The Eccles Theater is a magnificent architectural contribution to Salt Lake City and downtown. As I've toured the theater — as well as the Regent Street and 111 S. Main developments — I'm incredibly impressed by the quality of design and construction. From the integration of the theater into Main Street with no rear, but another activating influence on Regent Street with the main entrance to a badly needed additional black-box theater, we now have a state-of-the-art facility that will draw people from around the region for years to come.
Finally, it's exciting to me that this theater will be accessible to everyone. Thanks to the larger seating capacity and actions taken by the city and private contributors, seats will be set aside that will be affordable for anyone wanting to experience the performing arts in Salt Lake.
What does the theater's opening indicate, in your view, about the city as an arts and cultural center?
With the Eccles Theater opening, Salt Lake City and Utah continue a tradition of investment in state-of-the-art venues that enrich people's lives through performing arts. Following on the strong tradition of arts and culture in Salt Lake, since the settlement of the valley — from the Capitol Theatre to Abravanel Hall and Rose Wagner to the University of Utah venues — the Eccles Theater underscores that arts and culture are worthy investments. The Eccles Theater also is a premier modern theater that offers performing artists a superb venue for their craft.
You encountered some criticism for pushing this theater. How would you answer those critics?
I actually thank the critics; they made us sharpen and improve every element of the theater, from siting to financing to design to providing for a range of local, national and international artists of all kinds. This occurred over a five-year period, from the initial concept to a commitment to invest in this theater, and another three years of design and construction. So I truly do thank everyone who was involved in that public process for contributing their time, thoughts and ideas. This theater will be experienced and reviewed for many years to come. Thanks to all the participants in the process — performing arts groups, businesses, Salt Lake County, Salt Lake City Council, and other local government officials — we were challenged to NOT raise taxes, to include provisions for local productions, to use the theater as a catalyst for more activity downtown, to meet sustainability goals, to make the theater accessible to those who are financially or physically challenged, and to ensure the facility would contribute to the beauty and vibrancy of downtown Salt Lake City.
Any new project of this magnitude creates some disruption and controversy. This theater, originally conceived in the 1962 Salt Lake City Second Century Plan, had been discussed for decades, with feasibility studies and proposals in Salt Lake City and later in Sandy. After announcing I would explore the viability and desirability of a new, larger downtown theater in early 2008, I quickly learned why the proposal had never led to development. Struggling arts organizations questioned spending money on a new theater when they were barely hanging on, especially during the Great Recession. Others questioned whether public money should be spent to support the arts versus other necessary public needs. Questions were raised about whether the theater would serve only the wealthy elite. Those were all legitimate concerns. We did everything possible to proceed in a transparent way with analyses and community dialogs — thanks to so many who gave their time through volunteer work or governmental consideration. In the end, the city and county, with the affected taxing entities, concluded the performing arts center was a worthwhile investment for Salt Lake City and the region.
I believe the result speaks for itself.