Centrally located in the Upper King Street area of Historic Downtown Charleston, the Charleston Music Hall is an outstanding venue for shows of all varieties. The Hall is conveniently located next door to two award-winning hotels and three nationally acclaimed restaurants. Combine this with popular shopping destinations, museums, and three public parking garages located within two blocks of the venue and you get the perfect Charleston setting for any event.
This versatile space combines historical elegance with modern functionality. Above all else, the Music Hall is a listening room; an intimate environment in which the audience and the artist can interact on a more personal level. In this space, that boasts the best acoustics in town, there literally is not a bad seat in the house.
The Charleston Music Hall exists to create extraordinary artistic and theatrical experiences and promote the finest local, regional, and national acts.
The Charleston Music Hall seeks to set a national standard for ambitious programming, engagement with its audiences, and leadership within the community in which it resides providing a vital artistic resource for the people of Charleston and the region. The Music Hall seeks to build a better conversation and relationship between the artist and the audience and aspires to the highest levels of artistic achievement while also exploring new and exciting territories in artistic vision.
Any living theatre must have five essential qualities:
– It must have an entity, and organism that can be recognized, as you recognize a human being, by certain traits of character and of physical presence that are marks of a personal life.
– It must have permanence in some one or more of its fundamentals. It may be a permanence of place or of leadership, of repertory, of course, of company, or of idea, or of any two of the three combined; but they must have something that stands firm and rooted, something not too transitory, in that transitory world of the theatre where performances die as they live, each day, as production is set up, played through and struck.
– It must have the power of growth, of progress, both in its permanent and its impermanent factors, because time changes and it must change with them.
– It must bear within itself the power of generation, the element of renewal, a force that, having flowed out of its own inner strength and integrity, can bring back fresh strength from a newer, younger world.
– Finally, it must have a goal that is essentially a theatre goal. There is no reason under the sun why the leader of a fine theatre should not hope to gain money, or power, or preferment from the enterprise. But these are by-products of theatrical success, not essential theatre goals, which must always be in some way related to the performance of good shows by individuals of talent, and the consequent development of the theatre’s innate power of entertainment, edification, exaltation, escaped, and social persuasion.
There has probably never been an organized theatre of importance that did not have, to some extent, these five qualities.
– Edith J.R. Isaacs, Theatre Arts, 1934