TBO.com - TBO is Tampa Bay Online

A theatrical production

ADVERTISEMENT

By TOM JACKSON tjackson@tampatrib.com

The Tampa Tribune

Published: May 13, 2009

NEW PORT RICHEY - No self-respecting octogenarian theater is without tales of intrigue. That these tales cannot survive inspection is quite beside the point. After all, the whole idea of a theater is to allow its patrons to suspend their powers of disbelief.

If a little of that magic spills over into the real world, what's the harm?

Thus do we begin the telling of the latest re-creation of the Richey Suncoast Theatre - a $500,000 public-private renovation that debuts tonight along with "Hello, Dolly!" - with an ancient story that falls into the category journalists call "too good to check out."

The 1920s were roaring when a collection of investors declared their intention to erect a theater on the southeast corner of Grand Boulevard and Nebraska Avenue. They were fully capitalized and meant to sink $50,000 (!) into the building, with the intention of screening movies and putting on plays and vaudeville shows.

This much is part of the published history of the theater. Also indisputable is that New Port Richey was a favorite hangout for the era's glitterati, including the ultimate leading man of the day, Thomas Meighan. Meighan built a palatial house on the Pithlachascotee River and commenced inviting his movie star friends to visit, among them Gloria Swanson.

OK. One more documented nugget. Joseph P. Kennedy, businessman, founder of the Kennedy political empire and serial womanizer, was at the time making time with the aforementioned leading lady.

Surprise, surprise

Which brings us to the most-likely apocryphal twist: To keep Miss Swanson happy, and also conveniently on the East Coast, Kennedy not only hatched the idea for a high-class theater in New Port Richey, he was the silent - and majority - partner in the investment consortium.

Nothing in contemporaneous reports or subsequent published histories substantiates linkage among the theater, Kennedy and Swanson. Nonetheless, the rumor clings like a starfish to the theater's unofficial narrative and, disclaimers flying, Charlie Skelton loves it.

But, then, Skelton loves virtually every aspect of the venerable art house, as befits the fellow who serves as box office manager, theater board president and head cheerleader. Skelton even adores the story of the first production staged when he was new to the theater, back in 1998.

It was late summer, the season of afternoon thunderstorms. He and his wife, the energetic and watchful Marie, were in the back of the house when they recognized the thrum of rain pounding the roof. But neither was prepared for what happened next: a sudden blooming of umbrellas in the audience, even as the performers played on.

"These were regulars," Charlie Skelton says in a quick Philadelphia clip, "and I guess they were used to the idea that the roof leaked." It was also about that time that he and Marie figured out that restoring the place was going to involve more than a couple coats of new paint.

Tradition honored, renewed

Years of fundraising, grant-chasing, favor-seeking and horse-trading were followed by a burst of activity by construction trade subcontractors, leading to a grand reopening that lives up to the billing.

What's new? What isn't? Lighting - both stage and accent - sound, acoustics, wall treatments, carpeting, seats, air conditioning, stage drapes. Even the method of raising and lowering curtains and scenery drops is new. Motorized rollers have replaced volunteers' muscle power.

Skelton is especially pleased about that development, considering the fellows on the ropes most often were Skelton and a couple or three World War II veterans. "Baby boomers will give you money," Skelton says, "but most of them don't have the time to volunteer."

The place, plainly, is a regional treasure, welcoming families, nurturing youngsters, inspiring dreams and provoking downtown commerce all while cultivating a sense of funky refinement that inevitably adheres to community theater: classic Broadway, off-Broadway and off-off-Broadway productions by ambitious amateurs. Every night is a no-net high-wire act that, through shared risk, manages to ennoble participants and patrons.

I mean, they've even added a "corporate box": a triangular subbalcony capable of seating a half-dozen or so upscale patrons. Black tie, anyone?

"We wanted to make it a gem again, ... give it a sizzle factor," Skelton says. "Bring people in to see what's been going on, maybe they'll stay for the shows."

Consider the first half of that challenge nothing less than mission accomplished. As for the rest, after tonight's invitation-only soiree, "Dolly" will continue through the weekend as well as May 22-24 and May 29-31.

And that's no rumor.

Columnist Tom Jackson can be reached at (813)259-7068. Keyword: The Jax Files, for Tom Jackson's bonus insights.

Share this:

Loading Comments...

Email Print

ADVERTISEMENT