"Adaptive Reuse" is a term preservationists use to describe the practice of saving historic sites, whose original use is no longer viewed as viable, by converting them for new functions. In the 100 years since its grand opening, the Majestic has been adapted to serve a larger number of functions than any other purpose-built theater in Boston. 

The Majestic was one of three facilities built by merchant, philanthropist, and opera lover Eben Dyer Jordan for the purpose of housing opera. The Majestic was opened in 1903, designed much like the finest European opera houses with acoustic and visual perfection, ideal for baroque, classical, and early romantic operas.  He also built New England Conservatory's Jordan Hall in 1903 to house concert opera, chamber and small orchestral music, and another hall for the late romantic "grand" opera form that was emerging in Beyreuth, Germany. That hall, the Boston Opera House on Huntington Avenue, west of Jordan Hall, was built in 1909 and razed in 1957. 

The Majestic became a pre-Broadway tryout hall soon after its opening.  Allied with the Shubert Organization, its first Boston venue in its war against the Syndicate, the Majestic played host to the finest Shubert artists until the 1916 construction of The Shubert Theatre. Then it became the second-string house for Lee and J.J. Shubert, hosting such fare as boxing matches despite the stern warnings against such programming issued by its local manager, A. L. Wilbur. The Shuberts, however, won out and went so far as to convert the theater to a film and vaudeville house following World War I. 

Those adaptations changed both appearance and function. The interior was spray painted a solid color, covering the gold and silk brocade finishes. Most of the light fixtures were plastered over in an effort to modernize and reduce the electric bills. A projection booth was installed in prime mezzanine seating, radically effecting the acoustics and sight lines. The lobby layout was changed to accommodate continuous shows. The stained glass exterior doors were replaced with clear glass and most of the interior mirrors were eliminated. An entrance to a tunnel leading to the subway was crudely carved into the marbled walls. 

The Shuberts didn't keep vaudeville at the Majestic for very long. Within a year they abandoned the mixture of varied live acts and short movies. Almost certainly they found it difficult to compete with Keith-Albee at the 3,000-seat Boston Theatre and the Syndicate at the 2,800-seat Orpheum, since the Majestic held only 1,700. Within a year they replaced continuous vaudeville with second-run films ("Proven Pictures") interrupted by the occasional pre-Broadway tryout. They pushed the margins to maintain profitability with this policy, and the building paid its share. In 1934 a bomb went off destroying the lower lobby. The manager claimed it was placed by competitors, jealous at his success with popular admission prices. Industry insiders speculated about the Shuberts' relationship to the projectionists' union. 

This mixed live/movie policy continued until 1956, when the Shuberts sold the Majestic to Benjamin Sack's Sack Theaters. Sack planned to program mid-sized first-run movies at the Majestic, so he remodeled. 

He adapted the stage for movies only, eliminating the possibility of live performances. He adapted the lobby to look like a modern 1950s movie theater complete with dropped acoustical tile ceiling, bright pinks and greens, a candy counter at one end and ticket booth at the other, and plastic flower plantings lining the entryways. He repainted inside. He closed the upper balcony, to make the seating capacity unique from his other downtown holdings which included the 2,800-seat RKO Keith Memorial. He added a new facade and marquee, and renamed it The Saxon. 

Sack's remodeling was so successful that the Saxon won the first-run showing of Disney's first stereo color film, "Fantasia." It was a proud first run house, with reserved seats, printed program books, and scheduled showings. It was initially very successful at this, but declined as all single screen movie houses declined. By the late 1970s it was showing continuous B-grade movies bordering on pornography and exploitation. 

Emerson College bought the Saxon in 1983. It was fully depreciated with a large deferred maintenance budget. The light bulbs in the auditorium were all burned out. The facade and marquee were crumbling. Soon after the purchase, a city sewer blockage filled the main seating level with water. Rain dripped onto the movie screen and sound system. 

But Emerson College had a dream, of returning the Majestic to its roots as a first class theater suited to opera, dance, and the spoken word. Over years of focused effort and investment, Emerson College has replaced the infrastructure, revealed the original architectural detail, restored the facade, lobby, and much of the ornamental plaster, and made the Cutler Majestic Theatre a 21st Century Theatre Inside A 19th Century Historic Landmark.

Emerson College began restoration and renewal in August, 1988 and continued until the Theatre reopened 9 months later with the College's production of "George M!" on April 26, 1989. Restoration proceeded in phases and was completed in May 2003, just in time for the Majestic's 100th anniversary season.  Today a range of New England resident performing groups call the Emerson "home." Nearly 100,000 people will visit the Theatre this year. 
 

Upon arriving at the Majestic you will notice a three-bay classical facade with semi-circular arched entrance portals capped by a Greek wave band and simple cornice molding. At the second level are three recessed bays seperated by massive three-story half-round fluted Roman ionic columns. Capping each bay is a large terra cotta theater mask. One mask expresses happiness, another sadness, the third anger. Below in each bay is a round stained glass window, originally used to ventilate the second balcony. Below are three large vertical stained glass windows. Below these windows is a balustrade and three doors providing access from the rear of the main balcony. The finish is terra cotta, with large areas of grand and intricate relief. The facade was painstakingly restored in 1993. Damaged terra cotta was recast, and all aspects were properly cleaned, weatherproofed, and bird proofed. The original facade lighting -- 500 bare bulbs mounted in rosettes that create a beacon of warmth in the heart of the Theatre District -- was replicated with modern materials during the summer of 1995. A new marquee, designed to acknowledge the original 1903 signage and subsequent 1920 reinterpretations, was approved by the Boston Landmarks Commission and installed during 1999. 
 

As you enter, you are met by an antique full-length mirror centered in a marble wall framed by ornamental plaster. Warmly colored marble columns support the gold-leafed dome centered within the three lobby chambers. Gold-leafed cherubs and masks smile down from the cornices. A central passageway takes you into the orchestra seating level of the main auditorium. It is distinguished from the remainder of the lobby by orange toned marble (visit "SCAGLIOLA") and flanked by two marble staircases leading to the mezzanine and balcony seating levels. The steps and floor are a contrasting red marble. Brass railings and lighting fixtures bring additional warmth to the color scheme. Gold-toned ornamental iron work accents the stairs and contrasts with the window lights in the three sets of double doors that open onto Tremont Street. Originally, intricate and highly colored stained glass panes closed off the lobby from the horses and carriages passing on Tremont Street, and an arch of stained glass accented the gold dome and murals above. During the day the lobby was bathed in light colored by this glass. At night, the electric lighting from inside threw colors onto the sidewalk and street, welcoming patrons into the magic. Although safety and security concerns long ago forced the replacement of the stained glass doors with clear glass, the harmonious color scheme and range of textures makes the lobby a magical, marvelous place, the perfect preparation for an event at the Majestic.
 

The Cutler Majestic Theatre lobby is graced by six semi-circular murals painted by New York artist William de Leftwich Dodge, one of the best known muralists of his day. Dodge's work is also installed at the Library of Congress and Boston Public Library. The Majestic murals were restored in 1993. 

The two large paintings at the ends of the central chamber represent music and dance in two classic aspects. One is a Grecian dancing maiden, full of life and action, in a garden of riotous red flowers. The other is a swarthy Egyptian, slow, languorous, and exotic. The four small panels -- "Lunettes" -- depict classical scenes of joy, action and repose. 

Figures are scantily clad, as was appropriate to the Victorian-era classical tradition. Long-time Boston residents tell stories of attending Majestic performances as elementary school students. One friend tells of the sisters who were his teachers instructing the students to avert their eyes and not look up at the "sinful" cherubs and paintings. He doesn't remember what performance he saw, but well remembers the lobby! Even today, these brilliantly restored murals draw most eyes upward as people enter the Cutler Majestic Theatre. 
 

The Cutler Majestic Theatre lobby and rear wall of the main seating section are constructed of manufactured marble. This material is known as "marezzo" or "American scagliola." 

Scagliola is manufactured by mixing marble chips into a plaster base. The Marezzo technique replaces marble chips with marble dust. Invented by Jesuits in 16th-century Italy, these techniques allowed artisans to create marble at the construction site rather than transporting it long distances. The marble could be colored more perfectly, and textured more artistically, than quarried material. It could be molded and shaped to the artist's specifications. Therefore, it is a unique building material, durable and beautiful as marble yet malleable and stable as plaster. 

In Europe these materials were used mainly in churches and palaces. In the United States they were commonly used in public buildings, railway stations, seats of government and theaters. In Boston you will find Marezzo construction in the State Capitol Building and Boston Public Library, as well as in the Colonial and Wang Theatres. (The B.F. Keith Memorial Theatre, now known as the Sarah Caldwell Opera House, was built with solid marble decoration to compete with the manufactured materials in the Metropolitan/Wang Theatre.) 
 

There were nearly 5,000 light bulbs burning when this theater opened its doors on February 15, 1903. The Majestic Theatre was designed by John Galen Howard, who also designed the Electric Tower at the 1901 Buffalo Pan-American Exhibition. He was among the first architects to explore the full flexibility of the newly invented electric lighting. He designed and installed fixtures that were designed to take advantage of electric light bulbs only, rather than fixtures intended to replicate earlier light forms, for example, candleabras or chandeliers with flame-shaped globes. Outside, he used lighting to make the theater warm and welcoming, a place of safety and grandeur. On the inside he used light bulbs to accent the many arches which define his architecture and to highlight the beaux arts details. The lighted arch theme starts on the facade and continues through the lobbies and auditorium. 

The main auditorium dome is lighted by "Strings Of Pearls" fixtures which are twined into the plaster grape arbors that decorate the arches. Each contains four bulbs inside its semicircular holophane globe, which directs the light on an angle toward the seats far below. When Emerson College purchased the theater, all the bulbs were burned out and the globes were thick with soot from years of cigarette smoke. 

Under the side wall boxes, in the mezzanine, and in the rear of the main seating level, ceiling globes were employed. These had circular holophane globes. The holophane globes were in common use until the mid 1920s, when modern light bulbs were introduced. Modern light bulbs employ a coiled, concentrated filament to make very bright lights at high wattages. The light bulbs used in 1903 had thin, line filaments that were inefficient and dim. A regular "household" bulb used about 60 watts, but made about as much light as a modern 75 watt bulb, so fixture designers used holophane lamp shades to concentrate and direct the light, in effect making it brighter. Modern fixture designers use lamp shades to diffuse the light, spreading it around, making it less glaring. 

Rosette fixtures were used to accent the arches in the lobby, the arches above the side wall boxes in the main auditorium, to accent columns, and to accent strong horizontal lines including the edges of the balconies. These fixtures are bare light bulbs surrounded by an ornament with petals emanating from the bulb -- a "little rose." Interior rosettes were cast plaster. Outside, they were cast iron. Emerson College restored the exterior fixtures using fiberglass rosettes and plastic conduits so that the lighting will be durable and meet modern electric codes, and the interior fixtures with plaster as in the original construction. 

In 1903 electric lights were flexible, but not yet trustworthy. City officials required that exit doors be marked by fixtures plumbed for both gas and electricity. The electric lights were turned off during performances, leaving only the gas light. The white gas chimney is broken, but we know from photographs that it was shaped like a candle. 
 

Why do people stop and stare in amazement when they walk into the Majestic? What is it that so captivates the eye and stirs the heart?  What makes this theater unique?

 Come take a closer look. 

You don’t have to be an architect to see how classical and decorative themes are intermingled throughout the theater.  The outside of the theater has a sturdy classical look with its Roman ionic columns, but look at the columns inside.  They are swirled with rich, red marble and crowned with gold-leafed masks, leaves and cherubs.  Where classicism calls for geometric patterns and organized lines, there are thick garlands of fruits and flowers.  On walls where there should be one-dimensional murals, there are full-figured sculptures leaning over their guests.  The golden latticing on the ceiling is garnished with grape clusters, and if you look carefully, you can see the sky peeking through the open spaces. 

These are the things that make the Majestic so unusual.  The architect, John Galen Howard, came from the Beaux Arts School of Paris, which emphasized the importance of classical architecture as a foundation.  Students of Howard’s time challenged the norm and re-interpreted classical style by adding their own personality to their projects.  In the Majestic the architect’s quirkiness can clearly be seen.  In fact, Howard was so dedicated to the craftsmanship of the theater, he personally oversaw the vast detailing in the interior.

Howard applied not only his personal expression but also his ingenuity and imagination to the Majestic’s design.  The Majestic was the first Boston theater designed without pillars so that there are no obstructions to sight or sound.   Unlike classical concert halls, the auditorium is shaped like a giant megaphone, making it ideal for opera.  Howard was also one of the first architects to explore the full flexibility of the newly invented electric lighting, integrating light bulbs into every aspect of the Majestic’s design. 

The Majestic is one of the few remaining examples of the Beaux Arts style in the United States.  It is revered for its grandeur, impeccable craftsmanship, and attention to detail.  So the next time you visit, take a closer look at the artwork around you.  The Majestic is more than a building.  It is an expression of personality, a fusion of art forms, and most of all, it is a wonder to behold. 

Built in 1903, the Majestic Theatre was designed by John Galen Howard and originally had nearly 1700 seats, although only 1186 are installed today. Its Beaux Art style follows through from the exterior of the building, into the lobby and the main auditorium. 

When you enter the auditorium, you will notice the domed ceiling with the "string of pearls" lights. Originally, all electricity for the building was generated in the basement by its own DC power plant, which supplied the power for the nearly 5,000 light bulbs. 

As you look up, notice that the pattern in which the string of pearls are embedded is a duplication of the arches on the building's exterior. Many people describe the effect as being inside a giant megaphone, or a glowing sea shell. You share the performance with the ornate plaster angels and spirits.

Both the orchestra (main floor) and mezzanine (first balcony) levels have no pillars, posts or visible means of support for the upper balconies. Six foot steel beams run the width of the Theatre under the ornate plaster work. 

The mezzanine was almost fully restored to it's original 1903 state during the summer of 1996. A projection booth, installed during the 1920s Shubert modernization, was removed. All of the ornamental plaster, as well as flat and curved walls and ceilings, was restored. Original paint colors were replicated. Walls and ceilings were stenciled to patterns found behind the soundproofing inside the projection booth. New seats were installed that replicate the originals although considerably more comfortable than those from 1903. 
 

In 1903, the second balcony had a separate entrance and seating for about 500. Patrons would enter through the alley, purchasing inexpensive tickets at a second ticket office, and climbing three flights of stairs to enter the theater. There was no connection between the second balcony and the remainder of the theater. The Peanut Gallery even had a separate third floor lobby, its own fire exits, and its own toilets. The seating is very steep, and patrons saw a top view of the artists. But admission was inexpensive, sight lines and sound were great, and it was the warmest place to be during the winter! 

When the Sack movie chain purchased the Majestic Theatre from the Shubert Organization in 1956, it closed off this level to reduce the seating capacity and cut film rental costs. Emerson College restored and reopened the balcony in May 2003, with its own air conditining, hand rails, and safety improvements.  Many people consider these the best seats in the house! 
 

Throughout the Majestic Theatre you will find extraordinary examples of turn-of-the-century ornamental plaster cast in place. The main dome is full relief horsehair plaster designed as grape arbors held up by trees entwined with vines, and accented by glowing "string of pearls" lights. Columns are decorated with formal classical cornices and capped by angels. Arches are topped by masks and garlands. Light bulbs are centered in rosettes. Ornate "carved" frames surround mirrors, flat walls, and scagliola. Cherubs and crests join classical "dental" molding to anchor the lobby's central gold leaf dome. Most of these plaster relief surfaces were finished in gold leaf with a variety of washes bringing a range of color tints to vary the palate. 

On opening night in 1903, walls in the orchestra section were finished in burgundy silk brocade, and carpets were of crimson. The side wall boxes were draped in crimson with blue and gold trim, which contrasted beautifully with the green-tinted seats. The mezzanine paint scheme tended toward peach, with gold stenciling on flat expanses, drawing the orchestra patron's eyes upward, in turn accenting the extreme height and openness of the main dome. There wasn't a chandelier to destroy sight lines or ruin the broad sweep of the auditorium. The effect must have been stunning in its opulence and simplicity. 
 

Over the stage, there was a double set of hemp lines for flying scenery. One set is still available for use, and a new 35 line counterweight system has been installed stage right. Star dressing rooms were situated on the inner proscenium wall, and chorus members dressed under the stage.