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1 Park Place Suite 400 Annapolis, Maryland 21401

Theatre Entrance
Confirm Maryland as a state that supports the arts
by creating a world-class performing arts center in
its capital of Annapolis.

Enrich the cultural life of our state, our community

and all who visit by presenting renowned artists
and events from across America and around the

Collaborate with other community arts and educa-

tional institutions in order to nurture and educate
our youth and instill in them an abiding under-
standing and appreciation of the arts.
Maryland Theatre for the Performing Arts
Annapolis, the capital of our great state and the crown jewel of Maryland, has woven a rich tapestry of
culture and nurtured a lively arts community – Maryland Hall, three well-established theatre compa-
nies— the highly regarded Annapolis Symphony Orchestra, an opera company, the Annapolis Ballet
Theatre, and a myriad of talented musicians, performers and entertainers. Additionally, the Naval
Academy serves up dance and music presentations and summer concerts in the city as does St. John’s

But for all its diversity of offerings, our city lacks the most important component: a world-class perform-
ing arts venue that will establish Maryland as a state that embraces the arts – a facility that will position
the state’s capital as Maryland’s cultural and entertainment capital as well. As long ago as 1978, an arti-
cle in The Capital reports the unveiling of a plan for a 1500-seat theatre, to cure the curious paradox
that Annapolis, rich in history, architecture and style, is singularly lacking in arts facilities of any quality.”
The Maryland Theatre for the Performing Arts will fill an entertainment and educational void for the
half million residents of Anne Arundel County and the underserved Eastern Shore, now so easily acces-
sible by the Bay Bridge, and open up opportunities for educational and arts alliances throughout the
The Maryland Theatre for the Performing Arts was first mentioned in the Park Place concept plan
(2000-2001), in which an area internal to the project was shown to be used for entertainment pur-
poses. After extensive meetings with local arts organizations and a theatre consultant, it was con-
cluded that the community could and would support a performing arts center.

The project had major delays as a result of September 11, 2001, and all transactions ceased regarding

The History
construction of the project as a whole. Following financing of the Park Place project through a part-
nership with the Carlyle Group, the Maryland Theatre for the Performing Arts, a 501(c)(3) not-for-
profit corporation was formed to become the operating entity for the facility.

Because an entertainment component of some nature was always anticipated as a part of the Park
Place development, many of the important features required to build and operate a structure of this
type were incorporated into the initial building plans for the project. Park Place was designed and
planned anticipating traffic and parking needs for the proposed theatre, and parking spaces were built
into the now-completed parking garage. Loading access from Taylor Avenue for the stage of the pro-
posed theatre is in place, as are the curb cuts. Much of the required infrastructure, such as water
mains, electrical conduit and various mechanical vaults are also already in place.

Architects for the theatre are Martinez & Johnson. Gary Martinez (who lives in Severna Park) is the
project manager. The plans capture the Beaux Arts styling of Park Place on the east side of the struc-
ture, then in contrast, an architectural style reminiscent of Frank Gehry’s work or Frank Lloyd
Wright’s Guggenheim Museum. The theatre has been designed to afford visual clarity and acousti-
cally designed for symphonic orchestra, popular and other types of music, as well as stage productions
and spoken word performances. With its fly loft, the facility will meet all the presentation require-
ments for national and international artistic performances.

Currently, the board of MTPA consists of 15 individuals, and an executive director is in place.
Aerial View
(Westin Hotel in foreground))
The MTPA has been carefully planned by architects and consultants well known for their expertise
in this field. The land, building and operations will be owned and operated by MTPA, a non-profit
organization, after transfer of the land. Current estimates to construct the proposed project are $60-
$70 million for hard and soft costs for the first phase and $20-$30 million for the second phase.

Millions of dollars have already been invested in the relocation of Admiral Cleaners, infrastructure

The Status
and the public parking garage that has over 300 spaces allowed to the MTPA facility. The parking
garage is a public/private venture sponsored by the City of Annapolis, Anne Arundel County and
the developer. The city and county participation was $25 million, funding with a tax incremental
financing program. Of that $25 million, approximately $10 has been invested by the city and county
in the over 300 MTPA parking spaces.

Currently, $8 million is needed to provide start-up costs for staffing, to proceed with the architec-
tural plans for the structure and consultants necessary for a project of this magnitude.

Funds to build the MTPA project are expected to be raised from a variety of sources:
Federal, state, county and city
Corporations, private companies and businesses
Public , private and individual foundations
Private donors
Naming rights

Your help and support are crucial to allow this project to proceed. We look forward to providing
information and briefings to you and others. Maryland Theatre for the Performing Arts is a project
that will reflect the importance and dedication that the City of Annapolis, Anne Arundel County
and the State of Maryland continue to have for the arts, education and the citizens of Maryland.
View from Taylor Avenue
Located in an already burgeoning cultural hub of the city, the theatre was designed by the re-
nowned theatre architectural firm of Martinez/Johnson. The structure itself is a work of art. Its
soaring atrium lobbies are encased with glass and steel, opening the interiors to natural light and
providing a dramatic prologue to the entertainment experience. The stunning public spaces can
also be used for gala social events, corporate rentals and special events – important income
sources for any performing arts center.

The Facility
The first phase of the facility is a 1500-seat auditorium distinguished by a proscenium stage with
an 85’ fly loft, an orchestra pit and a sprung dance floor and fitted with state-of-the art audiovisual,
sound and lighting. The combination opens up endless presentation possibilities – orchestral,
drama, Broadway, dance, opera, country, folk, pop, jazz, rap – truly a world of entertainment. A
multi-purpose design sets the theatre apart from others in the state, and the acoustics of the room
are adaptable to suit any entertainment genre. Included as well in this first phase is a 44,000 sq.
ft. adjacent space that can serve a number of purposes — a visitors center, rehearsal space, admin-
istrative offices, rental space, a gallery.

The second phase includes a 250-seat theatre one level below the main stage, with an equal
amount of technical sophistication for more intimate presentations – drama, a jazz combo, an
evening of comedy, rising stars… On the same level is a black box theatre – a square black room
with a flat floor that can be configured in an infinite variety of ways with the use of movable chairs
and modular set pieces. Most often, a black box is reserved for experimental work, but its use is
limited only by the imagination of the artists.

A patron’s lounge, several rehearsal rooms, multiple dressing rooms, and offices are included in
the structure as well as a recording studio. The theatre is outfitted with satellite and cable, ena-
bling live transmission or taping of performances from the theatre, or, for instance, reception of a
grand opera from the Met.
The Lobby with the Wall of Honor on the left
Cutaway view of The Lobby
Because of the theatre’s technical sophistication and ability to literally transform its acoustics to
suit any genre, programming is limited only by consideration of artist fees and availability. The

The Programming
luxury of three performance spaces also provides for an extraordinary variety – perhaps an ex-
perimental piece in the black box, a jazz combo on the thrust stage, and an international orches-
tra or touring Broadway show on the main stage. On any given day you might see…
Jazz greats Michael Feinstein, Herbie Hancock, Etta James and the Roots Band, Dave Koz or
David Benoit, the Lincoln Center Orchestra with Winton Marsalis…
Dance in all its forms… Alvin Ailey, Savion Glover, Pilobolis, Hubbard Street Dance Company,
American Ballet Theatre, St. Petersburg Ballet’s Romeo and Juliet…
Special attractions like Stomp, the Mexican dance spectacular Jarocho, Riverdance, DrumLine
Live, inspired by Historically Black College and University Marching Bands, Revolution. Sweat.
Dance. Rock & Roll, Boston Pops Esplanade Orchestra…
Broadway tours of Jersey Boys, Hairspray, A Chorus Line, Wicked, Monty Python’s Spamalot,
Legally Blonde…
A discussion with playwrights Tony Kushner, David Mamet and Edward Albee…
Jerry Herman talking about his life in the theatre…
International companies...Compania Flamenco de Madrid, Tango Buenos Aires, Ballet Folk-
lorico de Mexico, the International Black Light Theatre of Prague…
Perennial favorites like Johnny Mathis, Barry Manilow, Steve and Eydie, Martin Short, Berna-
dette Peters…
Country singers Billy Ray Cyrus, Carrie Underwood, Alan Jackson…
Family...Peter and the Wolf, a multi-media extravaganza, the Nutcracker, a Hubbard Street
Dance program designed for children, Annie, Mary Poppins…
A political forum...
Balcony View of the Stage
View from the Stage
In his award-winning book “The Rise of the Creative Class,” Richard Florida explains the rise of
a new social and economic class, including engineers, architects, artists, entertainers, educators
and the like, that he calls the Creative Class. He examines how and why we value and cultivate
creativity more intensely than ever before and how it is vital to the future of our cities. MTPA
intends to structure its educational component on this premise and become educational part-

ners for arts integration with the schools, our cultural institutions and the workplace.

The theatre opens up a vast array of opportunities and will serve as an educational and explor-
ative playground for teachers from all disciplines, artists, juvenile justice and social service work-
ers and business people. As well, it will bring students into the world of art through investiga-
tions that actively engage them in perception, exploration, art-making, research, reflection and
discussion. Teacher workshops, student access to performances, performance materials, arts-
integrated residencies, internships, professional development projects — all will have a place in
MTPA’s educational component. Preliminary discussions with Michael Kaiser, President of the
Kennedy Center, yielded many solid ideas for partnership opportunities with the Center, in-
cluding sharing programs and professional development workshops for teachers. .

The theatre has been endorsed by Kevin M. Maxwell, Superintendent of Schools for Anne
Arundel County; John Ceschini, Executive Director of Arts Education in Maryland Schools Al-
liance; Reginald Broddie, Chief Professional Officer of the Boys and Girls Club of Annapolis
and Anne Arundel County and Marcella Yedid, Head of School, The Key School. Studies are
underway with these groups to determine how the theatre can best use its resources to expand
and improve the world of our youth through the arts.
What does the theatre bring to this community?

Programming that provokes, entertains, enlightens, and stimulates.

The Community
An unprecedented space and enticement for meetings and conventions in our state capital.

An educational component that brings together students, teachers, and industry in an exploration
of how one benefits the other.

Programs that encourage everyone to be a part of the theatre community, no matter their socio-
economic status.

State, county and local income in the form of property, sales, use, admissions and amusement

Programming that brings together young people from public and private schools and at-risk

Community outreach and hundreds of volunteer opportunities.

Increased patronage for local businesses.

A meeting space for government forums, social service organizations, and non-profit organiza-

A message to everyone that:

It’s Your Theatre!

Economic Impact Study for Maryland Theatre for the
Performing Arts
Prepared July 31, 2009 by Basile Baumann Prost Cole &

Economic Impact
Associates, Annapolis, Maryland

• An annually recurring economic impact of $24.6 million (constant 2009 dollars) from the
Maryland Theatre for the Performing Arts is projected in Year 3 of stabilization, including:
≥ Direct spending of $5.0 million in the local economy
≥ Direct and indirect output from operations of $19.5

• A total of 37 new full-time equivalent jobs, including:

≥ 27 direct full-time equivalent jobs
≥ 10 indirect full-time equivalent jobs
≥ Direct and indirect earnings impact of $1.9 million

• A total non-recurring economic impact from construction of $123.7 million (constant 2009
dollars), including:
≥ $105.0 million in direct and indirect outputs
≥ $18.7 million in direct and indirect earnings

• Annual tax revenues at stabilization of $1.7 million, including:

≥ $326.370 in personal property taxes
≥ $752,315 in sales and use taxes
≥ $626,929 in admissions and amusement taxes
Overview of Sight
Rig Baldwin, Attorney, Baldwin and Kagan

Board of Directors
John Belcher, CEO, Arinc
Fred Delavan, Attorney, Blumenthal, Delavan & Williams
Pamela Finlay, Director of Marketing, Katcef
Parris Glendenning, Former Governor, State of Maryland
Steve Hosea, Attorney, McNamee, Hosea, Jernigan, Kim, Greenan & Lynch
Marnie Kagan, Fundraising Consultant
Jeremy Parks, Vice President, Jerome J. Parks Companies
Jerome Parks, President, Jerome J. Parks Companies
Don Riddle, Owner, Homestead Gardens
Joel Rozner, Attorney, Rifkin, Livingston, Levitan & Silver
John Schweiters, Executive Vice President, Perseus
Veronica Tovey, Publisher, What’s Up Annapolis
Steve Samaris, Owner, Zachary’s Jewelers
Jerry South, CEO, Towne Park
David Wright, CEO, Pharmathene

Nancy Dolensek, Executive Director