New 42nd Street

New 42nd Street
Name	New 42nd Street
Formation	1990
Headquarters	New York City
Region served	Manhattan
Leader title	President

New 42nd Street is a nonprofit arts organization and revitalization project focused on the restoration and programming of historic theaters in Manhattan, centered on the theater district around Times Square, 42nd Street, and Broadway. Founded amid late-20th-century urban renewal efforts, the organization has collaborated with municipal agencies, cultural institutions, philanthropic foundations, major theater owners, preservationists, and performing arts companies to transform derelict venues into active stages and educational centers.

History

The organization emerged from negotiations involving the New York City Department of City Planning, the New York City Economic Development Corporation, and the Mayor's office during the administrations of Ed Koch and David Dinkins, with formalization under Rudolph Giuliani-era policies on Times Square cleanup and commercial development. Early partners included The Shubert Organization, Nederlander Organization, and Jujamcyn Theatres alongside preservation advocates such as the Municipal Art Society of New York and the Landmarks Preservation Commission. Key influences on the project's direction included national models like the Lincoln Center for the Performing Arts and international precedents such as the National Theatre in London. Funding and political support were shaped by interactions with corporate stakeholders including Disney, which pursued a separate but related Broadway presence, and philanthropic actors such as the Carnegie Corporation, the Guggenheim Foundation, and the Ford Foundation.

The project intersected with landmark urban cultural events and debates like the Midtown Manhattan rezoning and controversies around preservation exemplified by cases involving the Minskoff Theatre and the restoration of venues akin to the Palace Theatre. Negotiations involved arts leaders from institutions like the New York Philharmonic, the Metropolitan Opera, and the New York City Ballet who contributed perspectives on programming and facility standards.

Facilities and Renovations

New 42nd Street coordinated rehabilitation of several historic houses such as the New Amsterdam Theatre, the Lyric Theatre, the Empire Theatre, and the Lyric/Vaudeville-era houses alongside support for venues like the Ford Center for the Performing Arts and the Nederlander Theatre. Renovation partners included architectural and preservation firms that had worked on projects for the American Museum of Natural History, the Museum of Modern Art, and the Metropolitan Museum of Art. Technical upgrades incorporated standards from professional unions including Actors' Equity Association, IATSE, and American Federation of Musicians, while audience amenities drew on best practices from venues such as Carnegie Hall and Radio City Music Hall.

Capital campaigns were modeled on fundraising strategies used by The Kennedy Center and leveraged municipal incentives seen in initiatives tied to Lower Manhattan Development Corporation recovery efforts. Mechanical, acoustic, and accessibility upgrades followed guidelines referenced by organizations like the National Endowment for the Arts and the National Trust for Historic Preservation.

Programming and Productions

Programming emphasized a mix of commercial Broadway productions, nonprofit seasons resembling those at Lincoln Center Theater and Roundabout Theatre Company, and family-oriented offerings comparable to productions by Disney Theatrical Group and Sesame Workshop. Resident companies and partners included touring circuits associated with Nederlander Organization and presenting models akin to Shubert Organization series. The organization hosted premieres, revivals, and experimental works with collaborations involving producers and directors linked to figures like Hal Prince, Tommy Tune, and institutions such as the Public Theater.

Special initiatives mirrored festivals and seasons seen at New York Film Festival, SummerStage, and Made in NY programming, while educational showcases echoed models of outreach employed by Encores! and Young Playwrights Festival. Productions often integrated technical expertise shared with companies like Disney on Broadway and touring services used by Broadway Across America.

Education and Community Outreach

Educational efforts were developed in partnership with cultural education organizations such as Lincoln Center Education, 47th Street Theatre School-style programs, and youth-focused nonprofits similar to Young Audiences Arts for Learning. Initiatives included theater-training curricula aligned with standards from the National Guild for Community Arts Education and collaborations with local schools in Manhattan Community District 5 and District 2. Community engagement drew on precedents set by programs at New York Public Library for the Performing Arts, Museum of the City of New York, and community ensembles like Brooklyn Academy of Music affiliates.

Workshops, internships, and apprenticeships leveraged partnerships with unions such as IATSE and arts workforce programs linked to AmeriCorps-style service models. Family and youth programming partnered with organizations like Actors' Equity Association-led training initiatives and nonprofit producers similar to Second Stage Theater.

Governance and Funding

Governance comprised a board with representatives drawn from philanthropy exemplified by leaders from Rockefeller Foundation, corporate members from firms like Macy's and Bank of America, and arts executives affiliated with The Shubert Organization and Nederlander Organization. Funding sources combined public subsidies reminiscent of allocations from the New York State Council on the Arts, private philanthropy from entities such as the Gordon and Betty Moore Foundation, corporate sponsorships comparable to those from AT&T and Delta Air Lines, and earned income through ticket sales patterned after SFX Entertainment models.

Operational partnerships involved municipal agencies including New York City Department of Cultural Affairs and economic development strategies similar to those employed by the Port Authority of New York and New Jersey. Legal and financial advisors included firms active in nonprofit governance and cultural finance used by institutions like Smithsonian Institution affiliates.

Impact and Reception

The project has been analyzed in urban studies alongside case studies of Times Square redevelopment and comparative studies with the West End (London) and Broadway theatre district revitalizations. Critics and scholars from publications such as The New York Times, The Wall Street Journal, and journals like Journal of Urban Affairs have debated cultural tradeoffs similar to critiques of Disneyfication and commercial revitalization controversies seen in Athens' Plaka or Barcelona's Gothic Quarter. The revitalization influenced tourism patterns tracked by agencies like NYC & Company and contributed to economic development discussions referenced by Brookings Institution and Urban Institute researchers.

Civic reception included endorsements from mayors including Michael Bloomberg and cultural leaders from Lincoln Center and mixed appraisals from preservationists associated with the Historic Districts Council. The legacy is often compared with outcomes credited to large-scale arts-led revitalizations such as the Tate Modern project and the regeneration effects documented for Canary Wharf.

Category:Theatre districts in the United States