Inspection says Carpenter Center is a fire hazard
Member of arts board calls the 32 violations ‘harassment by Wilder’
BY DAVID RESS AND WILL JONES
TIMES-DISPATCH STAFF WRITERS Nov 10, 2005
MORE SLIDESHOWS
Check our photos
of some of Richmond’s historic buildings.
RELATED: Richmond’s Downtown Performing-Arts Center
The Carpenter Center is a fire hazard, with sewer gas leaking inside and more violations of the state’s electrical-safety code than city inspectors could count in a two-hour examination this week.
Following the inspection, city officials issued 32 specific violations of state building and safety standards to the Virginia Performing Arts Foundation, which owns the historic theater.
“These are serious problems,” Building Commissioner Claude G. Cooper said. “There is a risk to safety; there is a fire risk with combustibles piled up and an electrical system in that condition.”
The foundation, in a battle with Mayor L. Douglas Wilder over its plans to build a $112 million performing-arts center with an expanded Carpenter Center, said it will appeal the inspection report. Wilder has said the group’s plans are unrealistic and that the city would put no more money into its project.
The city has given the foundation until Dec. 7 to fix the problems or face action by the city. Usually, that means going to court to seek an order requiring a property owner to make repairs.
After completing the inspection Monday, city officials refused to say anything about what they found except that the building was not so dangerous that the city had to ban people from going inside. The center has been closed to the public since December.
“We do property maintenance inspections all day, every day throughout the city,” Cooper said, noting that recent visits to the Miller & Rhoads building downtown and Stuart Court apartments resulted in owners undertaking needed repairs.
Martin Rust, former president of the Carpenter Center and now a member of the arts foundation board, said Carpenter Center board members were never made aware of “one single building code or safety violation” at the theater.
“Clearly this is harassment by Wilder,” Rust said. “Thirty-two violations is amazing. I’m not sure what they’re trying to accomplish. Are they trying to show it’s in good shape or bad shape?”
Joel Katz, former executive director of the Carpenter Center and now a critic of the arts foundation, said some of the problems cited by inspectors are longstanding deficiencies. For example, he said, a lot of electrical cords were used because the system was so limited.
Other problems, Katz said, evidently cropped up after the theater was closed. Inspectors cited combustible trash and debris in exit corridors, on steps and near boilers. Katz recalled those areas being clear in December when the Carpenter Center was closed and transferred to the arts foundation.
In addition to problems with fire protection, electrical wiring and plumbing, the notices listed faults with heating, air conditioning and ventilation systems, although the foundation has said it dismantled those systems this year.
The inspection seems likely to raise the temperature still more in the downtown arts-center scrap, which has pitted Wilder against powerful business leaders who have backed the project.
“You’ve got a fire trap at one end of the block and a hole at the other,” said Paul Goldman, Wilder’s senior policy adviser, referring to the excavation for the new music hall the foundation hopes to build next to the Carpenter Center.
“Obviously the Carpenter Center has been allowed to deteriorate,” Goldman said. “It’s like, if you don’t do it our way, we’ve set it up so you can’t do it any other way.”
Wilder has proposed that the foundation abandon the new music hall and focus only on renovating and expanding the Carpenter Center.
Goldman, meanwhile, has proposed that the city simply take over the Carpenter Center, make some minor repairs and reopen it without an expansion next year.
Arts groups have rejected the idea. Even though the cash-strapped city would have to pay for the building in order to take it over, and even though the theater’s value, as assessed by the city itself, is more than $6.6 million, Goldman said his option is still on the table.
“Look at Coop’s report — do you really think that building is worth $6.6 million?” he said, using the building commissioner’s nickname.
But some council members say Wilder needs to lighten up and let the foundation try to get its project back on track, dismissing Goldman’s proposal as ill-considered and costly.
“I’d like to know where the money is going to come from,” said council President G. Manoli Loupassi. “That’s why the private sector was involved to raise the money. If we just let them try to raise the money, they can raise the money.”
Contact David Ress at (804) 649-6051 or
Contact Will Jones at (804) 649-6911 or
Theater closing for an upgrade
Foundation’s gift gives Carpenter Center project more than enough money
BY WILL JONES
TIMES-DISPATCH STAFF WRITER Dec 23, 2004
The Carpenter Center for the Performing Arts is closing for renovations with more money to pay for them.
The E. Rhodes and Leona B. Carpenter Foundation has given $1.125 million to fulfill a $2 million pledge for the historic theater, said Joel Katz, executive director of the Carpenter Center.
The Carpenter Foundation, based in Philadelphia, quietly agreed to the amount five years ago if an additional $6.5 million could be raised for improvements, Katz said.
Officials now have more than enough money to pay for the estimated $25 million project, which is a cornerstone to a planned performing arts center in downtown Richmond.
“We’re delighted the Carpenter Foundation recognizes the success of our fund-raising drive and has transmitted the prescribed amount,” Katz said before a reception last night marking the closing of the theater.
The $2 million total includes the $1.125 million sent by check this month and a $375,000 loan that won’t have to be repaid, Katz said. The Carpenter Foundation set up the loan in 1988 to put the theater on better financial footing, he said.
By forgiving the loan, “they have confirmed to the community that this is a successful, well-run organization,” he said.
The gift also includes $500,000 given two years ago to the Virginia Performing Arts Foundation, which is leading efforts to build the downtown arts center.
A representative of the Carpenter Foundation could not be reached.
The Carpenter Center, at Sixth and East Grace streets, opened in 1928 as the Richmond Loew’s movie palace and closed in 1979. It reopened as a performing arts theater in 1983 and was given its current name two years later in honor of a $1.5 million gift from the Carpenter Foundation.
The theater, a state and national historic landmark, is expected to be closed about two years. Plans call for expanding and modernizing the lobby, as well as building a stage house big enough to accommodate Broadway shows. Demolition of the current stage house is expected to begin in January or February, Katz said.
While the Carpenter Center is closed, most of its regular events and users are shifting to the Landmark Theater, which is scheduled for improvements in a second-phase of construction for the downtown arts center.
Richmond’s Carpenter Center could be hazardous to your health. That’s according to the city’s building inspector who found more than 30 safety violations in the historic theater. The Carpenter Center closed last year for renovations. Most of the problems surround the plumbing, electrical wiring and ventilation systems. The Virginia Performing Arts Foundation owns the center and some members are questioning the timing of this report calling it “harassment.” Last week the city went public with its plans to possibly buy the center from the foundation and opening it open back up to performances. The mayor says the arts foundation should not get special treatment and must follow the city’s building codes just like everyone else. The city is giving the foundation about a month to bring the building up to code. The arts foundation plans to appeal the city’s findings.
Work on Richmond Performing Arts Center Halted by City
By Emily Quinn
15 Aug 2005
The city of Richmond, Virginia, has ordered that work stop on its new performing-arts center, the Richmond Times-Dispatch reports.
City officials say that the Virginia Performing Arts Foundation, the organization behind the center, has failed to get the necessary inspections required by state building codes, and that construction cannot continue until the permits are reapproved by the city.
In addition, city officials are concerned that the foundation doesn’t have enough funds to finish demolition of part of the Carpenter Center, and that interrupting the work could endanger the remainder of the historic theater. Bill Farrar, city spokesman, said that although the foundation claims to have renewed its demolition permit, the city did not agree to such an extension.
Brad Armstrong, president of the Virginia Performing Arts Foundation, said that there is enough money, between the foundation’s currently raised funds and pledged funds, to cover the current demolition costs, including steps to protect the Carpenter Center.
This is not the first time the foundation and the city have disagreed over the project. Last April, the foundation revealed it would not make its fundraising deadline and asked the city to waive the deadline entirely. The city did, but in July, mayor L. Douglas Wilder said he would not release any more city funds for the project, which needed, in his estimation, to be scaled back.
The new center is intended to be a home for the Richmond Symphony and other groups.
There are two former theatre buildings in Fox Valley Mall. Both are off on the edge of the parking lot in the southwest corner. One has been gutted and turned into The Foundry (a large sports bar). The other, which I believe is the original building, is sitting there silently. You can make out the outline of “Plitt Theatres” where the electrical sign was once mounted. It is easy to miss unless you know it is there, because it sits on it’s own distinct parking area.
It is interesting to note that these early mall theatres, which surpassed the classic cinemas of the inner cities, have themselves been surpassed by larger facilities with stadium seating.
For a guy who claims to run a real estate empire that is a pretty weak response.
1) Landlords are not obligated to renew a lease. Businesses lose leases every day and have to move.
2) Tenants and landlords are always fighting. I have asked landlords for plenty of stuff that they felt they didn’t have to deliver.
3) The theatre is not exactly rich…I’m guessing that putting in a sink and installing new gas meters would run into the thousands.
4) MOST IMPORTANTLY: would you have reached into your lobby donation jar and paid the bill yourself? The hell you would have. Don’t portray yourself as the white knight of the travel agency.
As far as proposals go, let’s see this marvel of yours. Post a link to it. Or, is there a mysterious policy against posting proposals online to go with your mysterious policy against posting references online?
As far as visiting your office (better known as McDonald’s) goes, really Paul, what is the point? I’ve met you in the past: you make as much sense in person as you do on this web site. Is that worth my time? Let me think about that one…
…it is tempting. Meet Paul face-to-face, listen to nonsense, get served for attacking Paul’s character, spend two afternoons in court getting the case thrown out…
Your responses are entirely predictable. These questions, and similar ones, have been posed to you over and over again. Instead of answering them, you avoid the questions, and defame the person asking them.
If you could list one successful project Paul, you would never have to hear from me again. But you can’t do that, can you…because there aren’t any.
It is entirely possible that this theatre would be better off without Paul Warshauer. I understand your desire to have someone pay attention to the Varsity. But, serious issues have been raised about Paul. In fact the same unfortunate story seems to play out over and over again. Do some reading on your own:
Paul holds himself out to be a wizard of theatre restoration…operating old movie houses far and wide. But he refuses to share any of his claimed success stories with the rest of us. This is ridiculous. Why would you hide your successes? What’s more, nobody in the preservation community can name a theatre that Paul has rescued.
If Paul can name one community that loves him for rescuing their theatre, I wouldn’t have a problem with him. But all I see is a string of people who feel that he has done them wrong…people living in communities where the neighborhood movie house remains unrestored.
I know the light fixtures were removed some years ago to protect them from theft. Have they been maintained as a collection for future reinstallation? If they have been sold off, I imagine it will add millions to any restoration scenarios.
There was an organ discussion not long ago. I know that organ components were stored in the office building next door in the 90’s, with an eye toward eventual installation…although I think it was a church organ destined for the grand lobby.
Central St. Performing Arts Center — Feasible?
By Beth Demes
Evanston Round Table
Volume IV Number 12
June 6, 2001
Performing arts organizations in Evanston are keeping their fingers crossed – twice.
First, that the City Council approves a grant to study converting the old Central Street movie theaters into a performing arts center. And, second, that the study proves the dream feasible.
City Council is expected to consider the $56,100 grant, requested by Light Opera Works and Dance Center Evanston, the two main tenants of the proposed performance venue, at its June 11 meeting. The Economic Development Committee approved the grant at its May 23 meeting after much discussion.
If City Council approves the grant, David Woodhouse Architects, a design firm that specializes in cultural and recreational centers, will assess the feasibility and cost of converting the former Evanston Theater, 1702 Central Street, for use by the two proposed tenants. They will also look at how the space might accommodate other Evanston performing arts groups, such as the Evanston Symphony Orchestra, Piven Theatre, Next Theatre and Organic Theater. “It’s in our best interest to sublease as much of the space as possible [to other performing arts groups],” said Bridget McDonough, general manager of Light Opera Works. The study might determine, she added, that there could be a third theater in the space, potentially allowing a third main tenant for the building.
Gordon Magill, trustee for the owners of the building, said the theater was built in the 1920s as a movie house and was used at one point for live performances. Before being cut into smaller movie theaters, the property had two auditoriums in two separate buildings. The larger auditorium, the original movie house called the “west theater,” now broken into four theaters, is actually located at 1716 Central St. The smaller “east theater,” a former gym converted to a movie theater in the early 1970s, has the 1702 Central St. address.
Light Opera Works is interested in the west theater, which holds 1,200 to 1,500 seats. Dance Center Evanston is looking at the 600-seat east theater for studio and flexible performance space. “I believe in the project, and I believe in the people who are committed to make it happen,” Mr. Magill told Economic Development Committee members at the May meeting.
He said he would hold off marketing the building, vacant since Loews Theaters closed in late February, to other tenants as long as there is steady progress on the project and “light at the end of the tunnel.”
“[Converting] the Central Street theaters from a movie house to a working performing arts center…would ensure that two of our City’s leading cultural institutions would be with us for a long time to come,” Carol Daskais Navin, a Dance Center Evanston Board member, told the Committee.
Both performing arts groups had already outgrown their present quarters and were looking for larger spaces when the Central Street theaters became vacant. But retrofitting the old movie theaters for major live productions will not be easy. The greatest challenge, said Ms. McDonough, may be adapting the west theater for Light Opera Works' needs, which include an orchestra pit large enough for 35 pieces, a fly loft and wing space.
Several Economic Development Committee members were concerned about the cost of the conversion and ongoing operation and who would foot the bill.
Ms. McDonough pointed out that her organization and Ms. Rashid’s would be signing leases for the space and have already discussed possible rents with Mr. Magill. Both groups, she added, would rely first on their donor bases to raise money for the rehab, before approaching the larger community. She would not say what their fundraising limit might be, or whether the City may be needed to fill a gap, preferring to wait for the results of the study first. The City has also been non-committal about subsidizing such a project. It has not been willing to consider sizable funding in the past for performing arts centers.
Two years ago, as part of the plan for the downtown Church Street Plaza development, the architect hired by developer Arthur Hill estimated that the construction cost for a second-level performing arts center above a new Levy Senior Center would be about $13 million. As an alternative, the City looked into rehabbing the former Varsity Theater on Sherman Avenue; that also proved to be expensive at $10 million. With estimates of private fund-raising capacity limited to $4 million and the City’s inability to fill the funding gap, that proposed performing arts center fell apart.
An earlier attempt in the late 1980s for an Evanston performing arts center to house the Northlight Theatre also failed because of cost and funding difficulties.
In a separate interview, Ms. McDonough said she thought the Central Street proposal would be different. Compared to the Varsity Theater, the Central Street theaters are in better condition and should not be as expensive to retrofit. She also said that instead of creating a new non-profit to raise the funds and operate the building, as the Church Street Plaza plan contemplated, two existing, established arts organizations would take the lead, making the fundraising easier.
Scheduling multiple groups for the space, always a challenge in a single performing arts venue, might also be easier because of the inherent priority of the organizations leasing the space.
Some City officials have pointed out that Evanston already has a performing arts center – the Noyes Cultural Arts Center, 927 Noyes St.
Ms. McDonough and others in the arts community say the Noyes Center is very supportive and valuable because it offers space to arts organizations at reduced rent, but it has limitations.
Joyce Piven, artistic director of the Piven Theatre Workshop, told the RoundTable they juggle holding classes and performing shows in their space at the Noyes Center.
“If we are able to put out one or two [of our four shows per season] in another venue, it would give us room to breathe,” explained Ms. Piven. That is why the Central Street proposal is so appealing. Ideally, she said, they would be looking for a house with 200 to 250 seats.
“We seem to have a burgeoning of very solid performance groups in Evanston that have already received city-wide recognition, either through the [Joseph Jefferson Awards] committee, or through Chicago newspapers, or through the gathering audiences that we have here,” Ms. Piven continued. “We feel that a performance center of some kind would really be a stunning thing for the North Shore. It’s something that is waiting to happen.”
Uncle Paul has returned to Cinema Treasures in force. Apparently his utilities have been turned back on. Perhaps Uncle Paul has received payment for his feasibilty study on the fabuous Palace Theatre in Guam.
I can’t wait to hear what the judge has to say about this law suit. My guess is that it will quickly be shot down in flames.
If that does end up being the case, I encourage theatre officials to make the same liberal use of the media that Uncle Paul enjoys.
Interesting. I don’t see any reports of restoration work in the publications that usually print Lawford Theatre news. The theatre’s phone is disconnected as well.
As far as loans go, everyone know you asked the city for one. Everyone also knows that the city turned you down because they had doubts about your organization. How do we know? Because we read it in the newspapers…I don’t know where you come up with half of the stuff you say.
Here’s a comment from the Wheaton Grand message board, describing your work at the Portage Theatre in Chicago. There are similarities to the story now coming out of Havana:
Too bad about Havana. I worked with Paul in Chicago—the exact same thing happened there. As an employee—you are only as useful until you shut your checkbook. Then you become a “volunteer”. Let’s see if I get the scenario right? A man (Paul) comes in and declares he spends his life restoring theatres. His dream is re-open “this” one.
He needs help (usually teenagers and unsuspecting employees)—when money gets tight he asks the local government for money. When denied he looks to book “investors”—people to help him follow his dream. He thinks how he can divide the theatre into 3. More deposits come in from those groups hoping to get a piece of the
action (sorry—no theatre gets divided-no deposits returned). He then books bands and accepts deposits (now you know Wheaton why he was upset about bands not being allowed to play. Then we blame the local governement about repairs (wasn’t that the case in Chicago—2 venues-Wheaton now Havana—) Then nobody but Paul gets any money. The bills in Chicago; Havana; how are your bills Wheaton? go unpaid. Now let’s get to the employees. All of sudden (after being told of the Grand Opening) there is no money to be paid to employees and now they are called thiefs and volunteers. Sorry Paul—used that excuse many times. Anybody who didn’t “invest” is insulted and called liars. There are so many of us following your footsteps—maybe it is time to try your con in another state. Just remember, the internet is a wonderful tool. Let’s all of us “volunteers” make it our mission to not let him continue. How do you sleep at night Paul? Are there any available lawyers out there to help us with the possibility of a class action lawsuit? Can all of us who were left out to dry possibly take Paul to court? Mr. Novelli—maybe you could help? Have you woke up yet to Paul or are you just slower than normal? How much money did Paul make on ticket sales in Havana? Where is all that money? Certainly not paying bills or employees. Just like in Chicago—go forth and sell calendars on street corners to generate money. Who got that money—Paul did and he was able to travel out of the country while leaving others to possibly get arrested by City officials after being told the theater was fine to open. He then blamed aldermen and the mayor for not turning their backs on an unsafe building and allow patrons in. Paul doesn’t like rules and regulations. He also can’t stand people just a little bit smarter than him—which is most. It just takes us a little longer because most of us have never met a con man before. Our human nature tends to lead us to trust everyone—which now I trust no one. Most of us start out trusting and liking Paul but quickly learn. Are there any out there who started working with Paul and still admire him? Mike where did you come from? You weren’t with him in Chicago? Haven’t you learned yet (others are slower than the rest of us) or are you a con man too? I certainly would break away from Paul as soon as possible. Is this the type of man to be friends with? How is he able to pay you and not mininum wage workers? Again sorry Havana—you were warned. Best of luck Wheaton—you may be the first and only theater to stay on your feet after Paul and go forth. There are many others behind you and cheering you on. As for all others—let’s just watch the internet and watch where Paul goes next.
posted by disgruntledemployee on Sep 12, 2005 at 7:49am
Paul F: I give Paul W. a hard time because he has a long string of failure. All the information I have makes him look like a cancer on the preservation community. What positive stories have you heard? Paul refuses to share his (claimed) successes with the rest of us…which is ridiculous. Why would you hide your successes? If I could find just one story of this guy helping a community to restore their theatre, I would stop giving him a hard time.
Paul W: those are citable references listed above. One of them talks of you being evicted from the building.
And how about these accounts posted on the Wheaton Grand site from someone familiar with the Portage debacle?
The church didn’t come until you were ordered out and could not pay your bills—it was a last ditch effort to try and recoup some more money. As for your partners—you yourself called Ms. Deans a “bitch” after she walked away. Has Mr. Pales and his mother not sued you? Poor Mr. Miner couldn’t sleep at night after you fell apart. Yes, maybe the name on the cease and desist order was the Portage Theatre and not the Henslowe group—remember you weren’t even in the country when it actually happened—you were out of the country. Also you didn’t assume financial responsibility—many of us went unpaid for our wages and any supplies bought for you and your venture—don’t try and portray yourself as a good and respectful individual. You are a con! Nobody went after the other 3 partners because they were led astray like the rest of us. If not, where are they now? Please enough with trying to get the rest of us to feel sorry for you. Just move on—as far as I am concerned my purpose is to make sure you do not do to another community as you have done in the past. Try and get a legitimate job for once—not one that you are hoping to live off of others. When was the last time you earned a legitimate salary? That means not accepting money from business ventures and using that? Enough already.
posted by disgruntledemployee on Sep 12, 2005 at 2:29pm
Too bad about Havana. I worked with Paul in Chicago—the exact same thing happened there. As an employee—you are only as useful until you shut your checkbook. Then you become a “volunteer”. Let’s see if I get the scenario right? A man (Paul) comes in and declares he spends his life restoring theatres. His dream is re-open “this” one.
He needs help (usually teenagers and unsuspecting employees)—when money gets tight he asks the local government for money. When denied he looks to book “investors”—people to help him follow his dream. He thinks how he can divide the theatre into 3. More deposits come in from those groups hoping to get a piece of the
action (sorry—no theatre gets divided-no deposits returned). He then books bands and accepts deposits (now you know Wheaton why he was upset about bands not being allowed to play. Then we blame the local governement about repairs (wasn’t that the case in Chicago—2 venues-Wheaton now Havana—) Then nobody but Paul gets any money. The bills in Chicago; Havana; how are your bills Wheaton? go unpaid. Now let’s get to the employees. All of sudden (after being told of the Grand Opening) there is no money to be paid to employees and now they are called thiefs and volunteers. Sorry Paul—used that excuse many times. Anybody who didn’t “invest” is insulted and called liars. There are so many of us following your footsteps—maybe it is time to try your con in another state. Just remember, the internet is a wonderful tool. Let’s all of us “volunteers” make it our mission to not let him continue. How do you sleep at night Paul? Are there any available lawyers out there to help us with the possibility of a class action lawsuit? Can all of us who were left out to dry possibly take Paul to court? Mr. Novelli—maybe you could help? Have you woke up yet to Paul or are you just slower than normal? How much money did Paul make on ticket sales in Havana? Where is all that money? Certainly not paying bills or employees. Just like in Chicago—go forth and sell calendars on street corners to generate money. Who got that money—Paul did and he was able to travel out of the country while leaving others to possibly get arrested by City officials after being told the theater was fine to open. He then blamed aldermen and the mayor for not turning their backs on an unsafe building and allow patrons in. Paul doesn’t like rules and regulations. He also can’t stand people just a little bit smarter than him—which is most. It just takes us a little longer because most of us have never met a con man before. Our human nature tends to lead us to trust everyone—which now I trust no one. Most of us start out trusting and liking Paul but quickly learn. Are there any out there who started working with Paul and still admire him? Mike where did you come from? You weren’t with him in Chicago? Haven’t you learned yet (others are slower than the rest of us) or are you a con man too? I certainly would break away from Paul as soon as possible. Is this the type of man to be friends with? How is he able to pay you and not mininum wage workers? Again sorry Havana—you were warned. Best of luck Wheaton—you may be the first and only theater to stay on your feet after Paul and go forth. There are many others behind you and cheering you on. As for all others—let’s just watch the internet and watch where Paul goes next.
posted by disgruntledemployee on Sep 12, 2005 at 7:49am
This arrived in my email account today. I live many states away. But perhaps some other readers might want to attend:
RAYMOND THEATRE
Notice of a Pubic Hearing
FINAL DESIGN REVIEW
The City of Pasadena has scheduled Final Design Review for The Raymond Theatre. The City Design Commission will be reviewing the final plans to convert the Raymond Theatre
into a mixed-use housing project.
If the project passes Final Design Review, 10 days later building permits for
construction will be issued.
We ask the community and all our supporters to please attend this
important hearing and show your support.
If you would like to speak and need to know the issues, please write us over the weekend.
Hearing Information:
Date: October 24, 2005
Place: All Saints Church, Sweetland Hall
132 North Euclid Avenue
Pasadena, California 91101-1796
(Corner of Holly and Euclid near City Hall, entrance is on Euclid)
Time: 6:00 pm.
Best arrival time: 7:00 pm
For directions: Phone: (626) 796 – 1172 or (818) 541 – 9522
Friends of the Raymond Theatre
Office: (818) 541-9522
Fax: (818) 541-9523
Website: www.raymondtheatre.com
Lombard: you would be lucky if your business district looked half as nice as downtown Park Ridge, anchored by the Pickwick Theatre. Highland Park is pretty nice, too. How about Downtown Evanston with it’s attractive (albeit modern) Century entertainment complex? The people in Barrington are going to great lengths to preserve the Catlow Theatre because they recognize it’s value to the community.
There’s no reason to be nice about this: Downtown Lombard sucks. I don’t care if you have one Italian restaruant that was written up in the Tribune. Restaurants…even those written up in the Tribune are here one year and gone the next. I also don’t care if you have a few stores. Lombard is barren and ugly…almost like some depressed town in rural Illinois.
I am not pro-preservation at any cost. There is certainly not room for every 1920’s theatre in the modern world. If Lombard had four such theatres, I would certainly say that saving them all would be unrealistic. But, I have now seen Lombard for myself. That theatre is a real centerpiece (albeit one that is run down currently). It attracts the eye as you enter the business district. It has a large building attached to it that can be used for retail/residential, and it has a parking lot (for residents, tenants, and patrons alike). It also appears that there is property to the south that might be incorporated into an intelligent development scheme.
Given all of this, why are some in the community apparently hell-bent on seeing the building destroyed? It almost seems as if they take joy in the process. Am I to understand you were going to have a BBQ to celebrate the theatre’s destruction? How old are you? And why is the use of tax dollars an issue? Tax dollars across the United States have been pissed away on projects far less sensible than this. And if intelligent use of tax dollars is such a priority in Lombard, why does the whole town (at least everywhere I drove on my visit, which was quite a considerable section) look barren? Is that the result of years of intelligent community development planning? And why is anyone yelling about tax money when (to my understanding) millions in government funding has been turned away?
Get it together. What does Lombard have to offer? The Illinois Prarie Path? A mall or two? Sweet…
Now, as far as the theatre supporters go: why aren’t you guys on the telephone every day trying to solicit corporations and wealthy foundations for donations. I have been on a non-profit Board of Trustees for the last few years (not related to a theatre) and that’s the kind of hustle our Development Director uses to get things done. He stays on people literally for years, and gets them to donate. You guys should be all over the place with your Power Point presentation. Perhaps I am wrong, but I don’t sense that anything like that has happened.
And if you anti-theatre people win…why are you going to stick it to the preservation people? Why don’t you at least leave the facade of the building, so that a piece of history is saved…and that bright white entrance continues to serve as an eye-catching gateway to the area around the railroad tracks.
Someone earlier was asking about difficult preservation battles. I have already mentioned the Allen in Cleveland. The Chicago Theatre is another example. It may now be in safe hands. But in the mid-80’s there were people driving around with, “save the Chicago Theatre” bumper stickers because of a proposal to redevelop the site. There are bitter fights now raging in Richmond, Virginia and Pasadena, California. Keep up the fight…you are in good company, and you have a good chance of winning. If people like you weren’t willing to battle fiercely, America might not have any movie palaces remaining today. Most of them would have disappeared during the 60’s, 70’s and 80’s. Countless proposals to replace movie palaces with other development have been overcome over the years…just browse this web site for a while.
Keep up the fight! I for one feel that your community has a lot riding on this.
P.S. To Challenger: I have an honest suggestion for you. Choose another screen name. Every time I see yours, it reminds me of the space shuttle tragedy. It makes you seem aloof.
OK…now that’s just an ignorant thing to say, CP2. Do you have any knowledge of the American financial markets? Apparently, bonds were sold to finance this convention center. Do you know what that process entails? It entails the issuer hiring an investment bank, like Morgan Stanley, to underwrite the securities for a large fee. Then Morgan Stanley lays off the bonds: 1) in large blocks through institutional sales desks to municipal pension funds and other large entities 2) in batches of ten and twenty through it’s broker sales force to little old ladies across the nation. Nobody looks at the purpose of the bonds. They look at the credit rating, how much interest they pay, and when they are redeemable…and often that doesn’t even happen: the salesman calls up, says the customer should buy & the customer buys. The virtues of a particular project have nothing to do with how marketable a bond issue is…and even the critical data, such as S&P ratings, is subject to negotiation.
Many an American (corporations and individuals alike) has purchased investments of this nature that blew up.
I met Paul because I was looking into the theatre lobby from Hale Street one day…wondering what was going on. He spotted me and opened the front door. I got a tour of the entire facility and an explanation of his three-theatre idea. Then he tried to convince me to put cash into that donation box in the lobby.
Regarding movie listings for this and other Village theatres:
http://www.villagetheatres.com/
Inspection says Carpenter Center is a fire hazard
Member of arts board calls the 32 violations ‘harassment by Wilder’
BY DAVID RESS AND WILL JONES
TIMES-DISPATCH STAFF WRITERS Nov 10, 2005
MORE SLIDESHOWS
Check our photos
of some of Richmond’s historic buildings.
RELATED: Richmond’s Downtown Performing-Arts Center
The Carpenter Center is a fire hazard, with sewer gas leaking inside and more violations of the state’s electrical-safety code than city inspectors could count in a two-hour examination this week.
Following the inspection, city officials issued 32 specific violations of state building and safety standards to the Virginia Performing Arts Foundation, which owns the historic theater.
“These are serious problems,” Building Commissioner Claude G. Cooper said. “There is a risk to safety; there is a fire risk with combustibles piled up and an electrical system in that condition.”
The foundation, in a battle with Mayor L. Douglas Wilder over its plans to build a $112 million performing-arts center with an expanded Carpenter Center, said it will appeal the inspection report. Wilder has said the group’s plans are unrealistic and that the city would put no more money into its project.
The city has given the foundation until Dec. 7 to fix the problems or face action by the city. Usually, that means going to court to seek an order requiring a property owner to make repairs.
After completing the inspection Monday, city officials refused to say anything about what they found except that the building was not so dangerous that the city had to ban people from going inside. The center has been closed to the public since December.
“We do property maintenance inspections all day, every day throughout the city,” Cooper said, noting that recent visits to the Miller & Rhoads building downtown and Stuart Court apartments resulted in owners undertaking needed repairs.
Martin Rust, former president of the Carpenter Center and now a member of the arts foundation board, said Carpenter Center board members were never made aware of “one single building code or safety violation” at the theater.
“Clearly this is harassment by Wilder,” Rust said. “Thirty-two violations is amazing. I’m not sure what they’re trying to accomplish. Are they trying to show it’s in good shape or bad shape?”
Joel Katz, former executive director of the Carpenter Center and now a critic of the arts foundation, said some of the problems cited by inspectors are longstanding deficiencies. For example, he said, a lot of electrical cords were used because the system was so limited.
Other problems, Katz said, evidently cropped up after the theater was closed. Inspectors cited combustible trash and debris in exit corridors, on steps and near boilers. Katz recalled those areas being clear in December when the Carpenter Center was closed and transferred to the arts foundation.
In addition to problems with fire protection, electrical wiring and plumbing, the notices listed faults with heating, air conditioning and ventilation systems, although the foundation has said it dismantled those systems this year.
The inspection seems likely to raise the temperature still more in the downtown arts-center scrap, which has pitted Wilder against powerful business leaders who have backed the project.
“You’ve got a fire trap at one end of the block and a hole at the other,” said Paul Goldman, Wilder’s senior policy adviser, referring to the excavation for the new music hall the foundation hopes to build next to the Carpenter Center.
“Obviously the Carpenter Center has been allowed to deteriorate,” Goldman said. “It’s like, if you don’t do it our way, we’ve set it up so you can’t do it any other way.”
Wilder has proposed that the foundation abandon the new music hall and focus only on renovating and expanding the Carpenter Center.
Goldman, meanwhile, has proposed that the city simply take over the Carpenter Center, make some minor repairs and reopen it without an expansion next year.
Arts groups have rejected the idea. Even though the cash-strapped city would have to pay for the building in order to take it over, and even though the theater’s value, as assessed by the city itself, is more than $6.6 million, Goldman said his option is still on the table.
“Look at Coop’s report — do you really think that building is worth $6.6 million?” he said, using the building commissioner’s nickname.
But some council members say Wilder needs to lighten up and let the foundation try to get its project back on track, dismissing Goldman’s proposal as ill-considered and costly.
“I’d like to know where the money is going to come from,” said council President G. Manoli Loupassi. “That’s why the private sector was involved to raise the money. If we just let them try to raise the money, they can raise the money.”
Contact David Ress at (804) 649-6051 or
Contact Will Jones at (804) 649-6911 or
Theater closing for an upgrade
Foundation’s gift gives Carpenter Center project more than enough money
BY WILL JONES
TIMES-DISPATCH STAFF WRITER Dec 23, 2004
The Carpenter Center for the Performing Arts is closing for renovations with more money to pay for them.
The E. Rhodes and Leona B. Carpenter Foundation has given $1.125 million to fulfill a $2 million pledge for the historic theater, said Joel Katz, executive director of the Carpenter Center.
The Carpenter Foundation, based in Philadelphia, quietly agreed to the amount five years ago if an additional $6.5 million could be raised for improvements, Katz said.
Officials now have more than enough money to pay for the estimated $25 million project, which is a cornerstone to a planned performing arts center in downtown Richmond.
“We’re delighted the Carpenter Foundation recognizes the success of our fund-raising drive and has transmitted the prescribed amount,” Katz said before a reception last night marking the closing of the theater.
The $2 million total includes the $1.125 million sent by check this month and a $375,000 loan that won’t have to be repaid, Katz said. The Carpenter Foundation set up the loan in 1988 to put the theater on better financial footing, he said.
By forgiving the loan, “they have confirmed to the community that this is a successful, well-run organization,” he said.
The gift also includes $500,000 given two years ago to the Virginia Performing Arts Foundation, which is leading efforts to build the downtown arts center.
A representative of the Carpenter Foundation could not be reached.
The Carpenter Center, at Sixth and East Grace streets, opened in 1928 as the Richmond Loew’s movie palace and closed in 1979. It reopened as a performing arts theater in 1983 and was given its current name two years later in honor of a $1.5 million gift from the Carpenter Foundation.
The theater, a state and national historic landmark, is expected to be closed about two years. Plans call for expanding and modernizing the lobby, as well as building a stage house big enough to accommodate Broadway shows. Demolition of the current stage house is expected to begin in January or February, Katz said.
While the Carpenter Center is closed, most of its regular events and users are shifting to the Landmark Theater, which is scheduled for improvements in a second-phase of construction for the downtown arts center.
Contact Will Jones at (804) 649-6911 or
Is The Carpenter Center A Health Hazard?
Nov 11, 2005, 02:48 AM CST
http://www.wtvr.com/Global/story.asp?S=4104787
Richmond’s Carpenter Center could be hazardous to your health. That’s according to the city’s building inspector who found more than 30 safety violations in the historic theater. The Carpenter Center closed last year for renovations. Most of the problems surround the plumbing, electrical wiring and ventilation systems. The Virginia Performing Arts Foundation owns the center and some members are questioning the timing of this report calling it “harassment.” Last week the city went public with its plans to possibly buy the center from the foundation and opening it open back up to performances. The mayor says the arts foundation should not get special treatment and must follow the city’s building codes just like everyone else. The city is giving the foundation about a month to bring the building up to code. The arts foundation plans to appeal the city’s findings.
Work on Richmond Performing Arts Center Halted by City
By Emily Quinn
15 Aug 2005
The city of Richmond, Virginia, has ordered that work stop on its new performing-arts center, the Richmond Times-Dispatch reports.
City officials say that the Virginia Performing Arts Foundation, the organization behind the center, has failed to get the necessary inspections required by state building codes, and that construction cannot continue until the permits are reapproved by the city.
In addition, city officials are concerned that the foundation doesn’t have enough funds to finish demolition of part of the Carpenter Center, and that interrupting the work could endanger the remainder of the historic theater. Bill Farrar, city spokesman, said that although the foundation claims to have renewed its demolition permit, the city did not agree to such an extension.
Brad Armstrong, president of the Virginia Performing Arts Foundation, said that there is enough money, between the foundation’s currently raised funds and pledged funds, to cover the current demolition costs, including steps to protect the Carpenter Center.
This is not the first time the foundation and the city have disagreed over the project. Last April, the foundation revealed it would not make its fundraising deadline and asked the city to waive the deadline entirely. The city did, but in July, mayor L. Douglas Wilder said he would not release any more city funds for the project, which needed, in his estimation, to be scaled back.
The new center is intended to be a home for the Richmond Symphony and other groups.
The nightclub is closed. The building is vacant. It sits right next to the Harlem Furniture corporate offices.
Yeah…the Embassy on Fullerton had a much more formidable facade.
This is interesting:
View link
There are two former theatre buildings in Fox Valley Mall. Both are off on the edge of the parking lot in the southwest corner. One has been gutted and turned into The Foundry (a large sports bar). The other, which I believe is the original building, is sitting there silently. You can make out the outline of “Plitt Theatres” where the electrical sign was once mounted. It is easy to miss unless you know it is there, because it sits on it’s own distinct parking area.
It is interesting to note that these early mall theatres, which surpassed the classic cinemas of the inner cities, have themselves been surpassed by larger facilities with stadium seating.
I…don’t…believe…you just brought the Lord into this.
Didn’t you learn your lesson with the Uncle Paul Cub Scout story?
When I am done laughing, preacher man, I will have some things to share. In the meantime I suggest you and Paul visit this web site:
http://www.amway.com/en/default.aspx
I think it fits you better than theatre restoration.
For a guy who claims to run a real estate empire that is a pretty weak response.
1) Landlords are not obligated to renew a lease. Businesses lose leases every day and have to move.
2) Tenants and landlords are always fighting. I have asked landlords for plenty of stuff that they felt they didn’t have to deliver.
3) The theatre is not exactly rich…I’m guessing that putting in a sink and installing new gas meters would run into the thousands.
4) MOST IMPORTANTLY: would you have reached into your lobby donation jar and paid the bill yourself? The hell you would have. Don’t portray yourself as the white knight of the travel agency.
As far as proposals go, let’s see this marvel of yours. Post a link to it. Or, is there a mysterious policy against posting proposals online to go with your mysterious policy against posting references online?
As far as visiting your office (better known as McDonald’s) goes, really Paul, what is the point? I’ve met you in the past: you make as much sense in person as you do on this web site. Is that worth my time? Let me think about that one…
…it is tempting. Meet Paul face-to-face, listen to nonsense, get served for attacking Paul’s character, spend two afternoons in court getting the case thrown out…
Sounds like great fun to me.
Yes, it is still sitting there. Looks exactly the same as in the Cinematour photos.
“Developer May Soon Revive Landmark Theater in Flushing” my foot.
I don’t believe that I am misinformed. Why don’t you share your successes online? What is the reason for that policy? You don’t even have references posted on your official company web site…like Conrad Schmitt Studios does, for instance. I know a lot of people who have been involved in preservation for decades…who hold positions within highly respected preservation-related 501©(3) organizations. Why don’t they know of your successes…only your failures? And finally, why did you tell a Quincy, Illinois newspaper that you ran the Wheaton Grand Theatre two months after it is documented that your contract was terminated and the locks were changed at the Wheaton Grand to keep you out? If you have successful references, why did you tell the newspapers about the Wheaton Grand?
Your responses are entirely predictable. These questions, and similar ones, have been posed to you over and over again. Instead of answering them, you avoid the questions, and defame the person asking them.
If you could list one successful project Paul, you would never have to hear from me again. But you can’t do that, can you…because there aren’t any.
melders:
It is entirely possible that this theatre would be better off without Paul Warshauer. I understand your desire to have someone pay attention to the Varsity. But, serious issues have been raised about Paul. In fact the same unfortunate story seems to play out over and over again. Do some reading on your own:
/theaters/5231/
/theaters/69/
/theaters/1712/
/theaters/5744/
/theaters/437/
Paul holds himself out to be a wizard of theatre restoration…operating old movie houses far and wide. But he refuses to share any of his claimed success stories with the rest of us. This is ridiculous. Why would you hide your successes? What’s more, nobody in the preservation community can name a theatre that Paul has rescued.
If Paul can name one community that loves him for rescuing their theatre, I wouldn’t have a problem with him. But all I see is a string of people who feel that he has done them wrong…people living in communities where the neighborhood movie house remains unrestored.
Brian:
I know the light fixtures were removed some years ago to protect them from theft. Have they been maintained as a collection for future reinstallation? If they have been sold off, I imagine it will add millions to any restoration scenarios.
There was an organ discussion not long ago. I know that organ components were stored in the office building next door in the 90’s, with an eye toward eventual installation…although I think it was a church organ destined for the grand lobby.
See mention of the Varsity about ½ way down:
Central St. Performing Arts Center — Feasible?
By Beth Demes
Evanston Round Table
Volume IV Number 12
June 6, 2001
Performing arts organizations in Evanston are keeping their fingers crossed – twice.
First, that the City Council approves a grant to study converting the old Central Street movie theaters into a performing arts center. And, second, that the study proves the dream feasible.
City Council is expected to consider the $56,100 grant, requested by Light Opera Works and Dance Center Evanston, the two main tenants of the proposed performance venue, at its June 11 meeting. The Economic Development Committee approved the grant at its May 23 meeting after much discussion.
If City Council approves the grant, David Woodhouse Architects, a design firm that specializes in cultural and recreational centers, will assess the feasibility and cost of converting the former Evanston Theater, 1702 Central Street, for use by the two proposed tenants. They will also look at how the space might accommodate other Evanston performing arts groups, such as the Evanston Symphony Orchestra, Piven Theatre, Next Theatre and Organic Theater. “It’s in our best interest to sublease as much of the space as possible [to other performing arts groups],” said Bridget McDonough, general manager of Light Opera Works. The study might determine, she added, that there could be a third theater in the space, potentially allowing a third main tenant for the building.
Gordon Magill, trustee for the owners of the building, said the theater was built in the 1920s as a movie house and was used at one point for live performances. Before being cut into smaller movie theaters, the property had two auditoriums in two separate buildings. The larger auditorium, the original movie house called the “west theater,” now broken into four theaters, is actually located at 1716 Central St. The smaller “east theater,” a former gym converted to a movie theater in the early 1970s, has the 1702 Central St. address.
Light Opera Works is interested in the west theater, which holds 1,200 to 1,500 seats. Dance Center Evanston is looking at the 600-seat east theater for studio and flexible performance space. “I believe in the project, and I believe in the people who are committed to make it happen,” Mr. Magill told Economic Development Committee members at the May meeting.
He said he would hold off marketing the building, vacant since Loews Theaters closed in late February, to other tenants as long as there is steady progress on the project and “light at the end of the tunnel.”
“[Converting] the Central Street theaters from a movie house to a working performing arts center…would ensure that two of our City’s leading cultural institutions would be with us for a long time to come,” Carol Daskais Navin, a Dance Center Evanston Board member, told the Committee.
Light Opera Works has offered musical theater in Evanston for the past 20 years and produces four shows a year, three in Northwestern University’s Cahn Auditorium and one in the YMCA Child Care Center Auditorium. The non-profit arts organization draws about 29,000 patrons a year and has 2,700 subscribers. Dance Center Evanston, 610 Davis St., opened in 1994 as a dance school for students ages three and older. The school, under owner and director Bˆ©a Rashid, has grown from 70 to 500 students who take classes in ballet, modern dance, jazz and tap. The non-profit Evanston Dance Ensemble is a civic dance company that draws from the school.
Both performing arts groups had already outgrown their present quarters and were looking for larger spaces when the Central Street theaters became vacant. But retrofitting the old movie theaters for major live productions will not be easy. The greatest challenge, said Ms. McDonough, may be adapting the west theater for Light Opera Works' needs, which include an orchestra pit large enough for 35 pieces, a fly loft and wing space.
Several Economic Development Committee members were concerned about the cost of the conversion and ongoing operation and who would foot the bill.
Ms. McDonough pointed out that her organization and Ms. Rashid’s would be signing leases for the space and have already discussed possible rents with Mr. Magill. Both groups, she added, would rely first on their donor bases to raise money for the rehab, before approaching the larger community. She would not say what their fundraising limit might be, or whether the City may be needed to fill a gap, preferring to wait for the results of the study first. The City has also been non-committal about subsidizing such a project. It has not been willing to consider sizable funding in the past for performing arts centers.
Two years ago, as part of the plan for the downtown Church Street Plaza development, the architect hired by developer Arthur Hill estimated that the construction cost for a second-level performing arts center above a new Levy Senior Center would be about $13 million. As an alternative, the City looked into rehabbing the former Varsity Theater on Sherman Avenue; that also proved to be expensive at $10 million. With estimates of private fund-raising capacity limited to $4 million and the City’s inability to fill the funding gap, that proposed performing arts center fell apart.
An earlier attempt in the late 1980s for an Evanston performing arts center to house the Northlight Theatre also failed because of cost and funding difficulties.
In a separate interview, Ms. McDonough said she thought the Central Street proposal would be different. Compared to the Varsity Theater, the Central Street theaters are in better condition and should not be as expensive to retrofit. She also said that instead of creating a new non-profit to raise the funds and operate the building, as the Church Street Plaza plan contemplated, two existing, established arts organizations would take the lead, making the fundraising easier.
Scheduling multiple groups for the space, always a challenge in a single performing arts venue, might also be easier because of the inherent priority of the organizations leasing the space.
Some City officials have pointed out that Evanston already has a performing arts center – the Noyes Cultural Arts Center, 927 Noyes St.
Ms. McDonough and others in the arts community say the Noyes Center is very supportive and valuable because it offers space to arts organizations at reduced rent, but it has limitations.
Joyce Piven, artistic director of the Piven Theatre Workshop, told the RoundTable they juggle holding classes and performing shows in their space at the Noyes Center.
“If we are able to put out one or two [of our four shows per season] in another venue, it would give us room to breathe,” explained Ms. Piven. That is why the Central Street proposal is so appealing. Ideally, she said, they would be looking for a house with 200 to 250 seats.
“We seem to have a burgeoning of very solid performance groups in Evanston that have already received city-wide recognition, either through the [Joseph Jefferson Awards] committee, or through Chicago newspapers, or through the gathering audiences that we have here,” Ms. Piven continued. “We feel that a performance center of some kind would really be a stunning thing for the North Shore. It’s something that is waiting to happen.”
Paul, I am in the mood to provide you with some education. I won’t even charge you for it.
BUSINESS 101 – LTS ONLINE UNIVERSITY
This is a proposal:
http://www.dupagetheatre.net/TheatreProposal2.pdf
Proposals must be supported with logic.
People with theatre renovation ideas use such documents to communicate with the public and potential supporters.
Notice that the proposal contains verifiable references.
There will be a quiz. I know these are new and confusing concepts for you. So, I suggest you pay attention. Tutoring is available.
Uncle Paul has returned to Cinema Treasures in force. Apparently his utilities have been turned back on. Perhaps Uncle Paul has received payment for his feasibilty study on the fabuous Palace Theatre in Guam.
I can’t wait to hear what the judge has to say about this law suit. My guess is that it will quickly be shot down in flames.
If that does end up being the case, I encourage theatre officials to make the same liberal use of the media that Uncle Paul enjoys.
Interesting. I don’t see any reports of restoration work in the publications that usually print Lawford Theatre news. The theatre’s phone is disconnected as well.
As far as loans go, everyone know you asked the city for one. Everyone also knows that the city turned you down because they had doubts about your organization. How do we know? Because we read it in the newspapers…I don’t know where you come up with half of the stuff you say.
Here’s a comment from the Wheaton Grand message board, describing your work at the Portage Theatre in Chicago. There are similarities to the story now coming out of Havana:
Too bad about Havana. I worked with Paul in Chicago—the exact same thing happened there. As an employee—you are only as useful until you shut your checkbook. Then you become a “volunteer”. Let’s see if I get the scenario right? A man (Paul) comes in and declares he spends his life restoring theatres. His dream is re-open “this” one.
He needs help (usually teenagers and unsuspecting employees)—when money gets tight he asks the local government for money. When denied he looks to book “investors”—people to help him follow his dream. He thinks how he can divide the theatre into 3. More deposits come in from those groups hoping to get a piece of the
action (sorry—no theatre gets divided-no deposits returned). He then books bands and accepts deposits (now you know Wheaton why he was upset about bands not being allowed to play. Then we blame the local governement about repairs (wasn’t that the case in Chicago—2 venues-Wheaton now Havana—) Then nobody but Paul gets any money. The bills in Chicago; Havana; how are your bills Wheaton? go unpaid. Now let’s get to the employees. All of sudden (after being told of the Grand Opening) there is no money to be paid to employees and now they are called thiefs and volunteers. Sorry Paul—used that excuse many times. Anybody who didn’t “invest” is insulted and called liars. There are so many of us following your footsteps—maybe it is time to try your con in another state. Just remember, the internet is a wonderful tool. Let’s all of us “volunteers” make it our mission to not let him continue. How do you sleep at night Paul? Are there any available lawyers out there to help us with the possibility of a class action lawsuit? Can all of us who were left out to dry possibly take Paul to court? Mr. Novelli—maybe you could help? Have you woke up yet to Paul or are you just slower than normal? How much money did Paul make on ticket sales in Havana? Where is all that money? Certainly not paying bills or employees. Just like in Chicago—go forth and sell calendars on street corners to generate money. Who got that money—Paul did and he was able to travel out of the country while leaving others to possibly get arrested by City officials after being told the theater was fine to open. He then blamed aldermen and the mayor for not turning their backs on an unsafe building and allow patrons in. Paul doesn’t like rules and regulations. He also can’t stand people just a little bit smarter than him—which is most. It just takes us a little longer because most of us have never met a con man before. Our human nature tends to lead us to trust everyone—which now I trust no one. Most of us start out trusting and liking Paul but quickly learn. Are there any out there who started working with Paul and still admire him? Mike where did you come from? You weren’t with him in Chicago? Haven’t you learned yet (others are slower than the rest of us) or are you a con man too? I certainly would break away from Paul as soon as possible. Is this the type of man to be friends with? How is he able to pay you and not mininum wage workers? Again sorry Havana—you were warned. Best of luck Wheaton—you may be the first and only theater to stay on your feet after Paul and go forth. There are many others behind you and cheering you on. As for all others—let’s just watch the internet and watch where Paul goes next.
posted by disgruntledemployee on Sep 12, 2005 at 7:49am
Paul F: I give Paul W. a hard time because he has a long string of failure. All the information I have makes him look like a cancer on the preservation community. What positive stories have you heard? Paul refuses to share his (claimed) successes with the rest of us…which is ridiculous. Why would you hide your successes? If I could find just one story of this guy helping a community to restore their theatre, I would stop giving him a hard time.
Paul W: those are citable references listed above. One of them talks of you being evicted from the building.
And how about these accounts posted on the Wheaton Grand site from someone familiar with the Portage debacle?
The church didn’t come until you were ordered out and could not pay your bills—it was a last ditch effort to try and recoup some more money. As for your partners—you yourself called Ms. Deans a “bitch” after she walked away. Has Mr. Pales and his mother not sued you? Poor Mr. Miner couldn’t sleep at night after you fell apart. Yes, maybe the name on the cease and desist order was the Portage Theatre and not the Henslowe group—remember you weren’t even in the country when it actually happened—you were out of the country. Also you didn’t assume financial responsibility—many of us went unpaid for our wages and any supplies bought for you and your venture—don’t try and portray yourself as a good and respectful individual. You are a con! Nobody went after the other 3 partners because they were led astray like the rest of us. If not, where are they now? Please enough with trying to get the rest of us to feel sorry for you. Just move on—as far as I am concerned my purpose is to make sure you do not do to another community as you have done in the past. Try and get a legitimate job for once—not one that you are hoping to live off of others. When was the last time you earned a legitimate salary? That means not accepting money from business ventures and using that? Enough already.
posted by disgruntledemployee on Sep 12, 2005 at 2:29pm
Too bad about Havana. I worked with Paul in Chicago—the exact same thing happened there. As an employee—you are only as useful until you shut your checkbook. Then you become a “volunteer”. Let’s see if I get the scenario right? A man (Paul) comes in and declares he spends his life restoring theatres. His dream is re-open “this” one.
He needs help (usually teenagers and unsuspecting employees)—when money gets tight he asks the local government for money. When denied he looks to book “investors”—people to help him follow his dream. He thinks how he can divide the theatre into 3. More deposits come in from those groups hoping to get a piece of the
action (sorry—no theatre gets divided-no deposits returned). He then books bands and accepts deposits (now you know Wheaton why he was upset about bands not being allowed to play. Then we blame the local governement about repairs (wasn’t that the case in Chicago—2 venues-Wheaton now Havana—) Then nobody but Paul gets any money. The bills in Chicago; Havana; how are your bills Wheaton? go unpaid. Now let’s get to the employees. All of sudden (after being told of the Grand Opening) there is no money to be paid to employees and now they are called thiefs and volunteers. Sorry Paul—used that excuse many times. Anybody who didn’t “invest” is insulted and called liars. There are so many of us following your footsteps—maybe it is time to try your con in another state. Just remember, the internet is a wonderful tool. Let’s all of us “volunteers” make it our mission to not let him continue. How do you sleep at night Paul? Are there any available lawyers out there to help us with the possibility of a class action lawsuit? Can all of us who were left out to dry possibly take Paul to court? Mr. Novelli—maybe you could help? Have you woke up yet to Paul or are you just slower than normal? How much money did Paul make on ticket sales in Havana? Where is all that money? Certainly not paying bills or employees. Just like in Chicago—go forth and sell calendars on street corners to generate money. Who got that money—Paul did and he was able to travel out of the country while leaving others to possibly get arrested by City officials after being told the theater was fine to open. He then blamed aldermen and the mayor for not turning their backs on an unsafe building and allow patrons in. Paul doesn’t like rules and regulations. He also can’t stand people just a little bit smarter than him—which is most. It just takes us a little longer because most of us have never met a con man before. Our human nature tends to lead us to trust everyone—which now I trust no one. Most of us start out trusting and liking Paul but quickly learn. Are there any out there who started working with Paul and still admire him? Mike where did you come from? You weren’t with him in Chicago? Haven’t you learned yet (others are slower than the rest of us) or are you a con man too? I certainly would break away from Paul as soon as possible. Is this the type of man to be friends with? How is he able to pay you and not mininum wage workers? Again sorry Havana—you were warned. Best of luck Wheaton—you may be the first and only theater to stay on your feet after Paul and go forth. There are many others behind you and cheering you on. As for all others—let’s just watch the internet and watch where Paul goes next.
posted by disgruntledemployee on Sep 12, 2005 at 7:49am
This arrived in my email account today. I live many states away. But perhaps some other readers might want to attend:
RAYMOND THEATRE
Notice of a Pubic Hearing
FINAL DESIGN REVIEW
The City of Pasadena has scheduled Final Design Review for The Raymond Theatre. The City Design Commission will be reviewing the final plans to convert the Raymond Theatre
into a mixed-use housing project.
If the project passes Final Design Review, 10 days later building permits for
construction will be issued.
We ask the community and all our supporters to please attend this
important hearing and show your support.
If you would like to speak and need to know the issues, please write us over the weekend.
Hearing Information:
Date: October 24, 2005
Place: All Saints Church, Sweetland Hall
132 North Euclid Avenue
Pasadena, California 91101-1796
(Corner of Holly and Euclid near City Hall, entrance is on Euclid)
Time: 6:00 pm.
Best arrival time: 7:00 pm
For directions: Phone: (626) 796 – 1172 or (818) 541 – 9522
Friends of the Raymond Theatre
Office: (818) 541-9522
Fax: (818) 541-9523
Website: www.raymondtheatre.com
Lombard: you would be lucky if your business district looked half as nice as downtown Park Ridge, anchored by the Pickwick Theatre. Highland Park is pretty nice, too. How about Downtown Evanston with it’s attractive (albeit modern) Century entertainment complex? The people in Barrington are going to great lengths to preserve the Catlow Theatre because they recognize it’s value to the community.
There’s no reason to be nice about this: Downtown Lombard sucks. I don’t care if you have one Italian restaruant that was written up in the Tribune. Restaurants…even those written up in the Tribune are here one year and gone the next. I also don’t care if you have a few stores. Lombard is barren and ugly…almost like some depressed town in rural Illinois.
I am not pro-preservation at any cost. There is certainly not room for every 1920’s theatre in the modern world. If Lombard had four such theatres, I would certainly say that saving them all would be unrealistic. But, I have now seen Lombard for myself. That theatre is a real centerpiece (albeit one that is run down currently). It attracts the eye as you enter the business district. It has a large building attached to it that can be used for retail/residential, and it has a parking lot (for residents, tenants, and patrons alike). It also appears that there is property to the south that might be incorporated into an intelligent development scheme.
Given all of this, why are some in the community apparently hell-bent on seeing the building destroyed? It almost seems as if they take joy in the process. Am I to understand you were going to have a BBQ to celebrate the theatre’s destruction? How old are you? And why is the use of tax dollars an issue? Tax dollars across the United States have been pissed away on projects far less sensible than this. And if intelligent use of tax dollars is such a priority in Lombard, why does the whole town (at least everywhere I drove on my visit, which was quite a considerable section) look barren? Is that the result of years of intelligent community development planning? And why is anyone yelling about tax money when (to my understanding) millions in government funding has been turned away?
Get it together. What does Lombard have to offer? The Illinois Prarie Path? A mall or two? Sweet…
Now, as far as the theatre supporters go: why aren’t you guys on the telephone every day trying to solicit corporations and wealthy foundations for donations. I have been on a non-profit Board of Trustees for the last few years (not related to a theatre) and that’s the kind of hustle our Development Director uses to get things done. He stays on people literally for years, and gets them to donate. You guys should be all over the place with your Power Point presentation. Perhaps I am wrong, but I don’t sense that anything like that has happened.
And if you anti-theatre people win…why are you going to stick it to the preservation people? Why don’t you at least leave the facade of the building, so that a piece of history is saved…and that bright white entrance continues to serve as an eye-catching gateway to the area around the railroad tracks.
Someone earlier was asking about difficult preservation battles. I have already mentioned the Allen in Cleveland. The Chicago Theatre is another example. It may now be in safe hands. But in the mid-80’s there were people driving around with, “save the Chicago Theatre” bumper stickers because of a proposal to redevelop the site. There are bitter fights now raging in Richmond, Virginia and Pasadena, California. Keep up the fight…you are in good company, and you have a good chance of winning. If people like you weren’t willing to battle fiercely, America might not have any movie palaces remaining today. Most of them would have disappeared during the 60’s, 70’s and 80’s. Countless proposals to replace movie palaces with other development have been overcome over the years…just browse this web site for a while.
Keep up the fight! I for one feel that your community has a lot riding on this.
P.S. To Challenger: I have an honest suggestion for you. Choose another screen name. Every time I see yours, it reminds me of the space shuttle tragedy. It makes you seem aloof.
OK…now that’s just an ignorant thing to say, CP2. Do you have any knowledge of the American financial markets? Apparently, bonds were sold to finance this convention center. Do you know what that process entails? It entails the issuer hiring an investment bank, like Morgan Stanley, to underwrite the securities for a large fee. Then Morgan Stanley lays off the bonds: 1) in large blocks through institutional sales desks to municipal pension funds and other large entities 2) in batches of ten and twenty through it’s broker sales force to little old ladies across the nation. Nobody looks at the purpose of the bonds. They look at the credit rating, how much interest they pay, and when they are redeemable…and often that doesn’t even happen: the salesman calls up, says the customer should buy & the customer buys. The virtues of a particular project have nothing to do with how marketable a bond issue is…and even the critical data, such as S&P ratings, is subject to negotiation.
Many an American (corporations and individuals alike) has purchased investments of this nature that blew up.
I met Paul because I was looking into the theatre lobby from Hale Street one day…wondering what was going on. He spotted me and opened the front door. I got a tour of the entire facility and an explanation of his three-theatre idea. Then he tried to convince me to put cash into that donation box in the lobby.