Ann Berget stirs memories of some grand old big G days while making perhaps
the most salient point on the projected parking ramp, a structure that
almost never strikes at the cultural heartstrings.
I've pretty much ignored this struggle between preservationists, but Ann's
post and my drive through the Loring complex last night bring to mind my own
theatre days - the same years that brought Ann to Minneapolis. As I rounded
the curve from 394 to 94 heading to St. Paul, there she was in her sparkling
regalia, the illuminated interior of the theatres, clear as a bell from
miles, the staircases to the upper reaches of the house. Rapson's design was
indeed a marvel.
I remembered auditioning for Sir Tyrone and his foul mouth, appearing in a
segment of Route 66 filmed in Loring Park, and striving for a McKnight
Fellowship to join the Guthrie Company some day. Obviously, that was not
going to happen.
But it does strike me that there is more than mere edifice here, one the
Walker apparently finds useless in its quest to sever its west arm. There is
the occasional 1960's structure that deserves retention. Not all vestiges in
the otherwise drab post-modern utilitarian period lack serious architectural
value.
From that nocturnal perspective last night, I was able to understand the why
friends want it to remain. And, like Ann, I am at a loss to see the value of
a ramp whose potential customers will be going elsewhere in any event. The
Walker is wonderful, but its audiences limited. Where is the demand? Surely,
the vicinity offers parking opportunities while the reuse of the Guthrie can
accomplish several ends, including artistic and presentation ones.
I'd hate to see that gem depart with the theatre company.
Andy
The hottest place in Hell is reserved for those who, in times of
moral crisis, remain neutral --Dante
From: [EMAIL PROTECTED]
Date: Mon, 29 Oct 2001 23:57:02 EST
To: [EMAIL PROTECTED], [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED]
Subject: Re: [Mpls] Guthrie sell out.
Couple of thoughts about the G -
I am sentimental about the G. When I moved - unwillingly - to the urban
tundra in 1965, I felt like I was being exiled. Solzynitzysn's book One Day
in the Life of Ivan Denisovitch was still pretty new and I believed it was a
pretty fair description of my exile in Minnesota. The dust of the old
Metropolitan Building was still settling in downtown Minneapolis, and for me
the only redeeming cultural totem was The G. To this day I remember the
thrill I experienced the first time I entered the theatre to see The Skin of
Our Teeth. I thought it was pure magic.
About ten years later I took a job there making costumes during the last
several Michael Langham years. I made Dolly Levi's fabulous red dress and I
had the incredible privilege of stitching many of the dresses for Christmas
Carol. One of the highlights of my Guthrie years was kneeling on the stage
pinning hems for the gowns for the Fezziwig Ball while the inimitable Lloyce
Houlton choreographed the dance.
I am a sap for the Guthrie and to this day it thrills me. It embodies some
special kind of magic and I would deeply regret its destruction. Little
Catholic girl that I am, I suspect that destroying the G would probably be a
very serious cultural sin.
But more practically, here's what I wonder: I think the plan is to bulldoze
the G and put in an underground parking facility with the expanded Sculpture
Garden growing atop the parking ramp. Okay. With the Guthrie and Allianz gone
and with it the hundreds of nightly, matinee, and working parkers, who's
gonna fill up this ramp? I mean I love the Walker too, but it has never
generated that heavy parking use on any regular basis, has it? So what's
gonna change?
This reminds me of Block E --- with trees.
Seriously, folks, the G put Cold Omaha on the cultural map and deserves a
better fate than the traditional Minneapolis wrecking ball, don't you think?
Ann Berget
Kingfield 10-10
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