How the DC Theatre Scene Exploded in the 1980s

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In the 1980s, Washington's alternative theater scene exploded.

As empty spaces became available at affordable rates in the 1980s, local theaters like DC's Woolly Mammoth and DC's Studio Theatre sprang up on 14th Street, establishing it as the hub of alternative theater in the city. Initially met with skepticism, these theaters gradually won over the residents, and Washington began its ascent as a prominent theater destination in the United States.

Aired 11/17/2014

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Washington in the 80s is a local public television program presented by WETA

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NARRATOR: D.C.'s downtown areas received an additional boost in the '80s as a slew of local theaters opened their doors.

ARCH: These little companies started springing up because Downtown was so empty that they could get space cheap.

Uh, the Woolly Mammoth, uh, and the Studio Theatres opened on 14th Street.

14th Street sort of became the center of, uh, alternative theater.

NARRATOR: But at first, residents weren't convinced.

ARCH: I would go over there to watch some of their shows.

Uh, you know, 10, 15, 20 people in the audience, plus the actors.

NARRATOR: But in time, people's reluctance to come Downtown eased, and Washington began its rise to America's second city of theater.

ROBERT: Washington was like that.

I mean, it h- it had certain kinds of, um, cultural, uh, niches if you will.

HELEN: I'm a Washingtonian.

And the first, the first theater I ever saw was from the top balcony of the National.

NARRATOR: As Washington's theater scene gained country-wide attention, it established an award named in honor of one of the city's most acclaimed daughters to recognize local theatrical excellence.

ARCH: The great Washington Post critic, Richard Coe, uh, called on his friendship with Helen Hayes.

And together, they created The Helen Hayes Awards.

And once The Helen Hayes Awards started, more companies started popping up.

By the end of the decade, Washington was on the same playing field as, uh, Chicago.

NARRATOR: The region's growing interest in the arts was exploited by Washington's TV affiliates, still hungry for novel programming.

ARCH: The king of the critics in Washington D.C. was Davey Marlin-Jones.

Davey was one of the most interesting people I had ever met.

DAVEY: There may be something there.

ARCH: Davey wore hats.

He also pushed the envelope with his clothes.

He pushed his envelope in every way.

DAVEY: Tight, taught, tense.