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Fitting In Print E-mail
Written by Jonathan Shipley
Nov 06, 2008
A view of the theatre from the balcony.
A view of the theatre from the balcony.
The Jeanne B. McCoy Community Center for the Arts preserves and strengthens the character of the community.


Wexner Park’s playground is quiet, the Chocolate Octopus Candy Company has completed its last sale and a baseball game at nearby Otterbein College has wrapped up with a three-run ninth — just another quiet evening in New Albany, Ohio. Gleaming in the setting sun is something new to this small town landscape, the Jeanne B. McCoy Community Center for the Arts, a state-of-the-art performance and educational facility offering theatre, dance, music, lectures and more.

Rekindling an Era
The building’s design harkens back to the end of the Civil War, when New Albany itself was born, with its octagonal plan inspired by the American opera houses of the late 19th century. “We saw the theatre as a traditional form — a clay octagonal form,” states Paul E. Westlake, Jr. of Westlake Reed Leskosky, the architecture firm that created the space. “That may be interpreted as a work created over time, a ‘village of forms’ rather than a completed work that grew in one phase of development. The elements of the composition evoke the Georgian ‘community DNA,’ or community context of style and palette, as well as the local context of the school with one-story white forms and multi-story brick forms.”

The event lobby of the McCoy facility
The event lobby of the McCoy facility
The 36,000-square-feet arts complex has a variety of spaces, including a 750-seat proscenium theatre, rehearsal hall, dance studio, stage and performer support spaces, classroom, event lobby and gallery. The facility was created in collaboration with the New Albany-Plain Local School District, the Village of New Albany, New Albany Community Foundation, Plain Township and the New Albany Company. The space is used by the New Albany Ballet Company, New Albany Arts Council, Broadway Bound Dance Centre, Ballet Met Columbus Dance Academy, among other sundry arts and culture institutions.

Thinking Outside-the-Box
“This project would not have been possible without collaboration; no one single entity could have achieved this level of quality,” says New Albany Mayor Nancy Ivers Ferguson. “We are fortunate in our community to have forward-thinking individuals who share vision, understand the benefits of working together and are successful in thinking ‘outside-the-box.’”

Westlake Reed Leskosky's design consists of a variety of elements throughout the center that are unique in regard to geometric form, materials and lines. The main octagonal theatre is red brick wrapped in white, while the support spaces and educational wing are clad in white clapboard, creating a residential feel. The lobby provides natural light throughout the day, and at night, becomes a glowing beacon for the community. It’s not a space-age metallic Frank Gehry melting behemoth or a Rem Koolhaas monolith that shadows the town. It was designed to fit in with the community — strengthening and preserving its character — and to serve as a "living room" for the community to gather, celebrate and enjoy performances.

The post Civil War-era inspired exterior of the Jeanne B. McCoy Community Center for the Arts.
The post Civil War-era inspired exterior of the Jeanne B. McCoy Community Center for the Arts.
The main theatre is a window to the world of arts. The perimeter walls, created by 10,000 custom-made Ohio terra-cotta clay blocks, provide natural acoustics. Terra-cotta clay was a material prevalent during the heyday of opera houses. Maplewood walls and light wood accents make up the theatre’s interior, and an octagon-shaped acoustic ceiling ring floats above the theatre to reflect sound energy and return it back to the audience. Acoustic banners and curtains are placed around the perimeter of the hall to adjust the reverberence to suit a specific performance.

Three Main Goals

"We had three main goals in selecting the different types of equipment," says Raymond Kent, associate director of Innovative Technology Design and theatre consultant for the project. "First and foremost, it must be safe and as easy to use as possible since we are working in an educational environment where the users have varying levels of experience with the equipment. Secondly, impact on the overall cost of the project played an important role in selection. Lastly, we looked at providing systems that will work in the foreseeable future."

Stage lighting is controlled by a Strand Light Palette Classic computerized stage lighting control console with 8,000 control channels, while additional stage lighting is controlled by a wireless radio remote focus unit. A Strand Light ShowNet Ethernet control system provides data distribution for the various lighting needs of the hall. "The dimming system distributes the lighting control protocol, DMX512, over a structured cable system," Kent notes, "that allows for a more 'plug-and-play' scenario with the sophisticated electronics of today's lighting technology." Vincent Lighting of Cincinnati installed the lighting and wiring.

Maplewood walls and light wood accents lend the theatre's interior a honey glow.
Maplewood walls and light wood accents lend the theatre's interior a honey glow.
Stage rigging, installed by Tiffin Scenic, who also provided stage and acoustic drapery and orchestra pit filler platforms, consists of 17 single purchase motorized linesets and three double-purchased linesets. It's all controlled by a user interface called Vortek Automation Center. With touch screen technology, VAC allows for multiple linesets moving simultaneously with one operator. Kent states, "The automating rigging system allowed us to eliminate the costs of installing a traditional grid floor. By removing these components, we were able to lighten the structure and reduce costs."

The level of involvement from a wide variety of stakeholders provided challenges, but also helped the project. "We saw this project as truly noteworthy in the consortium of stakeholders that have brought initiative into being, not only in conception and planning, but also in its future operation and endowments to support creative, high-caliber programming on stage and in the schools,” Westlake says.

He hopes that the new center can serve as a model for other groups who share a vision for a community arts center. "For us," he says, "this became an extraordinary challenge and a rewarding experience."  


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