Five years ago, Broadway’s once thriving Biltmore Theatre was a dark and derelict shell of its former self. Once the gleaming host of such classic productions as Hair and Barefoot in the Park, the theater had fallen victim to time and neglect. Consequently, when the 1987 production of Stardust closed at the Biltmore, it would be the last time in a long while that any show was performed there. Then in 2000, the Manhattan Theatre Club, one of New York City’s reigning off-Broadway companies, announced plans that it would purchase the dormant structure for its Broadway transfers. MTC soon assembled an architectural team to refurbish the dilapidated theater and scale the seating to an intimate 623, smaller than the original, but still fitting the 499-plus seating criterion of a Broadway house. In October 2003, the dream was finally realized when the newly restored Biltmore reopened its doors for MTC’s The Violet Hour. Although the production itself generated mixed to poor reviews, the magnificent venue where it played elicited roars of approval from jaded critics and theatergoers alike. The decline and resurgence of this legendary landmark is a wonderful tale to tell and it’s one that SD Managing Editor Fiona Kirk eloquently details (“Broadway Resurrection,” page 50) in this month’s special focus on renovation.

Another highlight of this section is actor/architect Keith Gerchak’s chronicle of the tragic death—and triumphant rebirth—of the Marion Cultural and Civic Center in Marion, Illinois, after the original structure had been decimated by arson seven years earlier (“Phoenix Rising,” page 58). This story has all the ingredients that make a real-life narrative compelling and poignant: history, tragedy and community support. Also owing a lot to civic assistance was the recent renovation of the Sunset Theater, a former movie house in Carmel, California, built during the Depression. Although the venue had not been in serious disrepair like the Biltmore or gutted and destroyed like the space that would become the Marion Cultural and Civic Center, time had still taken a toll on it, making an overhaul necessary. As you can see from the photos that illustrate Erin Auerbach’s fine article tracing the progress and completion of this complicated project (“It Takes a Town,” Page 54), the results have been nothing short of awe-inspiring. And you thought this achingly lovely beachside town was newsworthy simply because movie legend and resident Clint Eastwood once enjoyed a brief stint (1986-1988) as its mayor!

Two years ago, the Kennedy Center launched its “Sondheim Celebration,” saluting the musical theater master by performing several of his fabled works in repertory for the summer season. SD covered set designer Derek McLane’s herculean efforts to design six shows for the marathon on a tight deadline and budget (“Send in the Stopwatch,” SD August 2002). Not only did the series garner glowing critical accolades, it produced high box-office revenues. This year, the precedent continues with “Tennessee Williams Explored,” in which several masterworks by the late great Mississippi dramatist are being staged in his honor. Deryl Davis offers a window into the design components of this epic project. This time, he speaks to Tony Award-winning set designer John Lee Beatty, who shares his insights on how he conceived the designs for the festival. To learn more, turn to “Williams Over the Potamac” on page 28. And you don’t even have to depend on the kindness of strangers.