Address | 175 Eighth Avenue New York City United States |
---|---|
Coordinates | 40°44′34″N74°00′02″W / 40.742766°N 74.000545°W |
Owner | Joyce Theater Foundation |
Capacity | 472 |
Current use | dance venue |
Construction | |
Opened | 1941 |
Reopened | 1982 |
Architect | Simon Zelnik (1941); Hugh Hardy (1982 renovation) |
Website | |
www |
The Joyce Theatre Foundation is a leading presenter of dance in New York City and nationally. It is runs, in part, from the Joyce Theater, a 472-seat dance performance venue located in the Chelsea neighborhood of Manhattan in New York City. The Joyce occupies the Elgin Theater, a former movie house that opened in 1941 and was gut-renovated and reconfigured in 1981–82.
In 1977, the Eliot Feld Ballet had begun exploring more affordable approaches to presenting its annual season of performances in New York City. Rental costs and house sizes of the theaters available to the company made these seasons financially risky propositions. Eliot Feld, the company’s founder and Artistic Director, and Cora Cahan, its Executive Director, envisioned creating a theater specifically for smaller dance organizations that their company could use, which would also be available to other companies. [1]
The first facility they looked at in late 1978 was the Elgin Theater, a defunct movie theater in Manhattan’s Chelsea neighborhood built in 1941. They quickly commenced negotiations to purchase it, ultimately arriving at a price of $225,000 and concluded the transaction in January, 1979. The philanthropist LuEsther Mertz, co-founder of Publishers Clearing House and a benefactor of the company who had supported the renovation of the company’s studio, underwrote the full cost of the purchase. [2]
In developing financial projections for the theater, Feld and Cahan anticipated an inclusive rental cost of around $12,000 per week. In a national survey they conducted, 73 dance organizations expressed interest in using the theater at the projected rental rate. [3] These findings helped garner a wide range of financial support for developing the theater. The project secured a $400,000 Federal Urban Development Action Grant, which recognized its potential to provide employment and add to the vitality of its neighborhood. Other Federal Government support included a $450,000 challenge grant from the National Endowment for the Arts, and a guarantee of a $600,000 bank loan. Private donors and foundations such as the Rockefeller Foundation contributed the balance of the funds. [4]
Feld and Cahan engaged architect Hugh Hardy of the firm Hardy Holzman Pfeiffer to develop plans for a gut renovation of the facility. Major changes to the structure included the elimination of the original balcony configuration to create a steeply raked seating area on one level, new construction at the rear of the building to provide additional backstage space, and the installation of a 67 x 36 foot proscenium stage with a sprung floor. The completed theater had 472 seats. [5] The overall cost of the project was $3.6 million. [6] At the June 25, 1981 groundbreaking, the building was renamed the Joyce Theater after the daughter of LuEsther Mertz in recognition of the elder Mertz’s leadership support of the project. [7] The theater opened with a gala performance on June 2, 1982. [8]
The Feld organization retained ownership of the building and created a separate non-profit organization to operate the theater under a 35-year lease at a nominal rent of $1 a year. [9] As the 2016 conclusion of the lease term approached, the operating organization, the Joyce Theater Foundation, purchased the theater from the Feld organization for $20 million. [10] [11]
The Joyce is a 501(c)3 charitable organization whose mission is “To serve and support the art of dance and choreography, to promote the richness and variety of the art form in its fullest expression, and to advance the public interest in, and appreciation of, dance and the allied arts of music, design, and theater.” [12]
A 27-member Board of Trustees oversees the organization. It operates on a budget of around $10 million annually that is supported by earned revenue, contributed income, government support and endowment income. Executive Director Linda Shelton oversees day-to-day activities of the Joyce, supported by a full-time staff of approximately 45 people. [13] Before joining the Joyce in 1993, Shelton was General Manager of the Joffrey Ballet, and had earlier held senior management roles at Twyla Tharp Dance. [14] Aaron Mattocks is Director of Programming, with lead responsibility for developing each year’s presenting season.
The Joyce presents an annual 40 to 45 week season on its stage, hosting an audience of approximately 150,000 people. In addition to this Chelsea season, the Joyce presents or co-presents at a small number of other venues, including the David H. Koch Theater at Lincoln Center and alternative spaces. [15]
Through artistic residency and commissioning programs, the Joyce gives resources to established, early- and mid-career artists to advance their practice and develop new works for the Joyce stage. [16] New commissions are supported by the Stephen and Cathy Weinroth Fund for New Works, a $1 million endowment contributed by a Joyce board member. [17]
The organization also mounts a range of education, school and family programs that range from structured class visits to Joyce performances, to lessons at schools and community centers with Joyce-affiliated teaching artists, to family matinees with discount tickets for children. [18]
In 2004, The Joyce's proposal to operate a dance theater in the planned "arts hub" at the World Trade Center was accepted by the Lower Manhattan Development Corporation. The Joyce would have been one of several arts organizations at the facility, and proposed a 1,000-seat theater for major dance companies, with supporting programming. [19]
In the ensuing years, the vision for the cultural center has evolved through multiple iterations and tenant lists. It is currently planned as The Ronald O. Perelman Performing Arts Center, a multi-venue facility encompassing a range of performing and media arts. [20] The Joyce's role in the current plan for the center has not been announced. [21]
In 1996, The Joyce purchased a dance performance and rehearsal facility at 155 Mercer Street in Manhattan's SoHo neighborhood that was owned and operated by the Dia Art Foundation. The building had been used for dance since 1985, and was sold because of financial difficulties at Dia. The Joyce obtained the building for $1.5 million with support from the LuEsther T. Mertz Charitable Trust, the charitable organization established by the organization's longstanding benefactor LuEsther T. Mertz upon her death. [22] The Joyce continued Dia's program of rehearsal space rental and performances in the 75-seat theater until 2012, when it accepted an unsolicited offer to sell the building for $27.25 million. [23]
In December, 2009, the Joyce leased a rehearsal studio facility at 305 West 38th Street, in Manhattan's Garment District, that it operated under the name DANY [Dance Art New York] Studios. [24] The facility contained 11 studios. The Joyce did not renew when its lease ended in 2016 and closed DANY. [25]
Chelsea is a neighborhood on the West Side of the borough of Manhattan in New York City. The area's boundaries are roughly 14th Street to the south, the Hudson River and West Street to the west, and Sixth Avenue to the east, with its northern boundary variously described as near the upper 20s or 34th Street, the next major crosstown street to the north. To the northwest of Chelsea is the neighborhood of Hell's Kitchen, as well as Hudson Yards; to the northeast are the Garment District and the remainder of Midtown South; to the east are NoMad and the Flatiron District; to the southwest is the Meatpacking District; and to the south and southeast are the West Village and the remainder of Greenwich Village. Chelsea is named after the Royal Hospital Chelsea in London, England.
Lincoln Center for the Performing Arts is a 16.3-acre (6.6-hectare) complex of buildings in the Lincoln Square neighborhood on the Upper West Side of Manhattan. It has thirty indoor and outdoor facilities and is host to 5 million visitors annually. It houses internationally renowned performing arts organizations including the New York Philharmonic, the Metropolitan Opera, the New York City Ballet, the Chamber Music Society of Lincoln Center and the Juilliard School.
New York City Ballet (NYCB) is a ballet company founded in 1948 by choreographer George Balanchine and Lincoln Kirstein. Balanchine and Jerome Robbins are considered the founding choreographers of the company. Léon Barzin was the company's first music director. City Ballet grew out of earlier troupes: the Producing Company of the School of American Ballet, 1934; the American Ballet, 1935, and Ballet Caravan, 1936, which merged into American Ballet Caravan, 1941; and directly from the Ballet Society, 1946.
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The David H. Koch Theater is a theater for ballet, modern and other forms of dance, part of the Lincoln Center, at the intersection of Columbus Avenue and 63rd Street in the Lincoln Square neighborhood of Manhattan in New York City. Originally named the New York State Theater, the venue has been home to the New York City Ballet since its opening in 1964, the secondary venue for the American Ballet Theatre in the fall, and served as home to the New York City Opera from 1964 to 2011. The theater occupies the south side of the main plaza of Lincoln Center, opposite David Geffen Hall.
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The Elgin Theater is a former movie theater on the corner of 19th Street and Eighth Avenue in the Chelsea neighborhood of Manhattan in New York City. The theater showed films from its opening in 1942 until 1978. Its longtime manager, Ben Barenholtz, invented midnight movie programming for the theater. Following a full renovation, the building reopened in 1982 as a 472-seat dance theater operated by the Joyce Theatre Foundation.
Eliot Feld is an American modern ballet choreographer, performer, teacher, and director. Feld works in contemporary ballet. His company and schools, including the Feld Ballet and Ballet Tech, are involved in dance and dance education in New York City.
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Colin Connor is a Canadian–British dancer, choreographer, and educator, based in the United States. With over forty commissions that span the worlds of contemporary dance, ballet and flamenco. Works draws from a large range of influences – musical, literary, social, and scientific – all used to bring attention back to the communicative power of the human body. He frequently, collaborates with artists of other disciplines, including composers, artists, and designers. As a choreographer, teacher and dancer, Connor is currently influencing the next generation of contemporary dancers and dance makers. Dancers who have trained with Connor have gone on to Mark Morris Dance Group, Scapino Ballet, Hubbard Street Dance, The Limon Dance Company and others.
New York City Center is a performing arts center at 131 West 55th Street between Sixth and Seventh Avenues in the Midtown Manhattan neighborhood of New York City. Developed by the Shriners between 1922 and 1924 as a Masonic meeting house, it has operated as a performing arts complex owned by the government of New York City. City Center is a performing home for several major dance companies as well as the Manhattan Theatre Club (MTC), and it hosts the Encores! musical theater series and the Fall for Dance Festival annually.
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155 Mercer Street is a former firemen's hall, now commercial building, located on Mercer Street, in the SoHo neighborhood of New York City. Built in 1855 the building featured an ornate façade designed by Field & Correja which was largely removed over a series of changes between 1893 and the mid-1970's, with the last fire company leaving the building in 1974. The Dia Art Foundation acquired the building, opening the Masjid al-Farah Sufi mosque within it in 1980. They also installing Dan Flavin artworks in 1982. The mosque closed in 1985 with Dia turning the building into rehearsal and performance space largely for contemporary dance the same year. In 1996, while dealing with financial troubles, Dia sold the building to the Joyce Theatre Foundation who continued to run it as a rehearsal and performance space for contemporary dance. Joyce sold the building in 2012 after which it was renovated to echo it's original design. 155 Mercer has since been used as a commercial property with a prominent storefront.