The
Vogue Theatre is an Art Deco-style theatre built for live and
cinematic performances in 1940-1. It is located on Granville
Street in the heart of Vancouver's "Theatre Row". The formal
recognition consists of the building on its legal property at
the time of designation.
Heritage Value
The
Vogue Theatre was designated a national historic site in 1993
because:
-it is a particularly well-preserved theatre of the Moderne
style in Canadian architecture;
-it is a rare example, by virtue of its scale, age and design,
of a theatre that accommodated both cinema and live performance;
-the Vogue illustrates the major shift to integration of sound
amplification and modulated lighting into theatre design.
The Vogue's auditorium relies wholly on the fusion of shapes,
massing and electrical systems for atmospheric effect. Smooth,
curving wall surfaces are not intended solely as aesthetic devices,
but also as acoustical enhancers and as backdrops for the subtle
hues cast by the modulated lighting system.
Vogue
interior. Vancouver Public Library, VPL16418
Special lighting effects included undersea murals at the
sides, which glowed as the lights dimmed, and a dramatically
tiered ceiling highlighted by coloured indirect lighting.
Light shows that simulated sunrises and sunsets replaced surface
decoration as the principal atmospheric device. In this respect,
the Vogue's design heralded a trend in theatre design.
Character-Defining Elements
The
key elements that relate to the heritage value of the Vogue
Theatre include:
-the Moderne style of its exterior, evident in the crisp, geometrical
symmetry of the façade associated with the classical stream
of the style;
-the use of exterior textures and materials consistent with
the Moderne style, including textured concrete walls, Vitrilux
and terrazzo panels, textured terra cotta piers, wrought-iron
screens, and stainless steel mullions;
-the
existence of a tall sign tower that dominates the facade, outlined
in neon and surmounted by a stylized figure of the goddess Diana;
-the commercial arrangement of the façade, with a recessed theatre
entrance and ticket booth flanked by shops on either side;
-the streamlined Moderne design of the interior, evident in
the sinuous, sweeping curves of the auditorium, lobby, foyer
and staircase, and in the recessed lighting systems in auditorium,
foyers and lobby;
-the fluid lines of the auditorium, including the curving, tiered
plaster coves of the ceiling; the column-like structures flanking
the proscenium, the curved side walls and balcony, and the rounded
stairwell corners;
-features that integrate aesthetics with mechanical objectives,
including the concealment of the air conditioning system and
ducts behind the ceiling coves and proscenium columns, the lighting
system, concealed behind the ceiling coves and linked to a 'modulite'
control system; and the auditorium's ceiling, formed by a series
of plaster coves radiating out from the stage in a series of
elliptical arches that concealed mechanical systems and was
believed to improve sound;
-auditorium features designed to accommodate live performances,
including the stage, loft, and chorus and dressing rooms;
-auditorium features designed for movie viewing, including the
projection booth;
-Moderne design features of the lobby, foyer and staircase,
including coved ceilings and recessed wall niches that house
original neon and incandescent lighting system, and the wood
columns flanking the staircases.
Shabby
Vogue Theatre gets a new life Granville
Street venue spruced up by $3-million renovation,
offers live performances
By Malcolm Parry, Vancouver
Sun February 18, 2010
EVERYTHING ABOUT IT IS APPEALING: So wrote Annie Get
Your Gun composer-lyricist Irving Berlin in his show-stopping
song, There's No Business Like Show Business. It was
certainly appealing to one-time civil litigator Dick
Gibbons and the Whistler-based Gibbons Hospitality
Group in 2005. That's when they paid $3 million for
downtown Granville Street's shabby Vogue theatre.
Their plan was to enhance the 1941-built theatre's
Art Deco style while redeveloping it as a 1,000-seat
supper club like New York's Tao or the Buddha Bar
in Paris.
That dream foundered after three years of effort,
when the group failed to acquire a liquor primary
licence to match the many bars and clubs that surround
the Vogue in Vancouver's so-called Entertainment District.
What it received was a restricted licence to serve
from an hour before to an hour after live performances,
but not past midnight. This is in an area where most
facilities operate for up to three hours longer.
"The plain message that came to us from the city
of Vancouver was that they wanted the Vogue to operate
as a live theatre," Gibbons said Tuesday. "So,
we said: 'Let's do what they want, and upgrade it
beyond anyone's expectations.'"
That entailed a $3-million renovation, of which about
$2 million has been spent already. Half went into
sound, lighting and high-definition digital-projection
systems. A total plumbing upgrade (including doubling
washroom capacity) and what Gibbons calls Vancouver's
most fuel-efficient boiler cost $400,000. Purpose-woven
Art Deco carpeting was installed and earlier fixtures
renovated, including a long-painted-over chrome strip
above the proscenium arch. Nine dressing rooms were
renovated, along with offices for visiting production
staff. A bar-equipped green room is nearing completion.
Outside, only minor tasks remain to restore the Vogue's
canopy and iconic neon sign. Walls will soon glisten
under buff paint.
As work goes on, a half-dozen stage shows have sold
out since July, and Gibbons said the annual budget
for talent is $1 million. Productions will step up
April 13, when the Burn The Floor show goes on for
eight performances.
During the Olympics period, footsore folk pay $20
to watch the daylong Canadian Talent Showcase which,
under agreement with the CTV network, includes hockey
games projected brilliantly on a 42-foot screen.
"We're not getting any handout from the city
or government," Gibbons said. "We're going
to operate profitably as a business enterprise without
taxpayers' money. But we do expect some modest cooperation
from the city of Vancouver and the province when it
comes to issues like [liquor] licensing."
As for operating profitably, Gibbons has a rule. "We
own all our real estate," he said of the group's
500-seat Longhorn Saloon, 330-seat Buffalo Bill's
club and 500-seat Tapley's Pub in Whistler. That's
where Gibbons and wife Colleen moved in 1994, when
son Joey and daughter Erika were ski-racing there.
Joey and brother Matthew -- a former 100-point centre
with the Chilliwack Chiefs junior hockey team -- later
set up the London Tap House chain in London, Hamilton
and Toronto, Ont. Including land, those facilities
cost $2.5 million, $5 million and $6 million respectively.
The group also owns Port Alberni's 50-room Hospitality
Inn, which Gibbons Sr. built at age 30.
Still, owning a theatre and playing impresario is
a different game entirely. As Irving Berlin also wrote:
"Even with a turkey that you know will fold /
You may be stranded out in the cold / Still you wouldn't
trade it for a sack o' gold / Let's go on with the
show."
Supper-club
bid for Vogue Theatre fails
Georgia Straight,
May 29, 2008
Source URL: http://www.straight.com/article-147506/supperclub-bid-vogue-theatre-fails
A Whistler entrepreneur
has expressed dejection over Vancouver city council’s
recent refusal of his application to open a licensed supper
club at the Vogue Theatre.
“It’s
disappointing, obviously, that we didn’t get to create
that difference down there that we wanted to create, but I obviously
didn’t do a good enough job selling that change to them,”
Joey Gibbons, president of Gibbons Hospitality Group, told the
Georgia Straight by phone on May 27. “Change is risky.”
NPA councillor Kim
Capri introduced a motion at the May 22 city services and budgets
committee meeting to uphold a staff recommendation to refuse
a liquor licence. The motion passed unanimously.
“The proposal
has a lot of merit,” Capri told Gibbons. “It is
the proposal in the context of the district that is challenging.”
The Vogue Theatre,
built in 1940, is a national historic site and is A-listed on
the city’s heritage register. The 1,029 “liquor
primary” seats Gibbons requested are almost double the
680 seats held by the previous owner before the building changed
hands in January 2006.
According to city
chief licence inspector Paul Teichroeb’s May 6 memorandum
to council’s city services and budgets committee, Gibbons’s
intention was to build a “ ‘high-end’ eating
and drinking establishment for older clientele”. On March
13, the committee deferred any decision on the Vogue for 60
days, pending further input from the local hospitality industry,
heritage advocates, and the city’s office of cultural
affairs.
Teichroeb factored
a lack of support and general uncertainty from these sectors
into his decision to recommend that council reject the application
at the committee’s regular meeting on May 22.
Prior to the vote,
council heard an emotional plea from Vogue general manager Gwyn
Roberts in support of the application by Gibbons. “For
the next four months, there are zero shows [at the Vogue],”
Roberts, also general manager of the Penthouse on Seymour Street,
said in the chambers. “It is very difficult for me to
see the theatre change [to a supper club]. I have shed blood,
sweat, and tears there.…But it definitely cannot function
without a liquor licence. We cannot keep offering water and
pop for $300 a night.”
The main concern
expressed by council was the fact that Gibbons was looking at
doubling the Vogue’s seat quota in a controversial liquor-rich
area—the Granville entertainment district—that NPA
councillor Suzanne Anton told council was “just coming
under control”.
Gibbons told council
he had received a legal opinion, based on the provincial Land
Title Act, that a covenant could be placed against the building’s
land title, giving the city a say should the building change
hands.
Council left the
covenant issue unexplored by rejecting the application, which
left Gibbons blaming his sales pitch.
“In downtown
Vancouver, I guess, they see these liquor seats as problems
as opposed to opportunities,” he said. “When you’ve
got that outlook on liquor seats as being problems, why would
you want to add more problems? It was up to me to figure out
how to let these people know that the liquor seats that I have—and
have had within our company for 30 years-haven’t created
problems. And I failed.”
Gibbons said he has
not made a final decision yet on his next move, but added: “I
will be back, for sure.”