PROPOSED FIRST FLOOR MEZZANINE PLAN - the Public Theater

GOING 

PUBLIC!

THE PUBLIC IS 

“The belief that every citizen 

needs and is entitled to a 

theater—just as he needs and 

is entitled to schools, libraries 

and museums—that a theater 

can be run for beauty and wisdom rather 

than for money —the belief that the arts 

are indispensible to a full life—upon such 

bedrock has the New York Shakespeare 

Festival been built.” —Joseph Papp 

Left to Right: Tommar Wilson, 

Will Swenson, Bryce Ryness in Hair 

2008. Photo Credit: Michal Daniel 

“The Public Theater 

continues the vision 

of Joseph Papp— 

providing cutting-edge 

theater that brings 

the world’s voices, 

new writers, as well 

as classics re-imagined 

and re-invigorated 

to city audiences. It’s 

an exciting, raw and 

living center. Its 

energy and reach and 

influence continue 

to grow.”—Meryl Streep 

“Each day talented 

and fiercely committed 

people assemble 

at The Public Theater 

and work tirelessly 

to build a theater that 

reflects what America 

is, and more importantly, 

what it hopes to become: 

a place that is genuinely 

multicultural, intelligent, 

and full of the joy 

of a democratic society 

at its best.” —Tony Kushner 

the public theater 1

Joe Papp built a truly unique organization: The Public Theater. There was nothing like The Public up to that point, and nothing 

like it since. Joe created the beloved tradition of free Shakespeare in Central Park; he helped launch the careers of talents such 

as James Earl Jones, Raul Julia, Kevin Kline, Martin Sheen, Meryl Streep, Denzel Washington, and Jeffrey Wright to mention a 

few. Joe produced landmark new plays and musicals such as HAIR, A CHORUS LINE, THAT CHAMPIONSHIP SEASON and FOR 

COLORED GIRLS—innovative works that spoke to a moment in time. He was one of the first to produce the plays of young and 

diverse voices such as Larry Kramer, Miguel Piñero, David Rabe, Ntozake Shange, Wallace Shawn, and Sam Shepard and—as a 

result—The Public’s impact on the landscape of American theater remains unrivalled to this day. 

As The Public’s leaders, we remain driven to build upon and expand Joe’s mission. Our vision is to maintain an artist driven 

institution that provides the freedom for creative exploration and preserve our capability to produce high-quality, noncommercial 

new works that reflects contemporary society. When The Public fires on all cylinders we offer programming 52 

weeks a year including Joe’s Pub, six mainstage season shows, two Shakespeare in the Park productions, the Public LAB, 

festivals, workshops, readings and other special performances. 

But The Public is more than a producer of theater. We also train the next generation of classical performers. We provide free 

Shakespeare education programs for public school students throughout New York City’s boroughs. We dedicate significant 

resources to provide opportunity for writers at every stage of their careers. We foster a web of supportive artistic relationships 

across generations of writers that will influence the future of contemporary American theater. And, most importantly, The Public 

embraces the belief that art should be available to everyone and we are proud to give away more free tickets than any other 

theater in the country—over 100,000 each season. 

However, none of this would be possible without our historic headquarters on 425 Lafayette Street, and now we need your help 

to ensure the ongoing success of the organization for years to come. As we embark upon the next 50 years of excellence, we are 

launching the GOING PUBLIC Campaign to raise $35 million to complete much-needed mechanical and infrastructure upgrades, 

expand our facilities, upgrade amenities (yes—more restrooms!), overhaul mechanical systems and address the public spaces 

of The Public Theater. Over the past few years we have added additional office space and repaired the roof, but now we need to 

plan for the future to serve not only artists, but you—our audience. 

Many of our friends have stepped forward to play important roles in our GOING PUBLIC Campaign. While it is impossible to 

thank everyone here, we would like to acknowledge the monumental support of the City of New York, Board Chair Warren 

Spector whose leadership has proven invaluable during a challenging time, The Kresge Foundation, Arielle Tepper and The 

Philip and Janice Levin Foundation, our long-time champions—the LuEsther T. Mertz Charitable Trust, and the Shiva family. 

We would also like to thank our Board of Trustees, the Building Campaign Committee, and Capital Project Committee whose 

advice and tireless passion has made the impossible possible. 

Please join our GOING PUBLIC Campaign and help us strengthen The Public to create a vibrant cultural home that serves our 

neighborhood, community, the City of New York and the future of American theater. 

Oskar Eustis 

ARTISTIC DIRECTOR 

DEAR 

PUBLIC 

FRIENDS AND 

FAMILY, 

DEAR FRIENDS, 

Andrew D. Hamingson 

ExECUTIvE DIRECTOR 

“Joe had an 

innate talent 

for making the 

impossiblepossible. 

He 

gave his blood, 

sweat and tears 

to transform 

The Astor 

Library into 

a permanent 

home for 

The New York 

Shakespeare 

Festival, and 

today this 

building—and 

The Public— 

remain at the 

very heart 

and soul of 

American 

theater.” 

—Gail Merrifield Papp 

The Public Theater is an extraordinary organization. No other American theater boasts such a rich 

theatrical legacy that includes countless remarkable shows, powerful stories, stunning productions 

and unforgettable performances. However it is The Public’s ability to offer access to this work that 

makes this institution truly exceptional and now we need your help to secure The Public Theater for 

the future. 

The Public is already a home to a diverse community of artists and audiences, a place to exchange 

ideas and a forum to engage in meaningful debate about the world we live in. As The Public Theater 

launches the GOING PUBLIC Building Campaign, we are faced with a unique opportunity to strengthen 

the organization by addressing fundamental infrastructure upgrades, and improve facilities to create 

more useable spaces for you—our public—to enjoy. And we must do our part and invest in The Public 

Theater to ensure its survival for the next fifty years. 

This renovation is the culmination of a long-term project started a decade ago to upgrade The Public’s 

headquarters. Completing this work will enable The Public to address vital maintenance work and 

replace unreliable systems to create a more hospitable environment year-round, and provide more 

amenable public spaces to better serve audiences. Our goal is to create a more welcome environment 

by providing not only more comfort but to encourage greater interaction between New Yorkers from 

all walks of life. Our dream is to walk through the lobby and see a master playwright inspired by a 

younger writer, an audience member discuss the theater with a legendary actor or simply a group of 

students debating the future of American theater over coffee. 

As we embark upon this exciting transformation I would like to offer my deepest thanks to the City of 

New York, our friends and the Board of Trustees who have already offered their invaluable support to 

The Public’s GOING PUBLIC Campaign. I would also like to acknowledge the dedication of our Building 

Campaign Committee—Gordon Davis, Hilary Feshbach, Pat Fili-Krushel, Wendi Rose, Mark Rosenthal, 

Alexandra Shiva, Tom Slaughter, Jim Steinberg, Robin Wagner, and the unstoppable Gail Merrifield 

Papp whose passion is truly an inspiration to us all. 

As I am fond of saying, The Public MATTERS, and now is the time to make an investment that counts. 

Warren Spector 

CAMPAIGN CHAIRMAN 

THE PUBLIC THEATER BOARD CHAIRMAN 

The Public 

Theater provides 

us all with so 

much joy and 

inspiration 

because it is 

truly the theater 

for the people 

of New York City. 

From the free 

plays in the park, 

to the performances 

at Joe’s 

Pub, to the many 

productions in 

the theater itself, 

there are always 

so many exciting, 

challenging, and 

evocative things 

going on at the 

same time at 

The Public. It is 

always changing 

but never 

changed. A true 

melting pot of 

creativity in its 

highest form. 

—Jonathan Groff 

the public theater 2 the public theater 3

THE PUBLIC THEATER 

HISTORY 

MISSION 

Joseph Papp founded The Public Theater as the Shakespeare Workshop in 1954 with the vision of 

bringing Shakespeare to the people for free. Joe’s troupe of young actors presented Shakespeare 

productions throughout New York City’s five boroughs in churches, and on mobile stages set up in 

public parks. In 1962, based on the popularity of this program, the City built the 1,881-seat Delacorte 

Theater in Central Park for The Public’s use and free Shakespeare in the Park was born. Five years 

later, with the musical HAIR, Joe opened a Lower Manhattan facility in the former Astor Library 

building on 425 Lafayette Street. This building still serves as The Public Theater’s headquarters. 

The Public’s dedication to artists, directors and performers has 

shaped the face of American theater and nurtured talents such 

as Don Cheadle, Caryl Churchill, Mos Def, Morgan Freeman, 

Jonathan Groff, Anne Hathaway, Ed Harris, Kevin Kline, Tony 

Kushner, John Leguizamo, Tarell Alvin McCraney, Suzan-Lori 

Parks, Tonya Pinkins, vanessa Redgrave, Daphne Rubin-vega, 

Mercedes Ruehl, Liev Schreiber, Stew, Jimmy Smits, Patrick 

Stewart, Meryl Streep, Daniel Sullivan, Denzel Washington, 

Sam Waterston, and many, many more. The Public has brought 

52 shows to Broadway including A Chorus Line; The Pirates Of 

Penzance; Sticks And Bones; That Championship Season; Two 

Gentleman of verona, For Colored Girls Who Have Considered 

Suicide/When the Rainbow Is Enuf, Bring In ‘Da Noise, Bring In 

‘Da Funk; On The Town; The Ride Down Mt. Morgan; Topdog/ 

Underdog; Elaine Stritch At Liberty; Take Me Out; Caroline, Or 

Change; Well; Passing Strange; and the recent Tony Awardwinning 

revival of Hair, to name a few. 

The Public Theater’s diverse programming is as popular 

with artists and audiences as ever, and is seen by New York 

City residents from all five boroughs and beyond. Each year 

approximately 300,000 artists, audiences, and students attend 

or participate in The Public’s free or low-cost programming 

offered 52 weeks of the year. The Public gives away more free 

tickets than any other theater in the country, and an estimated 

five million people have attended Shakespeare in the Park for 

free since its creation. 

Over the past 56 years, The Public Theater has matured into 

an iconic American institution dedicated to embracing the 

complexities of the modern world. Today The Public Theater 

continues to be a place of inclusion with programming that brings 

together an international community of artists and audiences, 

provides opportunities for exchange and debate, and reflects the 

country’s diverse voices, rhythms and cultures. 

As the nation’s foremost theatrical producer of Shakespeare and new work, The Public Theater is 

dedicated to achieving artistic excellence while developing an American theater that is accessible 

and relevant to all people through productions of challenging new plays, musicals and innovative 

stagings of the classics. 

Toward this effort, The Public continues to be guided by a philosophy of inclusion, which takes 

on many forms—non-traditional casting of productions, education and development initiatives 

for artists from diverse backgrounds, outreach to students and audiences throughout New York 

City’s five boroughs, humanities endeavors that provide a social and cultural context for the 

works we present, and mainstage productions that reflect and speak to the issues and interests 

of our surrounding community. Ticket prices for performances are kept low or free of charge in 

order to attract a broad audience, and every performance space is handicap accessible, with free 

sign language-interpreted and open-captioned performances offered during summer productions. 

The Public’s programming also cultivates connections among its many constituencies—between 

artists and audiences and across ethnicities, ages and experiences. These connections are 

fundamental to the work of the institution as well as to the development of future artists and 

audiences, and thus the health of the theater community as a whole. 

“The experience of sitting out 

on a summer night in the world’s 

most beautiful park in the middle 

of New York City watching a 

play that is absolutely free is 

the moment I always feel, I can’t 

believe I get to live here. And it’s 

such a completely obvious and 

satisfying metaphor for New York, 

or at least our idealized version 

of it—as the cultural capital of 

the world that anyone can come 

to and be welcomed in.”—Nora Ephron 

Left to Right: Idina Menzel in See What I Wanna See, Liev Schreiber and Alec Baldwin in Macbeth 1998, Jimmy Smits in Twelfth Night 2002, photo Credit: Michal Daniel, 

Joseph Papp, Anne Hathaway in Twelfth Night 2009, photo Credit: Joan Marcus, Don Cheadle in Topdog/Underdog, Cast of Stuff Happens, photo credit: Michal Daniel 


CORE PROGRAMS 

Today, under the leadership of 

THE 

PUBLIC 

THEATER’S 

Artistic Director Oskar Eustis 

and Executive Director Andrew 

Hamingson, The Public Theater 

is building upon the legacy 

of innovation and providing 

even greater access to the arts 

for artists and audiences by 

strengthening the institution’s 

commitment to core programs. 

the public theater 6 

SHAKESPEARE 

IN THE PARK: 

The Public Theater produces two Shakespeare in the Park 

productions each summer outdoors at The Delacorte Theater in 

Central Park (approximately 100,000 free tickets are issued each 

season). The Public Theater produces two Shakespeare in the 

Park productions each summer outdoors at The Delacorte Theater 

in Central Park (approximately 100,000 free tickets are issued 

each season). Shakespeare in the Park is at the central core of 

The Public’s Shakespeare Initiative which, in addition to producing 

Shakespeare’s works on the theater’s stages, provides educational 

outreach activities, introducing young people and adults to classic 

works each summer. These outreach endeavors are designed to 

provide opportunity and access for low-income and underserved 

populations from New York City’s five boroughs. The Public 

Theater is also dedicated to providing training opportunities for 

performers through The Shakespeare Lab (for professional 

actors in mid-career) and Shakespeare Lab Jr. (for teens). 

THE DOWNTOWN 

PRODUCTION SEASON: 

The Public Theater produces six mainstage performances each 

season for low-cost ticket prices. The Public produces plays and 

musicals that reflect contemporary society, and speak to the 

current issues of our time. 

JOE’S PUB: 

This non-profit cabaret space was debuted in October 1998 and 

is a premier showcase for established, up-and-coming musicians, 

and emerging artists from a variety of disciplines. Joe’s Pub is 

noted for its genre-blind programming, offering a varied range 

of performance from jazz, classical, rock, folk, international, 

comedy, experimental, spoken-word and dance. The stage gives 

voice to a world of varied and stellar international artists offering 

two-three shows a night, 363 days a year. 

ARTIST AND PLAY 

DEvELOPMENT 

PROGRAMS: 

The Public’s commitment to developing new playwrights and 

directors is realized through the LuEsther Lab for New Play 

Development, established in 1993. The program is dedicated 

to the development of emerging writers and directors, with the 

belief that creative and financial support is necessary for the 

successful development of work that will enrich the nation’s 

theaters. Building on this initiative, in 2007-2008 The Public 

launched three programs to provide support for artists at all 

stages in their careers and develop new work: 

The Public Writers Initiative: a competitive, threetiered 

program that provides resources for writers including 

the Emerging Writers Group and the Native Theater Initiative. 

Music Theater Initiative: a program to develop and 

produce new American musicals. 

The Public LAB: a program that allows audiences to see 

important new plays for only $10, cheaper than the price of 

a movie ticket. Public LAB, conceived in association with 

LAByrinth Theater Company, is an annual series of new plays 

in scaled-down productions that allows The Public to support 

more artists and give our audiences immediate access to new 

plays in development. 

FESTIvALS: 

The Public Theater produces numerous festivals throughout 

the season such as UNDER THE RADAR, and the NATIvE 

THEATER FESTIvAL. These showcase diverse artists and foster 

exchange by bringing together an international community of 

artists. Performances are offered for free or $10–$15 a ticket, 

and feature free workshops, talkbacks and symposiums, 

attracting a diverse audience to The Public. 

“It’s all done in the 

context of love– 

That’s the beauty 

of it, you see.” 

–Raul Julia 

Left to right: Marc Damon Johnson and Sterling K. Brown in The 

Brother/Sister Plays, photo credit: Joan Marcus, Stew in Passing 

Strange, Meryl Streep in Mother Courage, Lauren Ambrose in Romeo 

and Juliet, photo credits: Michal Daniel, Suzan-Lori Parks, photo 

credit: Stephanie Diani.

A NEW YORK CITY 

LANDMARK: 

425 LAFAYETTE STREET 

The Public’s headquarters on 425 Lafayette Street was 

commissioned by John Jacob Astor just before his death in 1848. 

This was the first of the great free public reference libraries in the 

United States and it first opened its doors in 1854 with more than 

80,000 volumes. Prior to the opening of the Astor Library, the only 

libraries available to the public were subscription libraries which 

charged a membership fee, and limited access to those who 

could pay. 

The building is noteworthy, not only for its attractive facade, or 

its interior which retains some of New York’s most remarkable 

victorian spaces, but for the manner in which it was constructed. 

The building consists of three independent buildings constructed 

over a thirty-year period by architects Alexander Saeltzer (south 

wing, 1849-1853), Griffith Thomas (central wing, 1856-1859), and 

Thomas Stent (north wing, 1879-1881). 

In 1897 an agreement was reached to consolidate a number of 

libraries and build The New York Public Library at 5th Avenue and 

42nd Street. The Astor Library continued to operate until 1911, 

when The New York Public Library was completed. In 1920 the 

structure was bought by the Hebrew Immigrant Aid Society (HIAS) 

who remodeled the building to serve as a receiving station, aid 

center, dormitory and synagogue for thousands of newly arrived 

immigrants. Over its 44-year tenancy, HIAS processed and/or 

housed approximately 250,000 immigrants – one of whom was 

Mandy Patinkin’s grandfather. 

Joe Papp acquired the building in 1965 with help from the City of 

New York and it became one of the first buildings to be declared 

a New York City Landmark. The Public Theater’s mission—that 

arts should be accessible to all—echoes the democratic legacy of 

the Astor Library that made knowledge available to everyone. The 

complex was transformed into a functioning performance center 

and still operates as The Public’s headquarters, housing five 

theaters, Joe’s Pub, and administrative and production offices. 

The Public Theater’s facilities 

are owned by the City of New 

York and benefit from public 

funds provided through the New 

York Department of Cultural 

Affairs with support from Mayor 

Michael R. Bloomberg; Cultural 

Affairs Commissioner, Kate 

D. Levin; Manhattan Borough 

President, Scott M. Stringer; the 

New York City Council including 

Council Speaker Christine 

C. Quinn, Cultural Affairs 

Committee Chair Domenic M. 

Recchia, Jr.; Councilmember 

Rosie Mendez and the 

Manhattan Delegation. 

“The Public has earned its premiere place in New York theater’s 

past and present many times over. It has been the incubator for 

legions of theater artists, including me.” —Sam Waterston 


SERvES NEW YORK CITY 

The Public Theater is a place for a diverse cross-section of artists 

and audiences to meet, work, play and enjoy performances. 

Building upon The Public’s tradition of greater access, The Public 

Theater’s Capital Project Renovation aims to create a welcoming 

public space and provide a home for a population as diverse as a 

New York City subway. 

THE 

PUBLIC 

The Public’s Capital Project renovation is more than an investment 

in bricks and mortar, but also an investment in our neighborhood, 

community, the City of New York and the future of American 

theater. The goal is to create an inviting venue that is not only 

a theater, but a seventh stage for audiences and artists to meet, 

exchange ideas, and address the world in which we live. A place 

where the meeting of the minds can take place and an emerging 

writer can have a coffee with a Pulitzer Prize-winning playwright 

and discuss dramatic form; where a young actor can learn from 

a seasoned professional about performing Shakespearean text; 

where two directors can exchange ideas about how to approach 

a project; where an audience member can ask a playwright about 

a new play; and where a teenager can meet an artist and learn 

about a life in the theater. 

In essence, The Public Theater’s Capital Project Renovation aims 

to create a new model of theater: a vibrant, cultural home that 

welcomes everyone. 

“Many of my most satisfying, inspiring and happy theatrical experiences—both as worker 

and as watcher—have been at The Public. I still get excited when I turn up Lafayette Street 

and head toward those grand arches and those swaying banners... because I know whatever 

I’m seeing or doing will be better for being there.” —Michael Cerveris 


Summer ShakeUp, photo credit: Nella vera, 


CAPITAL PROJECT RENOvATION 

“I have always 

wanted to 

provide access 

to the best 

human endeavor 

to the greatest 

number of 

people. I believe 

that great art 

is for everyone 

—not just for 

the rich or the 

middle class.” 

—Joseph Papp 

Model of proposed new 

entrance plaza with enhanced 

ADA accessibility. 

SEPT 2008– 

DEC 2011 

UPGRADING A LANDMARK: 

CREATING A PUBLIC 

THEATER FOR THE FUTURE 

The Public Theater is currently facing a significant challenge: 

as we continue to expand programming and welcome ever more 

theatergoers into our historic home on Lafayette Street, The Public 

Theater must upgrade and renovate facilities to better serve 

audiences, artists and staff. 

The Public Theater is completing a Capital Project Renovation 

designed by Polshek Partnership Architects to address the 

public spaces of The Public Theater by upgrading and renovating 

facilities to strengthen the organization for years to come. 

This renovation is arguably the most important institution-building 

effort The Public has ever undertaken. Successfully completing 

this project will revitalize a New York City Landmark building, 

reinforce The Public Theater’s commitment to Joe Papp’s founding 

mission, and create a cultural home for artists and audiences. 

CAPITAL PROJECT RENOvATION GOALS 

• Improve ADA access. 

• Increase audience service and access. 

• Upgrade and enhance life-safety systems. 

• Improve and upgrade existing 

infrastructure and amenities. 

• Replace and upgrade antiquated 

systems to realize savings and improve 

energy efficiency. 

• Provide a home for artists and audiences 

by maximizing and expanding the public 

spaces of The Public Theater. 

SCOPE OF WORK 

• Complete facade restoration. 

• Creation of new exterior terraced 

steps and canopy. 

• 2 new ADA-accessible entrance ramps. 

• Improved street visibility including 

exterior signage and façade lighting. 

• Expanded and refurbished lobby. 

• Creation of new mezzanine level and 

lobby balcony. 

• Centrally located box office. 

• Augmented restroom facilities. 

• New Community Room/Lounge. 

• Expanded kitchen facilities for Joe’s Pub. 

• Complete HvAC (Heating, ventilation 

and Air Conditioning) system overhaul. 

• Installation of a sprinkler system 

throughout the building. 

• Replacement of outdated mechanical and 

electrical systems for greater efficiency. 


Rendering of proposed interior 

Architectural Design–Polshek Partnership Architects LLP 

Graphics–Paula Scher, Pentagram Design, Inc. 

the Rendering–Alan public Silverman, theater AJSNY 

14 the public theater 15

RENOvATION OF 

COMPLETE FACADE RESTORATION 

Repairing and restoring the brownstone facade. 

CREATION OF NEW 

EXTERIOR TERRACED 

STEPS AND CANOPY 

The exterior entrance stairway will be covered 

by a glass canopy to protect audiences entering 

and exiting the building. These steps will be 

accommodated by a curb bump-out and provide 

an outdoor gathering place for the community 

to enjoy. Creating an exterior stair will add 

468 square feet to our usable Lobby space, 

an increase of 25%. 

2 NEW ADA-ACCESSIBLE 

ENTRANCE RAMPS 

These ADA-accessible ramps will 

greatly improve access and safety. 

IMPROvED STREET 

vISIBILITY INCLUDING 

EXTERIOR SIGNAGE 

AND FACADE LIGHTING 

6 new poster boxes will be added 

on Lafayette Street to provide 

information about programming. 

Exterior lighting will be used to 

highlight the architecture and 

increase visibility. 

“The Public’s 

continued commitment 

to offering 

free Shakespeare 

and to developing 

new voices for the 

American Theater, 

has (among other 

things) kept me 

gainfully employed 

for the past 15 

years. I owe them 

a tremendous debt 

of gratitude for 

pointing me in the 

right direction and 

for reminding me 

why theater is 

such an essential 

element in my life.” 

—Liev Schreiber 

EXTERIOR 

the public theater 16 the public theater 17 

THE

RENOvATION 

The Athenians had Greek drama, Londoners had Elizabethan Theatre and Italians had 

Opera. New Yorkers have The Public Theater where ART can be and is practiced free from 

the usual commercial imperatives. Thank you Joe and thank you Oskar.” — Galt MacDermot 

INTERIOR 

EXPANDED AND 

REFURBISHED LOBBY 

The additional 468 square feet of 

lobby space will increase capacity 

from 250 to 690 people (almost 

175%), enabling our audiences to be 

accommodated with greater comfort 

and safety. The Public Theater will 

also offer an expanded and improved 

concessions service. 

CREATION OF NEW 

MEzzANINE LEvEL AND 

LOBBY BALCONY 

A new mezzanine level and balcony 

will be added to provide additional 

public space. 

AUGMENTED 

RESTROOM FACILITIES 

Restroom facilities will be increased 

350% and include a total of 10 stalls 

for men, and 18 stalls for women. 

These facilities will be located on the 

ground floor and be ADA accessible. 

CENTRALLY 

LOCATED BOX OFFICE 

The Box Office will be 

centralized. Service windows 

will increase enhancing 

our ability to provide improved 

service to audience members. 


OF THE

RENOvATION 

OF THE INTERIOR 

FIREPLACE 

LOUNGE 

BAR / 

CONFERENCE 

TABLE 

HOST 

NEW COMMUNITY ROOM/LOUNGE 

A Community Room/Lounge will be added on the new mezzanine 

level to provide additional space. This room will hold 150 people, 

and serve a dual function: to accommodate meetings and events 

during the day, and operate as a bar during evening hours. The 

Community Room/Lounge is designed by Rockwell Group founder 

and CEO, David Rockwell. The design concept is to build a library/ 

reading room that will house a collection of books provided by a 

non-profit library partner and, in the evening, the central reading 

table will transform into a bar. 


INFRASTRUCTURE 

UPGRADES 

COMPLETE HvAC (HEATING, vENTILATION 

AND AIR CONDITIONING) SYSTEM OvERHAUL 

The HvAC system is 30 years old, outmoded, unreliable and 

inefficient. By completing the full-scope overhaul The Public will 

realize estimated savings of $100,000 in yearly maintenance 

repair costs, save the City approximately $100,000 in electric 

costs each year, and reduce the organization’s carbon footprint. 

INSTALLATION OF A SPRINKLER 

SYSTEM THROUGHOUT THE BUILDING 

The Public will install sprinkler systems in the lobby, Joe’s 

Pub and Shiva Theater, and increase existing systems in 

the Anspacher, Newman, LuEsther and Martinson theaters 

to cover both audience and stage areas. 

REPLACEMENT OF OUTDATED 

MECHANICAL AND ELECTRICAL 

SYSTEMS FOR GREATER EFFICIENCY 

EXPANDED KITCHEN 

FACILITIES FOR JOE’S PUB 

The kitchen will be doubled in size and optimized for greater 

efficiency. This will meet catering needs for Joe’s Pub, the 

Community Room, Lobby Concessions, and Special Events. 

THE PUBLIC 

GOES GREEN 

The Public Theater is joining with Mayor Bloomberg’s PlaNYC 

2030 initiative to reduce the city’s carbon footprint 30% 

from its 2005 level by 2030. The scope of work will replace 

outmoded systems and infrastructure that will greatly reduce 

our carbon footprint. For example, our engineers estimate that 

replacing outdated equipment could provide up to 25% savings, 

and reduce our annual CO2 production by 519 tons. The 

Public is working to incorporate energy efficient or renewable 

technology, and to use sustainable and energy saving materials 

wherever possible to comply with LEED Rating Systems. 

LEED is an internationally recognized green building 

certification system, providing third-party verification that a 

building or community was designed and built using strategies 

aimed at promoting sustainability by recognizing performance 

in five key areas of human and environmental health: 

sustainable site development, water savings, energy efficiency, 

materials selection and indoor environmental quality. 

“I love that The Public is so supportive of young 

artists. It fosters and cultivates emerging talent, 

ensuring New York’s theatre scene stays strong 

with each new generation.” —Anne Hathaway 

PROJECT ARCHITECTS: 

POLSHEK PARTNERSHIP, LLP 

Known for architectural excellence, Polshek Partnership is a 145-person firm with expertise 

in architecture, master planning, historic preservation and interior design. Projects have 

been published internationally and recognized with numerous awards for design excellence 

and for their important contributions to the life of their cities and campus precincts. Polshek 

Partnership is known as one of the nation’s preeminent designers of spaces for the performing 

arts. Their work encompasses a range of types and size, and facilities within restricted 

as well as liberal budgets. They have created performance spaces including concert halls 

(Carnegie Hall, Holland Performing Arts Center in Omaha); theaters for repertory companies 

and cabaret theater (The New York Shakespeare Festival Joseph Papp Public Theater, The 

Biltmore Theatre for the Manhattan Theatre Club); and experimental, black box theaters 

(Chelsea Theater of the Brooklyn Academy of Music, York College Theater). Polshek is one 

of ten Mayoral Design Excellence Firms. Project Team: James S. Polshek FAIA, Senior Design 

Counsel, Duncan R. Hazard AIA, Partner, Stephen P-D. Chu AIA, Associate Partner, Damyanti 

S. Radheshwar AIA, Associate Partner 

PERCENT FOR 

ART INSTALLATION: 

SHAKESPEARE 

MACHINE 

The Public Theater is working with the City to incorporate an 

artwork at 425 Lafayette Street in compliance with The City 

of New York’s Percent for Art law. The Percent for Art law 

requires that one percent of the budget for eligible City-funded 

construction projects be spent on artwork for City facilities. 

The Program commissions artists of all races and backgrounds 

that reflect the diversity of New York City, and is administrated 

by the City’s Department of Cultural Affairs. 

The successful proposal, by media artist Ben Rubin, is a 

‘Shakespeare Machine.’ This display screen installation will 

be located in the lobby and the artwork will cycle continuously 

through the text of Shakespeare’s plays and will be organized as a 

repeating serious of compositions. Each composition will employ 

a different logical algorithm to selectively parse the plays into 

words and phrases. The broken-down text is then reorganized and 

presented in choreographed patterns across the array of display 

screens. The intention is to create a continuously unfolding 

kaleidoscope of language, re-combining these small linguistic 

molecules to form new poetic visual combinations. The size of 

the text corpus and the nature of the algorithms ensure that no 

composition will ever repeat. 

WESTERMAN 

CONSTRUCTION CO. INC 

Westerman was founded over 16 years ago, and has maintained 

an unbroken tempo of one complex project after another and 

each project has surpassed the expectations of its most exacting 

clients. Westerman brings an understanding of the unique 

requirements of each project, from maintaining curatorial 

environmental conditions to sequencing work so that an 

institution may remain operational during construction, to helping 

a client navigate the intricacies of multi-source funding. They 

work closely with the design team to ensure that all aspects of the 

project can be achieved within the client’s budget and timeframe, 

and can recommend methods and materials to help the client 

meet its budget and establish accurate schedules. They have 

worked closely with NYCDDC and NYCEDC. Project Team: Lloyd 

Westerman, Principal, Dan Wrzesinski, RA, Project Manager 


FIRST FLOOR FLOOR PLAN 

RAMP DN 

PROPERTY LINE 

DRESSING 

PROPOSED FIRST FLOOR LOBBY PLAN 

Pink represents proposed floor plan changes. 

DN 

1-35 

DN 

UP 

1-34 

1-25 

1-32B 

KITCHEN 

STORAGE 

1-28 

SHELF 

DN 

1-27 

ELEC. 

CLO. 

1 2 3 4 5 6 7 8 9 10 

WOMEN’S RESTROOM 

MIRROR 

1-26 

JAN. 

CLO. 

COAT 

CHECK 

1-25 

1-32A 

11 12 13 14 15 16 17 18 

MEN’S RESTROOM 

6 7 8 9 10 

1 2 3 4 5 

1-22 1-21 

1-31B 1-31A 

DN 

ST2-1A 

DN 

STAIR NO.2 

1-17B 

1-17A 

INFO 

DESK 

UP UP 

ST2-1B 

SLOPE 1:12 

SHIVA 

THEATER 

BOX OFFICE-2 

1-19A 1-19A 

MAIN 

LOBBY 

1-20C 

1-20B 


DN 

T.O. DOOR THRESHOLD 

EL.45'-2" 

1-20A 

“RABBI” ROOM 

DN 

1-16A 1-16B 

BAR 

SLOPE < 1:12 

1-13 

ST3-1B 

1-13 

DN 

ST3-1A 

STAIR NO.3 

DN 

UP 

ELEC VAULT 

STAGE RIGHT 

UP 

DN 

DN 

DN 

SLOPE < 1:12 

DN 

UP 

B.O. RAMP 

EL.42'-6" 

LINE OF TRAFFIC 

STAGE CENTER 

NEWMAN THEATER 

UP 

UP 

DIMMER / HVAC CLOSET 

DN 

DN 

JANITOR 

CLOSET 

PROP 

OFFICE 

STAIR NO.4 

DN 

DN 

STAGE LEFT 

UP DN 

UP 

LOADING DOCK 

DN

FIRST FLOOR MEzzANINE FLOOR PLAN 

DN 

STAIR 

NO. UP1 

ST1-1M 

PUB 

DRESSING 

ROOM 

1M-21 

1M-20 

PUB 

OFFICE 

1M-17 

PUB 

OFFICE 

UP 

PUB CONTROL 

BALCONY 

PUB 

OFFICE 

Pink represents proposed floor plan changes. 

1M-19 

PROPOSED FIRST FLOOR MEZZANINE PLAN 

1M-14B 

1M-13A 

STORAGE 

PANTRY 

DOOR-NUMBER 

BAR 

TOILET 

1M-08 

COMMUNITY ROOM 

JOE’S PUB 

OPEN TO BELOW 

1M-14A 

TOILET 

1M-09 

1M-13B 

DOOR-NUMBER 

ST3-1M 

COATS 

STAIR 

UP 

NO. 2 

SHIVA THEATER 

OPEN TO BELOW 

BALCONY 

DN DN UP 

MAIN LOBBY 

OPEN TO BELOW 


ST3-1M 

STAIR 

NO. 3 

UP 

NEWMAN THEATER 

OPEN TO BELOW 

CONTROL-ROOM 

STAIR 

NO. 4

JOIN 

GOING PUBLIC 

“In New York 

City, where 

there is an 

abundance of 

arts programming, 

few institutions 

attain the status 

of The Public. 

The Public has 

had an incalculable 

impact on 

the performing 

arts in the 

greatest arts 

city in America.” 

–Alec Baldwin 


the public theater’s Going 

public campaign is an 

opportunity for friends, 

audiences, artists, neighbors 

and supporters to join an 

effort to ensure the stability 

of the public theater. 

the Going public campaign is 

arguably the most important 

institution-building effort 

the public theater has ever 

undertaken. Your support is an 

investment in our neighborhood, 

community, the city of New 

York and the future of american 

theater, and completing this 

capital project renovation will 

not only strengthen the public 

theater’s facilities, but will 

enable the public theater to 

continue to serve the broadest 

possible audience for 

generations to come. 

GOING PUBLIC 

CAMPAIGN GOAL: 

$35,000,000 

DeaDliNe: December 31, 2011 

SUPPORT THE 

GOING PUBLIC 

CAMPAIGN: 

there are many ways to join the Going 

public campaign. With a range of 

recognition and naming opportunities, 

the public is able to tailor giving 

plans to every donor’s interest and 

level. For more information about the 

Going public campaign, and giving 

and recognition options, please visit 

goingpublic.publictheater.org 

or contact campaign staff at: 

The Going Public Campaign 

the public theater 

425 lafayette Street 

New York, NY 10003 

telephone: 212-539-8632 

goingpublic@publictheater.org 

Fax: 212-539-8505 

Ed Harris in Wrecks, The Radio, in Caroline, Or Change photo credit: Michal Daniel.

PROPOSED FIRST FLOOR MEZZANINE PLAN - the Public Theater

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