11-70

United States Department of the InteriorI Heritage Conservation and Recreation Service

r-; t*ø.’ .‘.*

For HCRS use only,

historic

and/or common

2. Location

courthouse, registry of deeds, etc. South Kings town Town hal

Street & number 66_High_Street

city, town Wa k e F .1 c I d state Kb tic I s I a iii ti 7

6. Representation in Existing Surveyslit;

South IstownPre1iminarySrvgbeen determined !‘?

date federal __& state - - -- county local

depository for survey records R. I His tori Cal Preservation Conimi s s ion -

National Register of Historic PlacesInventory-Nomination Form -

See instructions in How to Complete National Register FormsType all entries-complete applicable sections

--

1. Name

Street & number Card Ponds RoadMattintick

city._town South Kingstown vicinity of

not for publication

2 lIon.congressional district Ndwa rd Re:l i’d,

state Rhode I sland code county Washi ngton code 009

3. ClassificationCategory Ownership Status Present Use- district public occupied - agriculture museum

buildings private S_commercial parkstructure both work in progress educational private residencesite Public Acquisition Accessible JC_. entertainment religiousobject in process yes: restricted -- government scientific

being considered - yes: unrestricted . industrial transportationno - military other:

4. Owner of Property -

-name See continuation sheet I

street & number .

city, town vicinity of state

5. Location of Legal Description

Providencecity, town state Rhode Is land 12903

HP-k- t1’fflA . . - -. .. .. .

:2.1/78 -

UNITED STATES DEPARTMENT OF THE INTERIORFOR HCRSUSE ONLY

HERITAGE CONSERVATION AND RECREATION SERVICE .- ,.

RECEIVED

NATIONAL REGISTER OF HISTORIC PLACES TE ENTEREDINVENTORY--NOMINATION FORM

CONTINUATION SHEET 1 11CM NUMBER 4 PAGE 2

OwnersMr. Jesse BontecouRalley FarmMill Brook, New York 12545

Mrs. William Uari’is‘‘Four Winds’’Salisbury, Connecticut 06068

Mrs. Jive Iiuval1214 Buchanan StreetMcLean, Virginia 22101

7.. Description

Condition Check one Check one $

- excellent - deteriorated - unaltered original siteX good - ruins altered moved date

fair unexposed

Describe the present and original it known physical appearance

- Theatre-by-the-Sea is a small complex of weathered shingled buildingswhich rise from the flat sandy shore land in the summer colony ofMatunuck about a thousand feet -from Card Ponds. Included in the complexare the theatre, originally a nineteenth-century barn, much expanded andadded onto; the workshop, a small single-story shed where supplies arestored; the costume shed also called "Brando House", a story-and-ahalf nineteenth-century former wash - and feed-house, where costumes ,ni’ esewn and visiting- stars have, on occasion, been put up over night; the inn,a large two-and-a-half-story late nineteenth-century house with sinai let’story-and-a-half mid-nineteenth-century dl, now used to house theresident acting company and to provide a restaurant and bar for theatrepatrons; and the one-story ranch house 1971 used as the theatre businessoffice -

All the buildings except the .red-painted workshop - are sheathed innatural weathered shingle with barn red .trinu-- a treatment which helpsunify this disparate group of structures all the buildings, exceptthe office, were part of the nineteenth-century Browning farm. Amongthem the theatre and the inn are the most interesting architecturallyas well as the most heavily altered:

The theatre see site plan, sketch plan, and photos 1-4 was converted for use as a theatre in 1933 under the direction of then-ownerMrs. Alice Tyler, who first conceived of running a theatre here. Thebarn had been built in two sections: a small section about 1840 oren rile r, containing six or eight horse stalls, . and a larger section

--

most of the present audi tori urn built about the end of the nineteenthcentury when the Brownings had started taking summer boarders at their"Ocean- Star Hotel." The conversion in 1933 involved building a large‘!box," fifty feet tall, to house the proscenium and fly space, and theinstallation of all the technical equipment needed to operate a theatrefly-bars, drops, tie-offs, new electrcial system and rented lightboardand lights, as well as approximately three hundred seats, Most of theequipment - - seats, asbestos curtair and front curtain, and backstageitems such as shives-, headblocks, -and thirty sets of lines -- came froma small defunct movie house in Port Chester, New York, which had oncealso housed vaudeville shows. The proscenium section of the theatrewas built in June and July of 1933 following designs and consultationswith theatre -designer Abe Feder, by a local contractor, Mr $ Belknapdirecting twenty- four Portuguese ship -builders from New Bedford.In 1934, a balcony with additional seating was installed,

Ths 195S hurricane heavily darnace thetheatre. stovinz in the-rear. ocean side wall of the "box" and taking -the roof off compFeceiy.Mr’s. Tyler ‘seized upon this disaster as an opportunity to doul,l e thetheatre’s seating capacity. At the same time as other repairs wereundertaken, the barn was sawn apart between the box o ff’ice/lohby section

See continuation sheet 2

--- 1_’.

- -._ * --.-‘-_,.- -

" -t78

and the auditorium and the boxdump truck about twenty-five feenew section was spliced in, mcithree hundred seats to the theatlike its original barn form buteconomically viable enterprise.primarily steel reinforcementsunder-taken in the wake $ of the

- UNITED STATES DEPARTMENT OF THE INTERIOR -,

HERITAGE CONSERVATION AND RECREATION SERVICE

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY-- NOMINATION FORM

CONTINUATION SHEET ‘2

pl’an and1, an earlying bar and1890 or 189

chimney andn the 0 ceanb ec’ Ii ‘ Its sodwhich occtip i1950’s porch

PACE 2hiM NLIMUFFI 7

office section was pulled, via rope andt closer to Card Ponds Road. A whole’,uding all of the present balcony, addingre . This made -the theatre even lesseven more 1 ike! v to succeed as anFurther but less visible repairs,

to brace the entire structure, were1954 hurricane.

The theatre -presently appears, on the exterior,gzibie - 100 fed structure wi. Lii an open wrap - a round w rroad side, a series of doors and dormer windows onand a huge and unsightly rectangular box nowsquares attached at the rear offset to the westway immediately beside the theatre on the eastlavatories flank the- mzti n double - leaf eutrance tosee sketch plan is a small white-painted lobby,balcony at the right and straight ahead, the entrThe theatre and auditorium and balcony together pThe auditorium measures 55 by 110 feet, The prosfeet wide and the stage is 40 feet deep. Despitetions, the auditorium see photos 3 and 4 st 11 has the lee!

-- barn, with -its -exposed-unpaiit:ed wooden framing and wall sheabrightened by bright red- upholstered seats. Horses wouldn.it as a barn, but theatre-goers do. -

The inn, located approximatelyof the theatre see sitestructure with, overalThe largest part, housabove, was built aboutdue to I, ts huge stonecobb I CS tone p i cr5 Inc iporch - ‘the porch tins‘of the one large ‘roomnorth, an enclosed c.an L- shaped early to -mid-nineteenthand storage facilities.

Behind-the ma.i n complex oflarger Than but reminiscent of

two hundred and fiftyphoto 115twentiethrestaurant5 but nowfirepi ace, t’Ii I i.’ ii ,.i 1.

in , iN inCS most of

adds room

cheach

a 101ic’, s ii jig ledIi IC Ii’I,’lit I

of the flanks,covered in tan masonite

because of theBox office :ii_idthe theatre,

ance to ti_icresently seaceniun_i openithe various

d r iv e -

tn s -i 1 ewith s La i rs to the

audi torium,tSlR.ng is 29moth ficaof a

t’ii:i ii gt recognize

feet southwest -

is a large shingledcentury "cottage’’ :tppea ra nce -

with actor’s lodgingshas a c . 1921’ s f I a ‘o rmarked 1929 and itsI g iii a I I v tie II nod a ii O eni t 1 t- he s eli e u I i’ 1 Co

it ii rs t [leo r. flit thefor a bar. On the east,

-century oil provides kitchen

hui idi--ngs -is a tar-paved a-rca , s I igli t lya tennis court, where scenery is painted.

See continuation sheet 3

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-‘I,’ --. *.. - j- $.4 $ -. " t.. .,A,, -p, ‘Y,.-.,

FOR HCRS -USE ONLY - . -

RECEIVED-,

DATE---- ENTERED: - - - -

FHR-8-3OtA -

li’/’78UNITED STATES DEPARTMENT OF THE INTERIOR --

HERITAGE CONSERVATION AND RECREATION SERVICE

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY-- NOMINATION FORM

ITEM NUMBER 7 PAGE 3

Across - - north of - - the road is a dirt-surfaced parkingtheatre not included in this nomination . handscapirig - -

planting o:E ornamental shrubs and -small trees and the brighannual borders along the paths from ‘the road to- the theatrethe theatre to the inn - - softens some o F the more awL-wa i’d aaspects of ti_ic theatre building -and reinforces the sense of‘‘barn’’ theatres of this "straw hat’’ type epitomize.

lot to r thethe ca I’e Cu It 1, y - P1antedand fromrcii I tectura ls tilumne r w hi cii

CONTINUATION SHEET 3

FOR HCRS USE ONLY

RECEIVED -

DATE ENTERED

FHR-8-30’IJA1178

UNITED STATES DEPARTMENT OF THE INTERIORHERITAGE CONSERVATION PND RECREATION SERVICE’ - --

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY-- NOMINATION FORM

ITEM NUMBER 7 PAGE4

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I- r-i. , - ‘ -- - -‘,i_--’ --

0

CONTINUATION SHEET

FOR HCRS- USE ONLY - - - -

RECE I VLD - - -

DATE ENTERED - -.. - - :- -,-

4

1

FHR-8-3CA11-178 -

UNITED STATES DEPARTMENT OF THE INTERIORHERITAGE CONSERVATION AND RECREATION SERVICE -

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY-- NOMINATION FORM

CONTINUATION SHEET 5 ITEM NUMBER 7

FOR HCRS USE ONLY - - - - - -

RECEIVED - -

DATE ENTERED,

PAGE 5

Bitil 000x

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8; Significance

Period Areas of Significance-Check and justify belowprehistoric - archeology-prehistoric _.,,, community planning landscape architecture_ religion1400-1499 -- archeology-historic conservation - law science -

1500-1599 agriculture economics literature __sculpture1600-1699 - architecture education military _ social!

- 1700-1799 - art - engineering music humanitarian1800-1899 commerce - exploration/settlement philosophy ,,k theater

.X_ 1900- communications industry politics/government transportation- - - invention - - other specify

Specific dates Builder/Architect - -

Statement of Significance in one paragraph - -

Theatre-by-the-Sea is important within a local and state culturalcontext, and worthy of preservation, fora number of reasons. First,it is among the earliest summer theatre iii New EngI mi_id . Second, i t hasbeen in almost continuous operation since its beginning in 1933. Third,its fluctuating fortunes clearly refect the varying fortunes of ti_icearly-twentieth-century Matunuck summer colony in which it is located,as well as the larger patterns of change throughout American theatreon the local level. - Fourth, the theatre has been associated with manyfamous theatre personalities; and, finally, ti_ic theatre continues to bea social and entertainment focus for Rhode Island summer vacationersand tourists,

The -first three decades of the twenti eth century wi tnessed acoming of age in American theatre - Not only were theatre audiences,playwrights, and actors beginning to demand better material and standardsof production, but nationwide there was a burgeoning of universitytheatres and the growth of community or "little" theatres, Probablythe first experiment in American summer theatre- occurred in the summerof 1915 at Provincetdwn, Massachusetts, when a group of vacationers -

there, wtiters and playwt.ights. primarily, decided to write and toproduce their own plays - The initial aims of the Provincetown Playerswere not only their own amusement.,but also the encouragementof new*writers, giving them the opportunity to perfect thei r craft by seeingtheir works performed. -

Despite the success of the .Provincetown Players - - they secured theirown playhouse inNew York in 1916 and produced plays in hotfr iocationsthrough 1929, introducing, among other playwrights, Eugene O’Neill --

summer-theatre, as we think of it, did not come onto the -scene untiithe early 1930s. - -

The First World War was probably at least partly responsible for thedelay in the development of summer theatre, but throughout the twenties,concern with theatre as an American art form, as an enterprise whichshould meet certain professional literary and artistic standards,and asan experience which should be made accessible to audience andparticipants on a regional or local basis, continued to grow. Theseinfluences, in conjunction with the crash of i929 , wh icli caused manypeople to leave the city for the country, led to ti_ic remarkable burgeoningof summer theatres in the 1930’s, By the end - of the decade there were

- See continuation sheet 6

rHR-8-3CuA -

C1,iJ78 -

UNITED STATES DEPARTMENT OF THE INTERIOR -

HERITAGE CONSERVATION AND RECREATION SERyICE --

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY--- NOMINATION FORM

CONTINUATION SHEET- 6 11CM NUMUE1 PAGE

more than efghty such theatres in America ,1 Most had a ten-week seasonand performed a new play each week, By the end of the. 1940’s therewere at least two hundred summer theatres, concentrated in Connecticut,Massachusetts, New Jersey, New York, and Pennsylvania, but scatteredthroughout the cast and found occasionally in the midwest and insouthern California along:.thc shore,2 The Baxter Theatre, Al_i ingdonVirginia 1931 and Westport Playhouse, Westport, Connecticut before1933 were among the earliest such theatres begun and still surviving;and it is in that context that Theatre-by-the-Sea should he recognized.

Theatre-by-the-Sea was I_iegun in 1933 when Mrs. Al ice ly ler, ofNew Haven, decided to convert the property she and 1_icr husband hadpurchased as a summer home in 1921 -which she had subsequently con -

verted into asummer camp for girls after her husband’s death in 1928,- into a summer theatre. Mrs. Tyler’s motivation appears to have been -

partly her own family’s livelihood, partly a fascination with theatre,and partly a sense that the times were such as to make estahiisl_iing atheatre in the hinterlands relatively easy: actors, directors, a_i_iddesigners were desperate to find work and were leaving theatre-darkened New York City in droves.

Mrs. ‘tyler consulted with Abe Ceder, later noted lot’ his lighting

designs

for L-inco--ln Center‘New York, anti kennedy Center tor t:he -- --

Performing Arts, Washington, D.C. , caj oling him into helping her -

design and build her barn theatre. His memoir of t]_iat experience’is an invaluable and amusing source of information omi the undertaking.

By August the theatre was complete- The first - p roducti on , a re -

Broadway tryout of "Amouret-te" starring Claire Kun_imer , opened August15 and ran two weeks, Unfortunately, when the product [rn_i got to -

Broadway,. it survived-for only twenty-one performances. I ts Lick ofprofessional sUccess spelled the end of the connection between Mrs.Tyler and the two New York producers, Leo Bulgakov, formerly of theMoscow Art Theatre , and Leslie Spiller. The second summer, wi ti_iAbe Feder as lighting and set designer and Teddy lIaniincrstcii ismanager, was a full ten-week ten-play season and a clear artisticsuccess

‘Glenn Hughes, A History of the American Theatre, 1700-1950, p. 443.--2-Tbid.

, p. 480. - -

3Ahe Feder, "Theatre-by-the-Sea," June 30, 1976. -

- - - - See continuation sheet 5

FOR HCRS USE ONLY - - - -

RECEIVED

DATE ENTERED

- ‘? _-‘- - -:-:T -

-‘ UNITED STATES DEPARTMENT OF THE INTERIORHERITAGE CONSERVATION AND RECREATION SERVICE

NATIONAL REGISTER OF HISTORIC PLACESINVENTORY-- NOMINATION FORM

CONTINUATION SHEET 7 ITEM NUMBER 3 PAGE 3

Mrs. Tyler rented the theatre to various producers through thesummer of 1941. The theatre was dark in 1942 and 1943 because of thewar and gas rationing, and was used only as a highly visible landmark on which planes could practice their bon_ibing raids. Tn 1944ar_id 1945 it was operated as a movie house, but 19-16 saw ti_ic resumptioi_iof live performances.

In 1951 Donald Wolin and Harold Schapproached Mrs. Tyler. They rented andthe inn successfully for seven summers.hosted more stars than ever be-fore or sinwho came here includes Tallulah Bankhead,Carol Channing, Melvin Douglas, Eva Gabor,complete list is on the theatre letterhead.

- Under the "star" system a "big-name" star would he hired toperform with the local company. Gradually, in t]ie fifties, ti_ic‘‘package system" evolved, in wl_iich the star would come to the localplayhouse but only if a few supporting players of 1_il s own citoos.1came with him. Often this meant that the theatre would wind up payingboth- the star’s supporting actors and the theatre’s own supportingplayers. As the pattern evolved and the star brought almost ti_icenti-re cast wit-h him the expense of the overlap of Ypackage" andresident company became prohibitive. Most theatres didn’t have apackage every week and therefore had to retain some capable residentcompany; moreover, if ti_icy wanted to be considered a professionaloperation, or "Equity ]_iouse," ti_icy had - to n_iaintain a certa li_i I_illmherof Equity actor’s union players.

- The increasing expense off this pack’age at_id flquit system, on topof a disastrous season in 1958, led to a dark summer for Theat ic-by-the-Sea in 1959. Competition from drive-in movies and summer tententertainments also contributed to the Financi-al di Flicuilties of thetheatre, and u_i 1950 the. theatre was sold to the Rocitceoti Hail lvwho still own it - John 1-lolmos operated the theatre for threesummers, 1960-1962, but the theatre was dark in 1963 through 1966,at least partly due to the, upgrading of nearby Route 1, whichlimited access to the theatre and caused renewed financial difficulties.

4Tommy Brent, interview, February, 1979 -

See continuation sheet 6.

FOR HCRS USE ONLY

RECEIVED

DATE ENTERED

"‘‘C’,.

-

I‘

if.f, a New York attorney,ran both the theatre and

In these years the theatrecc., A partial list of starsOrson Bean, Marlon Brando,and Rosemary Harris. A

‘::,.c:t-7. Trfl.Q

- -

‘-11/78 -

‘‘ UNITED STATES DEPARTMENT OF THE INTERIORHERITAGE CONSERVATION AND RECREATION SERVICE

NATIONAL REGISTER OF HISTORIC PLACES -

INVENTORY-- NOMINATION FORM

CONTINUATION SHEET S - ITEM NUMBER

In 1966, with no prospective producers in the hI nts , questi oi_iaI_iiesuccess in,the recent past, and considerable pressure on’ shore landincreased summer cottage development, the’ Bontecou family decided todemolish the theatre.

Mr. Brent caine to ti_ic t]ieatre late in March of 196-7 at_id Found i tin great dis’repa ft - it 1_iad been closed for three years and , whilethe caretaker was sick, vandals had been at work. Realizing that liehad neither the time nor the funding to put the theatre in shape forthe June opening single-handedly, he put an advertisement in the localpaper, The Narragansett Times, on April 27th; asking for volunteers.Within a day he had received con_imitments from more ti_ian forty residentsLocal merchants also lent support by extending credit -for necessarysupplies, and on June 18, 1967, the theatre re - opened. ‘Ihe conimunitysupport,for the theatre not only enabled it to re-open, hut to stay

-‘--open, the -in-i-ti-al -seas-on was a- resounding success.

Tommy Brent still managesand produces the seasonat ti_ic theatre,overseeing the hiring of actors, the stage manager, and ti_ic techni calpeople. The theatre ol_ierates as a company theatre, us lug :isj_i I rinprofessionals at_id some of the best actors--from Rhode island’s littletheatres. In addition to .the basic company there is a junior orapprentice company of thirty to forty young people wi_io work for littleor no pay and do everything fron_i building sets to undertaking hitparts in the productions. This apprentice program is a valuabletraining and - testing ground for now talent, as is, indeed, ti_ic wholeti_ieatre 010 rat tot_i.

Over ti_ic years, the theatre i_ias become a niuci_ithe Ri_iodo island summer scene. it is a remarkai_iIcfinanciaIi’ difficult Field. Many sinai 1 summer theforced to close permanently, but ‘theatre-by-the-Seabolorif_il and entertaining focal point for the sociallife ofsunimértime Rhode’ Island. -

FOR HCRS-USE ONLY - -

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DATE ENTERED - -

S PAGE 4

for -

Fortunately, Tommy Brent , who had worked as j_iress agent at- thethea tre in 1958 and who hel ieved that it could he run as a vi ab Ic ci_ite r-1_irise, after trying unsuccessfully to Find a buyer, invested i_is ownfunds to keep the theatre standing. Three days before the wi-eckit_ig crewwas scheduled to arrive, the commitment was made and the theat_i’e becamehis project. -

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he] oved i_ia i’t of.Sn fl I Va I u_i aat _ies have I_ieci_i

colt Ili_ines, aand cultural

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P±IR- 8 -‘36-0’AL11J78

UNITED STATES DEPARTMENT OF THE INTERIORHERITAGE CONSERVATION--AND RECREATION SERVICE

NATIONAL REGISTER OF HISTORIC PLACES- INVENTORY--NOMINATION FORM

CONTINUATION SHEET 9 ITEM NUMBER 9 PAGE 2

"Brutal- Workloads;August 9, 1973.

Cosmic Rewards

‘‘Thea trc -by - the - Sea ‘I’ypcscr i Pt,I si and Iii s tori ca I I’ rest’ rv a t I on

1 70 0 - 1 9 50480-481 especially.

of the American Theatre,1951, pp. 442-445,

at Rl_iodeFeder, Abe I-I.,

Copy on File

Hughes, Glenn, A HistorySamuel French, New York,

Jut_ic 30, 1976.I s lot_i.

MacCowan, Kenneth,1929, passim.

Footli_gi_it Across America. Ca ri_i eg i e i:t-_iii_ci t I oii

Taubman, Howard, The Making ofInc., New York, 1965, pp. 125-149,

the American Theatre. Coward McCann,148-167, and passim..

Tyler, Matilda. "A Short Account of Theatre-by-the-Sea at_id ItsFounder." Typescript, 1976.- CopyHistorical Preservation Commi ssion

on file at RI_iodc Island

Theater Department, Brown University,

-- Wilson ,-Geoff ---B-.-, Three -Hundred -Years

from "Ye Bear anT"Y Cuhb" to"llair."Englewood Cliffs, New

of-- Amer.ican-Dramaand Theatre,I’rent.ico-Hall, Inc.,

Yersey, 1933, passim.

FOR- HCRS- USE ONLY

RECEIVED

DATE ENTERED ‘ - -

Th Narragansett Times,

Wilmeth, Donald B., Chairman,Interview, September, 1979.

‘1

‘HR_8_’300L* -

iLt/8

_______________________________________

UNITED STATES DEPARTMENT OF THE INTERIOR- FOR HCRS-USE ONLY

HERITAGE CONSERVATION AND RECREATION SERVICERECEIVED

NATIONAL REGISTER OF HISTORIC PLACES DATE ENTEREDINVENTORY-- NOMINATION FORM - - -

CONTINUATION SHEET - 10 ITEM NUMBER 11 PAGE 2

is the northern portion of Lot OL-4, Block 120, South Ki_i_igstownAssessor’s Map 64; described as follows: Beginning at the northeastcorner, the bound rui_is south from Card Ponds Road a dc1_iti_i ofapproximately 191. Feet to a stoi_ic bout_id at a southeast L’ornci. thenturns at_id rut_is 90 feet west t’.o another stone bout_id; ti_iou lot lows -

in that same line across Lot OL-4 to the _ivest bound of Lot OL--4then north along the west bound in three segments, deflned by twostone bounds, oF- 160 Feet approximately, 100 Feet. :ii_id 7.79feet to the norti_iwest corner of the lot on ti_ic south side of Card-Pot_ids Road ; ti_ic bound then runs east a long ti_ic souti_i edge of ti_icroad to the point of beginning. -

S Major Bibliographical Referenöes"A Crossroad for Dreams," The Narragans&tt Times, August 2, 1973.

Brent, Tommy, Producer of Theatre-b-y,-the-Sèasince 1966, Interview,February 1979. Sec continuation sheet 9

10. GeographicaV DataAcreage-of nominated property 3. 6 acres - -

Ouadrangle name -K-i-n-g-s-ton Quadrangle scale ]._;24, 0O.

UMT References -

A1191!218i5l6l8l0l 141S18,3ISISJOI

B1I I I I I I I I I

Zone Easting Norihing Zone Easting Northing -

Cli IHII ‘HI 1111111 Dlii HHIHHHHHE I I I I I I I I F

________

I I I I I01111111 III 111111! ‘II IItIiilItIiIiiI

Verbal boundary description and justification

The houi_idarios are drawn to inc I tide a I 1 of the theatic I_in i Id I i_isand the scene painting area. The area included - See continuation sheet 10

List all states and counties for properties overlapping state or

state - code county

county boundaries

code -

state code county - - code

11 Form Prepared Byname/title Ancelin V. Lynch, National Register Coordinator

organization R . I-. t-Ii-s-torical - 1rc.scrvation Cium date-- Ma reli , 1 980 -. -

telephone 4012772678street&number 150 Benefit Street

cityortown Providence state Rhode Island 02903

‘12. State Historic Preservation Officer CertifücationThe evaluated significance of this property within the state is:

-

-- national X_ state local -

As-the designated State Historic Preservation Officer for the National Historic Preservation Act of 1966 Public Law 89--665, I hereby no,nlt,nto tl,i9 piomity for i,,cltinio,, In thin Nti iujn,i ih’qIut.’, nuitl i:t’itity IbM II h,:,,t l,t,r,, s’vnl,iatrclaccording to the criteria and procedures set forth ‘the H ita e Conservation and Recreation Service.

State Historic Preservation Officer signature ‘_",, I ç hvu&/..r-- - --

title State Ills tori c Preservation OFFiceriFor HCRS use only- -Z ‘tv, ",fl ir-..’ I

I hereby certify that this property I&lnciuded in th National Register !t ‘c’i ,‘,

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Theatre-by-the-SeaSouth Kingstown Matunuck, Rhode Island

Warren Jagger, Photographer Sentember 1979Negative at Rhode Is land ilistor i cal Prest.’i’va t I on

Commission

View from stage looking north into auditorium.

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Theatre-by-the- SeaSouth Kingstown Matunuck, Rhode Island

Warren Jagger, Photographer September 1979Negative at Rhode Island Historical Preservation

Commission

View from balcony looking southeast toward stage.

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