by Jeffrey Brown
[On
5 December 2014, I posted “The Kennedy Center Expands” (https://rickontheater.blogspot.com/2014/12/the-kennedy-center-expands.html)
on Rick On Theater. It’s a report on the plans, conceived in 2013,
for the expansion of the campus of the John F. Kennedy Center for the
Performing Arts in the Nation’s Capital.
At the time of my report, the project was scheduled to be completed and
the new additions opened in May two years ago, to mark the centenary of President
Kennedy’s birth. The newly-expanded
Kennedy Center, however, actually opened
to the public last Saturday, 7 September.
2019
[On
Friday’s broadcast of the PBS NewsHour, 6 September, correspondent Jeffrey Brown presented a backstage tour of
the new parts of the Center with KCPA president Deborah Rutter; below is the
transcript of the segment (a video is available at https://www.pbs.org/newshour/show/with-newly-expanded-campus-kennedy-center-aims-to-make-art-an-experience-for-all).]
The John F. Kennedy
Center for the Performing Arts in Washington, D.C., is expanding its vision and
offerings as it enlarges its physical footprint for the first time in its
50-year history. The institution hopes to showcase a range of arts, provide a “campus”
feel and illuminate art as it’s created. Jeffrey Brown reports on “Reach,” the
effort housed in three newly constructed buildings.
Judy Woodruff: The John F. Kennedy Center for the
Performing Arts here in Washington has expanded for the first time in its
50-year history.
Jeffrey Brown takes us behind the scenes, as the national
arts institution launches weeks of free public events tomorrow.
The report is part of our ongoing arts and culture series,
Canvas.
Jeffrey Brown: A weekday rehearsal by the National
Symphony Orchestra under the baton of music director Gianandrea Noseda.
And one floor down, dancers finalizing their choreography
for an upcoming performance.
Nothing unusual, but here at the Kennedy Center, as at most
other major performing arts centers, all this is typically behind the scenes
off-limits to visitors. Now opportunities to watch artists at work, hear
lectures, participate in workshops on a regular basis are all part of what
Kennedy Center president Deborah Rutter calls a 21st century arts campus.
Deborah Rutter: The Kennedy Center was opened in
1971, when the world was different. [The 2014 ROT report includes a brief background on the original planning and
construction of KCPA. ~Rick]
The way in which the society and our culture was engaging
with the arts was different. It was much more of a spectator sport. In this
time, and as we look forward, we know that people want to be more connected to
the art and the artists, to be more immersed in it and to participate more in
it.
Jeffrey Brown: The response here, the REACH, named in
honor of President Kennedy’s aspirational vision of the arts and in capital
letters to signal something big in the nation’s capital.
A new nearly five-acre expansion that we visited as
construction was being completed, three pavilions containing 10 interior
multiuse spaces above and below ground, and double the outdoor spaces for
community and arts programs, including films on a large video wall, also garden
walks and paths that lead to a pedestrian bridge connecting the Kennedy Center
campus to the Potomac riverfront.
The project cost $250 million from private philanthropy. It
was designed by architect Steven Holl, known for his use of light and angled
walls.
Deborah Rutter: We wanted them to be very porous and
very open. And our architects were just in line with us. And so every single
space has a window that allows you to peek in and see what’s going on.
Here, we have the skylight.
(CROSSTALK [from Brown and Rutter])
Jeffrey Brown: Interesting space.
Deborah Rutter: It’s really a beautiful space.
One of the things that I loved about Steven Holl’s design is
how he changes the ceiling, as well as the floor and the walls. So you’re
having a new experience no matter where you’re working.
Jeffrey Brown: I can hear a little music in the
background too.
Deborah Rutter: I know. Well, that was the moment.
Jeffrey Brown: Orchestra rehearsal.
Deborah Rutter: So you will know things are happening
here as well.
Jeffrey Brown: A big idea here: Find new ways to welcome
younger audiences and others who may have felt left out.
The John F. Kennedy Center for the Performing Arts opened in
1971 as a living memorial to the slain president. It was and is imposing, the
grand hallways and theaters housing traditional high arts, such as the
Washington Opera and the National Symphony.
It regularly presents the world’s greatest artists, as well
as special nationally recognized programs, such as the Kennedy Center Honors
and the Mark Twain Awards.
But it’s also faced its [share] of criticism. When it
opened, The New York Times architecture critic dubbed the building designed by
Edward Durell Stone a pompous embarrassment and national tragedy.
And it’s long struggled with a sense of isolation, a
geographic and elite island apart from the surrounding city. To counter that,
the center began its popular and free Millennium Stage performances and has
widened its programming with the help of prominent artists, such as jazz
pianist Jason Moran and rapper and producer Q-Tip, as well as classical
stalwarts [cellist] Yo-Yo Ma and [opera singer] Renee Fleming.
The REACH is intended as the next big leap forward.
Marc Bamuthi Joseph: The REACH has formal studio
spaces, classroom spaces that invite a different level of community
interaction. So now we you have a space that’s more of an incubator, that’s
more of a laboratory.
Jeffrey Brown: Marc Bamuthi Joseph is a dancer, poet
and theater artist, and also a leading arts administrator.
He recently left the Yerba Buena Center for the Arts in San
Francisco to join the Kennedy Center. We talked in the so-called Moonshot
experimental art space about his hybrid role as vice president and artistic
director of social impact.
Marc Bamuthi Joseph: That’s the transition between a
performing arts center that shows art and a performing arts center that sees
itself as an agent for making culture itself.
And so part of my gig is to design and administer programs
that maximize cross-sector conversations and maximize this idea that we don’t
just watch culture, we make culture. So it becomes more of a workshop space
than a place for witness, although you can witness lots of great art here, too.
Jeffrey Brown: Indeed, the REACH is opening with a
16-day free celebration of performances featuring prominent artists.
But it’s also offering new programs for the local community
to allow students like rising high school senior Anna Irwin to work with
professional dancers.
So how’s the new space?
Student [Irwin]:
Oh, I love it. Personally, like, it is the biggest studio I have
ever seen. Wow.
Jeffrey Brown: A new culture caucus will bring in 15
area artists to brainstorm new art to showcase. And a social practice residency
will create art in and for communities in the Washington, D.C., area, all ideas
to address problems many arts organizations are wrestling with today, as
traditional audiences age and younger generations spend more time alone on
their screens.
What’s the central problem for performing arts institutions
today in American culture?
Deborah Rutter: I think that we need to underscore
the joy of being together, that social infrastructure that is so important and
that, in some ways, is missing in our lives.
Jeffrey Brown: Inevitably, too, when it comes to the
arts in the nation’s capital, the political divisions that seep into everything
today.
I asked Marc Bamuthi Joseph how that impacts his thinking
about the REACH.
Marc Bamuthi Joseph: Truth and memory are tenuous
resources in the current climate, and that does make me sad.
So, in that vacuum where memory is little more tenuous and
history is more vulnerable is a realm of ideas that somebody has to propagate.
Someone has to be responsible, not only for the moral infrastructure of this
country, but the infrastructure of imagination.
And if it’s not going to be an arts center, then we’re
doomed.
Jeffrey Brown: To which one might say, in hope, let
the festivities begin, which they will this weekend.
For the “PBS NewsHour,” I’m Jeffrey Brown at the John F.
Kennedy Center for the Performing Arts in Washington, D.C.
Judy Woodruff: It is a special place.
[In the spirit of full disclosure,
let me repeat what I’ve said many times on ROT. Though I haven’t lived in Washington since
1961 and have resided in New York City since 1974, I still consider Washington,
D.C., my hometown. While my parents were
still alive, they lived in Washington and I visited often and attended
performances at the Kennedy Center scores, perhaps even hundreds of times over
the years since it was built. As I wrote
in “The Kennedy Center Expands,” “I’m a self-proclaimed D.C. chauvinist.”
[Jeffrey Brown is a senior
correspondent and chief arts correspondent for the PBS NewsHour.]
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