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This was before Gregory Mosher, followed by André Bishop, became Lincoln Center Theater’s artistic director and Bernard Gersten its executive producer.
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Lindsay (1966-73), who supported one there in theory - but then for years Lincoln Center had a hard time filling the 1,060-seat Beaumont and its downstairs companion, the 299-seat Mitzi E. He told me the other day that the dream of a black box on site goes back to the era of Mayor John V.
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One of his first jobs, more than half a century ago, was working for the theatrical designer Jo Mielziner, Saarinen’s collaborator on the Beaumont, helping mediate between the two of them, so he has a longstanding affinity with the theater. The architect is Hugh Hardy, a veteran designer of performing arts spaces and repurposed landmarks who runs H3 Hardy Collaboration Architecture. The geometry is clearest at night, when the place becomes a floating jewel box above the transparent rectangle of the Beaumont’s glass base, which is topped by Saarinen’s immense travertine-clad roof, a thick slab that houses stacks of the New York Public Library for the Performing Arts. Like a bridge, the box manages the large span between Saarinen’s giant supporting columns on either end of the Beaumont with a massive truss whose diagonal beams play off against the subtler horizontals of the grille. The new Claire Tow Theater, perched on top of Eero Saarinen’s Vivian Beaumont Theater, has been in operation for a few weeks now, and it’s a nimble addition to Lincoln Center with architectural benefits out of proportion to its size.ĭevised to nest discreetly on the Beaumont’s newly planted green roof, it seats just 112 people: a two-story, 23,000-square-foot glass box wrapped inside a grille of aluminum louvers that help screen out the sun.