Hollywood Bowl

Siting and opening The site of the Hollywood Bowl was chosen in 1919 by William Reed and his son H. Ellis Reed, who were dispatched to find a suitable location for outdoor performances by the members of the newly formed Theatre Arts Alliance, headed by Christine Wetherill Stevenson. The Reeds selected a natural theater, a shaded canyon and popular picnic spot known as Daisy Dell in Bolton Canyon, which was chosen for its natural acoustics and its proximity to downtown Hollywood. The Community Park and Art Association, then headed by F. W. Blanchard, was the first organization to begin building the Bowl. One of the earliest performances at the Bowl was Hollywood High School's Performance of Shakespeare's Twelfth Night. The Women's World Peace Concert was held on November 11, 1921. On November 11, 1921, the first Sunrise Service took place at the bowl, in one of its first major events. Community function The Bowl began as a community space rather than a privately owned establishment. Proceeds from the early events at the Bowl went to financing the construction of new elements of the bowl such as a stage and seating in 1922 and 1923 respectively. In 1924, a backdrop to the stage was added. During the early years of the Bowl's existence, concert tickets were kept at the lowest available price of 25 cents using the slogan popular prices will prevail, coined by F.W. Blanchard. While serving as the venue for concerts by the Los Angeles Philharmonic, the Bowl also served as a community space, used for Easter services, the Hollywood Community Chorus, as well as Young Artists Nights where younger musicians could perform well-known classical music. Children were also invited to perform at community events with the Los Angeles Philharmonic and the Hollywood Community Chorus, beginning with Sibelius' Finlandia in 1921. The Bowl hosted a variety of Native American tribal events, as well as international music ensembles. Women in the Bowl Many of the key influential figures in the founding of the Hollywood Bowl were women, most notably the pianist Artie Mason Carter, whose connections with the Los Angeles arts patrons were vital in the early days of the Bowl's existence. Christine Wetherill Stevenson and Marie Rankin Clarke both donated $21,000 to purchase the land on which the bowl was built. E.J. Wakeman, Leiland Atherton Irish, Harriet Clay Penman, and composers Gertrude Ross and Carrie Jacobs Bond all contributed to the Bowl through fundraising drives. Band shells Frank Lloyd Wright, Jr. (commonly known as Lloyd Wright) designed the second and third band shells. The original 1926 shell, designed by the Allied Architects Association, was considered unacceptable both visually and acoustically. Wright's 1927 shell had a pyramidal shape and a design reminiscent of southwest Indigenous architecture. Its acoustics generally were regarded as the best of any shell in Bowl history. But its appearance was considered too avant-garde, or even ugly, and it was demolished at the end of the season. His 1928 wooden shell had the now-familiar concentric ring motif, covered a 120-degree arc, and was designed to be easily dismantled. Unfortunately it was neglected and ruined by water damage. For the 1929 season, the Allied Architects built the shell that stood until 2003, using a transite skin over a metal frame. Its acoustics, though not nearly as good as those of the Lloyd Wright shells, were deemed satisfactory at first, and its clean lines and white, semicircular arches were copied for music shells elsewhere. As the acoustics deteriorated, various measures were used to mitigate the problems, starting in the 1970s with an inner shell made from large cardboard tubes, which were replaced in the early 1980s by large fiberglass spheres (both designed by Frank Gehry) that remained until 2003. These dampened the unfavorable acoustics, but required massive use of electronic amplification to reach the full audience, particularly since the background noise level had risen sharply since the 1920s. The appearance underwent other visual changes as well, including the addition of a broad outer arch (forming a proscenium) where it had once had only a narrow rim, and a reflecting pool in front of the stage that lasted from 1953 till 1972. Sculptor George Stanley, designer of the Oscar statuette, designed the Muse Fountain which has stood outside the Hollywood Bowl's main entrance since 1940. Shortly after the end of the 2003 summer season, the 1929 shell was replaced with a new, somewhat larger, acoustically improved shell, which had its debut in the 2004 summer season. Preservationists fiercely opposed the demolition for many years, citing the shell's storied history. However, even when it was built, the 1929 shell was (at least acoustically) only the third-best shell in the Bowl's history, behind its two immediate predecessors. By the late 1970s, the Hollywood Bowl became an acoustic liability because of continued hardening of its transite skin. The new shell incorporates design elements of not only the 1929 shell, but of both the Lloyd Wright shells. During the 2004 summer season, the sound steadily improved, as engineers learned to work with its live acoustics. The current sound reinforcement system is a line-array configuration of multiple loudspeaker enclosures hung vertically in a curved manner, with the lower enclosures facing the front sections, and the upper enclosures angled towards the rear sections. It is manufactured by L-Acoustics, and includes state-of-the-art audio processing, allowing each individual loudspeaker enclosure to be "tuned" and directed towards the near-precise location of the listener, regardless of where in the venue they are sitting. This results in the audience in the rear sections hearing the same audio, at the same level, as in the front sections. This electronic processing includes sound level, frequency equalization, occasional special effects, and time delay. Sound passes through wire much faster than through air, therefore the sound coming from the speakers must be delayed, allowing the actual sound from the stage to "catch up" so both sources reach the listeners' ears simultaneously. The system is maintained by Rat Sound Systems, the same company that has provided audio for the Coachella Festival, since its inception. == Hollywood Bowl Orchestra(s) ==