, dirt, and grime. Underneath all of these layers, to the amazement of both the artisans and operators of the Colonial, were hand-painted murals surrounded by hundreds of square feet of gold leaf that had been hidden for over 45 years.
t took nearly two years of grueling work atop scaffolding, sometimes overnight between performances, to return the Colonial lobbies to their former glory. Now, upon entering this palace, the patron is greeted by a barrel-vaulted ceiling covered in gold and flanked by beautifully detailed murals. Upon entering the promenade lobby, one cannot help but look up to notice the glimmering gold leaf and awesome detail in which Mr. Kolstad painstakingly restored the ceiling by hand.
t the same time as the artistic restoration in lobbies took place, carpeting and linoleum were replaced in the balcony lobbies, the mezzanine and balcony ladies rooms were expanded and remodeled, a VIP Lounge was added to the basement level of the theatre, the backstage dressing rooms received a fresh coat of paint and new carpet, electrical systems were upgraded, a public announcement system was added, and the telephone and internet systems were upgraded. Some of the most impressive changes occurred in 2004 and 2007 when all of the seats in the mezzanine and the balcony, respectively, were removed and replaced to allow for a more comfortable and pleasant theatergoing experience.
he restoration and operation of the Colonial is an ongoing and ever-changing process. Under the direction of current president Drew Murphy and manager Christopher Mahan, the Colonial will continue to be restored and upgraded so that future generations of New Englanders can experience her splendor and beauty. In this age of digital music, instant entertainment, cell phones, and other innovative and exciting technology, the commitment to keep the Colonial active and vibrant remains strong. Broadway will continue to grace the Theatre’s grand stage and new programming, such as concerts, comedy acts, and film festivals is already being introduced to audiences that have never entered the doors of this revered hall.
he Colonial has survived the World Wars, the introduction of the movies, the Depression, and television. It is estimated that over 40 million patrons have sat in her seats and over 500 Broadway musicals and plays appeared on her stage. What was said of the Theatre in 1900 holds true today, “It is a palace dedicated to the play, a monument to the taste of New England, and a credit to the city of Boston.” And now lovingly restored, the Colonial celebrates its 100-plus year history and proudly faces the next century.
