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Marion Oliver McCaw Hall (often abbreviated to McCaw Hall) is a performing arts hall in Seattle, Washington. Located on the grounds of Seattle Center and owned by the city of Seattle, McCaw Hall's two principal tenants are the Seattle Opera and Pacific Northwest Ballet. The building is named for Marion Oliver McCaw, whose four sons donated $20 ...
Marion Oliver McCaw Hall, home of the Seattle Opera and Pacific Northwest Ballet, whose ballet school is adjacent at the Phelps Center. This is the third performance space on this site, the second being the Opera House built at the time of the World's Fair.
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Kreielsheimer Promenade is a 17,800-square-foot public plaza in the Seattle Center, in the U.S. state of Washington. [1] The plaza is an entry to McCaw Hall and a pedestrian corridor connecting the campus and Mercer Street. The promenade features a series of large metal scrims as well as multiple artworks inside and outside the performance venue.
Courtyard of the Seattle Playhouse, during the period it was renamed the Intiman Playhouse (2009). Seattle Rep's first home was the Seattle Playhouse, built as part of the fair grounds for the 1962 Century 21 Exposition, Seattle's 1962 World's Fair. [5] The building, extant as of 2009, was renovated in 1987 as a home for the Intiman Theatre. [5]
From 2000 to 2003, it was used as a temporary venue for the Seattle Opera and Pacific Northwest Ballet during construction of McCaw Hall, the new opera house. $6 million of improvements were put into the building to house the opera. [3] New additions like heating and cooling systems, orchestra pit, and carpet were installed.
This project began with Tannhäuser in 1984, which was the first Seattle Opera production with supertitles. The project culminated with the August 2003 production of Parsifal, the first company production in its new venue, Marion Oliver McCaw Hall. [5] Jenkins concluded his tenure as general director of Seattle Opera in 2014.
McCaw Hall, PNB's principal venue. In 2013, the company and its orchestra toured to New York for the first time in sixteen years. The New York Times dance critic Alastair Macaulay, stated of their presentation that "This is a true company," more "unified in its understanding of Balanchine" than the New York City Ballet. [11]
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