Building a Thriving Theater to Benefit the Local Community with Jennifer Carlson

Liam Dempsey: Welcome to Start Local, where we talk with business owners, leaders of nonprofits, and other members of our community focused on doing business in and around Chester County, Pennsylvania. Each episode will provide insight into the local business scene and tell you about opportunities to connect with and support businesses and nonprofits in your local area.

Joe Casabona: The Southern Chester County Chamber of Commerce promotes trade, commerce, industry, and sustainable economic development while supporting a diverse and growing marketplace. The chamber is proud to partner with the Start Local podcast to raise the profile of businesses and nonprofits throughout Chester County. Learn more about the Chamber at scccc.com. That’s scccc.com.

Liam Dempsey: Hey. I’m Liam Dempsey, and I am here again today with my good friend and fellow co-host, Erik Gudmundson. Hey. Hey, Erik. How are you?

Erik Gudmundson: Liam, I am doing well. We’re having lots of fun. We’re busy here in the snow, but I’m glad we’re here in the podcast studio. It’s a nice little break.

Liam Dempsey: Yeah. It’s warm enough in here, and it looks lovely and white and snowy outside. So, it’s a great winter day here. 

Folks, today, we are gonna welcome Jennifer Carlson, the Executive Director of the Colonial Theatre in Phoenixville, Pennsylvania. And between you and me and the rest of the Internet, the Colonial Theatre has been on our radar since we relaunched this show in June of 2023. So, it’s a real pleasure to welcome Jennifer to the show. Hello, Jennifer. 

Jennifer Carlson: Hi.

Erik Gudmundson: Jennifer, it’s a pleasure to have you here because I have been to the Colonial so many times. So I’m looking forward to getting to know you and, a little bit more about the the details of the operation there.

Jennifer Carlson: Well, that’s great. Thank you. I’m really happy to be here today.

Liam Dempsey: Before I turn to questions, I wanna share a little small world story that brings us here together. 

Years ago, when Jennifer was in a previous role with a different organization, she brought me in to help with that nonprofit’s website. And now those listening will know that I’m dull enough not to have realized that the Jennifer Carlson listed on the Colonial Theatre website is the same Jennifer Carlson with whom I worked years ago. So, small world meets Chester County.

Jennifer Carlson: Yes. Very small world, Liam.

Liam Dempsey: I’m glad you remembered me because I did not pick up on that. I remembered you as a person, but I did not make one and one equal to what I saw on the website. But let’s turn to questions. Let’s turn to questions.

Jennifer, many people in our area know that the 1950s horror film The Blob, was filmed at the Colonial Chester up in Phoenixville there, but they probably don’t know why it was filmed there. Can you share that story with us?

Jennifer Carlson: Yes. So not far from the Colonial is a place called Historic Yellow Springs, which had actually started as a rev war hospital and eventually became the famous Springs. And then, in the early 1900s, through, I think, the 70s, it was basically film production studios. So there was a production studio called Good News Productions. So they mainly filmed Christian videos, short Christian videos. 

So The Blob was their first opportunity to do a major motion picture. So they not only filmed at Historic Yellow Springs, but also around Phoenixville, Royersford, Downingtown. So the Colonial, thank goodness, was rented actually for $75 to be used in the film, The Blob.

Erik Gudmundson: Wow. That’s an impressive story, and I’ve never heard that from your side. I’ve heard that from the Yellow Springs side by attending there, and they have some interesting things hanging up to help document that. And, so, yeah, a lot of local history here. That’s for sure. 

Many area residents know that the Colonial Show is a mix of classic and new movies, but they may not realize that the Colonial Chester also hosts musical acts, stand-up comedians, book authors, and more. It’s a really interesting mix of of entertainment. How is the programming schedule determined there? And I’m wondering what factors does the Local consider when looking to fill its entertainment calendar?

Jennifer Carlson: So this is, of course, extremely complicated, but I will try to make it relatively simple.

So if you think about it, we do show film and all these live acts as you’ve said, because the live acts tend to be more immediately profitable. One live act is usually much more profitable than one film screening. So we try to prioritize the live acts, especially when we’re working with major music bookers. So, we try to prioritize those on the calendar, but then we also, we know film is one of the big reasons why people come to the Colonial and not just digital, but also 35 millimeter or now even 16 millimeter and laser disc. 

So we have been showing film on a variety of media.

And so how we determine what is scheduled when, we kind of start with these live shows, and then we start filling in the calendar. And when you show a new release film, you have to be ready to show that for at least two weeks clean. And if it’s very popular, you have to be ready to hold it for four to five weeks. 

So that will go into account with some of these new films when we’re booking them as we have to be ready to hold them. I think about when we had Barbie. I believe we had that for five weeks. So we had to be ready just in case. So I always joke with our programming team that they’re always playing a mental Rubik’s cube with the calendar.

Erik Gudmundson: And is that your rule that you have to hold it that long, or is that an industry rule or a rule of the license that grants you the ability to show the film? How does that work?

Jennifer Carlson: Yeah. That’s a really good question. So that is part of the licensing agreement with the studios, and we work with a film booker. That’s the intermediary between us and the studios to get these films booked.

Erik Gudmundson: So since you are a nonprofit organization yourself, what type of entertainment of all those different types of of entertainment uses of the Colonial that I described is the most profitable for the theater? If profitable is even the right word, maybe most popular. I’m not sure how you wanna answer that, but I’ll let you decide.

Jennifer Carlson: Sure. So, we have three theaters in one venue. 

So the historic Local Chester has 658 seats, and then we have two smaller theaters, 175 seats and 68 seats. So, really any program that will sell out our largest theater is the most profitable. So often, that is a live concert, but sometimes that can be a very popular film screening. 

So during the holidays, we’ll see a packed theater for Nosferatu, and for, certainly, a lot of the holiday films, It’s a Wonderful Life, that theater will be packed. So anything that will sell that out, we’ve even had some author events that have sold out there. 

So that’s usually what we like to see, not only because it does help us sustain as an organization, but also we think about our impact, and we wanna make sure that we are providing programming that’s interesting to people.

Liam Dempsey: The theater was privately owned for the better part of the first ninety years or so of its life. It’s now run by a nonprofit established specifically to ensure the survival of the theater. Tell us about that transition.

Jennifer Carlson: Well, you know, it’s really interesting, the theater being built in 1902 when the Phoenix Iron Works was really growing and then eventually became Phoenix Steel. I always think about the Colonial Theatre really kind of echoing the growth and the fall of Phoenixville. 

So, if you think about the steel industry by the 1980s, it was really unfortunately going downhill. And by 1987, the steel mill here in Phoenixville closed. So you could see with the private ownership of the theater, it was struggling, by the 80s and the early 90s, and then it ended up closing for a few years. So, the Phoenixville Area Economic Development Corporation formed to purchase the Colonial Theatre before anyone else could buy it. 

So, they essentially saved the theater. And then, while they did that, the nonprofit association for the Colonial Theatre formed in 1996 and then purchased the theater from PEDCO, which is Phoenixville Area Economic Development Corporation.

So by 1999, it took the nonprofit three years to make sure the building was stable and in good condition to greet guests. So then, they opened as a nonprofit in October of 1999, showing Run, Lola Run.

Erik Gudmundson: And what’s the name of the nonprofit that actually owns the Colonial Theatre?

Jennifer Carlson: Yeah. So our legal name is the Association for the Colonial Theatre.

Erik Gudmundson: And do you go by ACT? Or I feel like that might be an intentional acronym they’re setting up.

Jennifer Carlson: Yes. We do often go by ACT. A lot of people just think of us as the Colonial Theatre or, as we hear often, the colonial.

Erik Gudmundson: So now that it’s been more than twenty-five years since the Association for the Colonial Theatre, I’ll use the proper name there, was founded. Has the purpose and mission of the organization shifted over the years? And I’m wondering, you know, how have you adapted as time has gone on and new needs and opportunities have presented themselves?

Jennifer Carlson: Yes. So when the nonprofit first formed, it was very much so about just getting that building reopened to the public and also to be a catalyst in the rebirth of Phoenixville. So I hear a lot of stories about Phoenixville of the nineties and that it was very different than it is today. So it was very much about let’s have something going on at night that will bring people into Phoenixville, encouraging businesses and restaurants to start opening. 

And so, little by littl,e between the theater and restaurants and some really unique shops starting to open, more people were feeling comfortable coming into Phoenixville at night. And then, you know, every year, every decade, it just kept growing. And now, Phoenixville is one of the hottest places to live in the county and even in the country.

Liam Dempsey: We expect the the colonial, the Colonial Theatter. Look. I’m using all the names. We expect you’re generating revenue, and you find yourself in a variety of ways. You’ve talked about the three theaters in your venue. So revenue is gonna come from ticket sales, concessions, and maybe rentals as well. I expect you’re always open to donations and the like, but maybe you can walk us through the funding model. How does the nonprofit make sure that it has the revenue to flourish?

Jennifer Carlson: Yes. So that’s a very good question. 

About 75% or three-quarters of our total revenue is earned income. So when I say earned income at a nonprofit, that’s your ticket sales, it’s concession sales, it’s rentals, like people will rent to put a message on the marquee. We also have people who will rent space in the theater. We sell merchandise, so that’s the earned income. 

And then right now, we have about 25% or one-quarter of our revenue from contributed sources. So that would be grants, individual donations, and membership.

So, actually, right now, our largest revenue source as far as contributed income is our membership. So that’s one of the main ways that people do support the Colonial Theatre. 

We are actively trying to grow the contributed revenue stream. The Colonial for a long time, and we all still support this, we want to remain affordable to the larger county, to be accessible, to make the arts accessible. 

So, even though we have raised prices recently in concessions and ticket prices, we look to the other theaters and make sure that we are very competitive in keeping our prices lower than the other theaters. And that’s where, you know, that contributed income can help us keep doing that so we don’t have to gouge people with our ticket prices.

Erik Gudmundson: On a recent tour of the theater, we’re lucky enough to visit and learn about the projection room for your 1903 theater. And we’re really amazed to learn that the old 35 millimeter films you mentioned, they require two projectors to show a movie because the film, literally the film itself, we’re talking about, you know, old school film here, for a movie always requires at least a few reels that have to be switched back and forth from one projector to the next and then back and forth. Tell us about the skills required to operate those older projectors and how do you find those people?

Jennifer Carlson: Well, those people are getting more and more difficult to find, actually. So I know there’s between 2-4%, and I apologize. I don’t know the exact number, but between 2-4% of all the theaters in the country, there’s only 2-4% who still exhibit film on 35 millimeters. So it’s a pretty big deal that we do that. And a long time ago, it used to be that those projectionists had to be certified. 

So we actually work with one projectionist who has worked for the theater for a long time, and he does a lot of other things. He’s a musician. So he works with us, and then we have a very good relationship with the people who work for Ambler Theater and Bryn Mawr Film Institute.

So there’s some people who are projectionists who are basically working for all of these theaters, and they’re teaching new people. So, thankfully, those lessons are being learned and being taught in this area because we have a lot of theaters in this area who do show 35 millimeter. 

But interestingly, I will talk to other theaters across the nation and hear how they are really struggling. They have a 35-millimeter capability, but they can’t find people who are able to actually execute that projection.

Liam Dempsey: Speaking of projections, I’m gonna stay with that topic for a bit. At the recent screening of Casablanca, I was in the theater there. It was it was fantastic. I forgot what a great film that was. But your Director of Programming, Bob Trait, was up on stage doing a wonderful introduction of not just the theater, but the film and some insights behind its making. It really added to the day. 

But he was talking about how Colonial Chester is looking to fundraise for a new 4k projector. And I was quite surprised when he shared that some of the newer films are only going to be available in 4k. They are actively marching away from even 2k, and I would have thought 35 millimeters. Fine. That’s yeah. Okay. I get that. But even 2k. So, talk us a little bit about that, and was that just one film? Is a lot of films are starting to do that? How pressing is this need?

Jennifer Carlson: Yeah. That’s a really good question. So I think back to 2015 when this digital projector was initially installed, and that was because the theater was hearing that 35 millimeters would not be supported for new movies. And with the expansion into the bank building to create these other two theaters, The Colonial wanted to make sure that it had the capability to screen new release films. So, they invested in this 2k digital projector in 2015.

Well, now here we are, you know, 2025, and believe it or not, these projectors have about a 10 lifespan. So we are worried that that projector will conk out on us before we replace it unless we proactively make sure we take care of it this year. So, we are starting to hear from our bookers and from some of the studios that some of these films will only be available in 4K. 

We’re only kind of hearing some drips, but, you know, when does that start turning into a gush and become a reality? So we need to jump on this for so many reasons, to make sure that we’re still a viable place for film exhibition in that theatre, which is our main revenue source and what a lot of people want to see when they come to the Local to see that historic theater and to see where The Blob was filmed. So it is really urgent that we replace that as soon as possible.

Erik Gudmundson: And the introductions that are given there are quite good. I always enjoy the little spiel that somebody comes out, and it’s, to be clear, not at all a a big pandering like, hey. We need money to do this. We will need money to do that. Although there might be a mention of that, but it’s really a little bit more of a moment of, hey. Did you know this about this film? This is why this film is significant. This is why this event is being held here. So I always appreciate that.

And you mentioned a couple times here in these conversations where the multiple theaters that you have. In particular, you just mentioned the addition of the adjoining bank building, which happened back in 2018. When you added that, I think it allowed the Colonial to hold more events, sell more tickets, and I’d imagine, you know, ensure its own viability. 

The old bank building, though, has a 1920s feel to it, and it’s a little bit different, but also a little bit the same as the old original theater. What was the inspiration for picking up that addition and new space, and how hard was it to be delivered and integrated into your existing space?

Jennifer Carlson: So that is really interesting. When the Colonial Theatre was built in 1902, the bank that was next to it looked very different than that structure. So that structure was built in 1924. So when the depression came, it stopped being a bank. So, for most of its life, that building actually housed local newspapers.

But by 2010, the newspaper office left that building, and the building was available. So that’s where the board of the Colonial Theatre really came through and figured out a way to get the funds and purchase that building. And then, while they were working on that, they also did a feasibility study, a business plan study of what was the best use for this building.

And then we also worked with long-time architectural advisors for the Colonial, and that would be Tom Carnaval and Lauren Eustace, who are based here in Phoenixville. And so they wanted to make sure that that space was renovated in a way that would be functional for us to serve more people and have additional space and a larger concession and two additional theaters, but really respect a lot of that historical integrity. So you would still have a lot to appreciate in that building as well.

Liam Dempsey: We really can’t go through an entire interview with the Colonial Theatre and not ask about Blob fest. So briefly walk us through how it came about. Tell us when it runs, and what does it entail kind of beyond showing of the movie. Talk us through that. We’re excited to hear.

Jennifer Carlson: Yeah. So I told you that the Colonial Theatre opened as a nonprofit in October of 1999. So by that February, there was a group of volunteers in town that had this brainchild of Blobfest celebrating the Local Theater’s cameo in this, you know, sci-fi county film.

So we’re so thankful for this group of people who cared about the theater and, you know, cared about Phoenixville. And every year, more and more was being built onto it, and it became this draw. And now it draws at least 4,000 people a year to the town. A lot of the business owners I speak to say it’s their busiest time of the whole year. And we get people from all over the country and even from outside the country who make their way to Phoenixville for this event.

So it’s definitely good for tourism. It’s good for Phoenix Ville. It’s very good for the local. Thank goodness. It’s one of our revenue sources, but it also keeps our name out there. So, it’s no longer managed purely by volunteers, but it’s very reliant on volunteers. So if anyone’s interested, just let us know.

Erik Gudmundson: We know that you’re also…

Liam Dempsey: Go ahead, Eric.

Erik Gudmundson: We know that you’re also a key player in the fairly new Phoenixville Film Festival, and that makes us wonder how you go about supporting the local film community. You mentioned the multiple theaters that do the 35 millimeters in the area. I didn’t even know there were that many around here. So how do you engage with that local film county? And I wonder if there is an overlap between the film between the film festival group and the 35 millimeter die-hard fans that are out there.

Jennifer Carlson: Yes. So the the Phoenixville Film Festival is its own nonprofit, and we’ve been working with them to provide space for this film festival, and they are a very, very professional group, very wonderful to work with. 

And so this year will be the third year working with them, and they are bringing in top-notch filmmakers from around the country, as well as some really interesting local filmmakers who have gotten through their process. 

So, that is definitely one way that we wanna support film aficionados and filmmakers because not only the filmmakers, but there’s a lot of people in this area, outside the city who are really interested in independent film and supporting that and are interested in maybe seeing some of these filmmakers work before they make it big or before they, you know, are much tougher to have access to. So that’s one way. 

We try to support local filmmakers in other ways. We have screened people’s films, people local to Phoenixville who we were able to get permissions to do so, whether privately or publicly. We also have worked with some younger folks, either bringing them in, and there’s actually a homeschool group who we have worked with the past couple of years where they make their own film, and then the students come in and watch the film with their parents and grandparents.

And that’s such a formative experience, and we feel like we need to do these things to keep film alive and to keep people interested in the art of film.

Erik Gudmundson: So when it comes to the art of film, I know there are some people that are obsessed with that 35 millimeter format, but you’re also talking about the art of film of just, you know, young creators that wanna make something new. So what formats are you seeing these films for the film festival come in? Are they are they shot on an iPhone? Are they shot on an old-school 35-millimeter film? How does that work mechanically?

Jennifer Carlson: So that’s a good question. I don’t think they have any 35 millimeter submissions, because I because the space they’re using is not where we have our 35 millimeter projector. So I don’t think that has happened yet. But, yes, I know there have been some that surprisingly did it on an iPhone, and you would never know. But some of these people have very sophisticated equipment and, and this is not their first film and, and they have, you know, production companies that they’re part of or working with. So it’s really impressive. And I admit some of the technical talk gets a little above my head, but I really enjoy engaging with these filmmakers and trying to find out what they’re working on.

Liam Dempsey: In my visits to the theater, to see film and the like, I’m loving the old school style concessions. I’m not a fan of Junior Mint, but I love the idea that you sell them. I am a fan of Milk Duds, and I’m a little embarrassed to admit to the Internet that, yes, folks, I ate the whole box even though I didn’t want to, but I did. I did. I did. And, of course, you’ve got popcorn but you also have wine and beer and I was delighted to see you have [Inaudible 24:33] so how do you go about, what are the thought process behind this determining concessions? You know, you’ve gotta make money from it in some way. I suppose differentiation is part of it, but how do you and your colleagues decide what goes on for sale?

Jennifer Carlson: Well, it is interesting because Phoenixville, as you know, has so many great restaurants right on the same block as the Colonial and easy walk from the Colonial. So, most people are maybe having dinner before they come or after they leave, but usually they do want popcorn or candy and soda, alcohol. We’ve also introduced nachos.

To introduce a full kitchen and start doing more, that would be a huge investment that I don’t think there’s the demand for that yet because of all these great restaurants. I will say, we have had 24 hour horrorathon and other type festivals that maybe take a long portion of time. And what we have done for those type of things is either work with a restaurant or a caterer to provide maybe a prepackaged meal for those people that they would order ahead of time. So that way, they don’t have to worry about going out somewhere and finding food. So we usually try to make it work.

Erik Gudmundson: The Colonial Theatre, particularly the old theater, dates back to 1903. And in some ways from being there, the theater’s age is evidenced around the venue in good ways and bad ways, just realistic ways, I should say. What are your plans for renovating the 1903 Theater?

Jennifer Carlson: So we definitely have plans. And, you know, so many people will say, oh, well, whatever you do, don’t get rid of the historical character. And that is definitely not in the plan to get rid of any historical character. 

So initially, the board and staff thought that after the expansion into the bank building, that they would turn around and immediately start working on the restoration of the 1903, but a little thing called COVID and theaters having to shut down longer than most businesses, that really kind of put a pause on some things. 

And a lot of arts organizations right now are still really recovering from COVID and increased expenses. So even though we see in the future a major campaign and a major, restoration, we also recognize that we need to be doing some things now to take care of that historic space. 

So since I’ve been there, we’ve put a new roof on the 1903, new gutters, we’ve repaired and restored the gorgeous medallion in the center of the ceiling where the old chandelier used to hang. And now we’re raising money for a wall project that once we make sure that that’s all shored up, we could maybe start doing some work on the interior.

Erik Gudmundson: One of the things I was shocked in a very pleasant way to see in the theater when I was there to see Jaws a few years ago was this organ emerge from the stage and people were playing the organ. And I had at all my visits with Colonial, I had no idea there was an organ hiding under the stage. So is that a regular fixture there? And I’m curious what the repair status of that organ is, if it’s still in as good as working order as I saw it a few years ago.

Jennifer Carlson: So the theater organ is one of the big draws at the Colonial Theatre. It’s amazing. And I have to admit, before I started working at the Colonial, I thought, oh, theater organ. You know? I wasn’t sure. And then when I started and I could really see what the effect of this instrument is, and I learned more about the history, I was like, no wonder.

So the theater organ that we have at the Colonial is technically owned by the Chester Organ Society of Delaware Valley. They’re a local chapter of a national group. So they we have a relationship with them. They own the organ, we own the theater. So we work together on programming. They supply the organists, and sometimes they do programs, or they will supply organists for our programs. 

And you’re right. It’s wonderful. So sometimes they’ll have someone perform before a film like Jaws. Or other times they are the highlight the whole time where it’s a silent film with organ accompaniment. And it’s amazing to be sitting in that historic theater and realize that every single sound you are hearing while you’re watching this film is from the theater organ. Whether it’s a sound effect or music, it is from that organ. And historically, the organ was used because, you know, film didn’t used to have sound. And an organ was cheaper than having a whole orchestra play along to your film.

Liam Dempsey: That’s such an interesting factor. I just love it. I just love it. 

We talked about programming earlier in this conversation. You’ve got music. You’ve got comedy. You clearly have film. I wanna ask about how you go about booking all of that. You know, you’ve talked about how do you schedule it, but, like, does a band call you up and say, we wanna play Greater Philadelphia. Are you available this weekend? Or are you reaching out to them? Do you reach out to the movie companies and say, what films are you gonna be bringing out in the six, nine months? How does all of that booking work? And I expect it’s a mix of a lot. So maybe just give her the Reader’s Digest version, but how do you go about pulling that altogether? I’m so interested in that.

Jennifer Carlson: Yeah. So we have three people who their job at the Colonial is all about programming. So we have, we work with major bookers for our larger concerts, and that is something that’s needed because we just don’t have the capacity to put in the time it would take to book, you know, a Rufus Wainwright or some of these bigger names. They’re already in that business. They know what they’re doing. They bring those acts to the colonial. So we have a very good relationship with Rising Sun Presents, and it’s been like that for many, many years. 

Then on the film side, we do work with a film booker who’s based out of Massachusetts and works with a lot of theaters across the country. And that’s how we find out about interesting new releases, indie 4ks restorations, all kinds of interesting facts. 

But our programming team is definitely in touch with the industries. So they all tend to specialize in something a little bit different, whether it’s film or live acts or, you know, or these experiences that we’ve started doing lately. And we started doing those because of this trend now of, like, dance parties and experiential programming being more interesting. So we really benefit from that diversity on our team that they have different skill sets and different awarenesses, and then that comes out in our programming to serve a wide and broad audience.

Erik Gudmundson: Your own professional background includes work at People’s Light and Theatre, and you also worked at historic venues and museums like the Wyck Historic House Garden, and Farm in Germantown. Immediately prior to joining Colonial Chester as Executive Director in 2022, you were the Executive Director at the Connecticut River Museum. What has it like? What has it been like returning to theater?

Jennifer Carlson: In some ways, it feels very natural. When I accepted this job, so many of the people in my life said, oh, Jennifer, you were meant to do this. Because I do have a love for historic buildings. I do have a love for programming, which museums do a lot of. I started my career actually in theater, graduated from Temple University with a degree in theater, and then I was a stage management apprentice at the Walnut Street Theater, which is the, you know, the oldest continuously operating theater in the United States. So, you know, I started my career at one of the best, oldest theaters in Philadelphia. So, to me, it just makes a lot of sense to be working in theater, a historic theatre, and Phoenixville is very vibrant, part of the greater Philly Metro area, which I love. So, I feel honored to be the Executive Director at the Colonial.

Liam Dempsey: What do you like most? Live acts, film, comedy, events? I’m gonna put you on the spot a little bit.

Jennifer Carlson: Me, personally?

Liam Dempsey: Yes. You personally.

Jennifer Carlson: I have to admit, especially with my theater background, and you can see I’m very expressive. I am more of a live arts person. I do like film, but when I talk to our staff members who just know film in and out, it’s like a foreign language to me sometimes. They will call me a normie. So it’s not that I don’t appreciate film, but I’m much more knowledgeable about live arts and really appreciate live theater more.

Liam Dempsey: So I have a simple question for you. Why is the theater in the Colonial Theatre spelled the British way? There has to be some kind of backstory to that. It couldn’t have been a typo that just continued.

Jennifer Carlson: Well, the man who started the theater, his name was Harry Brownback. So, he had initially been involved with the Griffin Smith Hill Majolica Pottery Company, which was pretty renowned in Phoenixville. It burned in 1900. He took his proceeds from that company and basically put it into the Colonial Theatre. So, he built this theater onto the back of two adjoining buildings. 

So he was known to go to England and see theater. And of one of the things he wanted to do with the Colonial is provide world-class entertainment at a price much less than you would pay in New York. So that was his goal.

So, there’s a really early photo of the Colonial Theatre that you would not recognize because it was before the facade was done, and it was before there was a marquee. And you will see a mantle, was probably a stone mantle on the top of the building that says Colonial Theatre, and it is spelled with an r-e. So I can only surmise that with his interest in visiting England and seeing theater there, that he was inspired by that.

Liam Dempsey: And I guess that would be the other side then of if he loves to visit England, then the Local Theater made sense because it’s over here in America. Fantastic. Fantastic. Thank you.

Erik Gudmundson: Those are some very subtle little details that I never really thought of, and now I know the answer. So it’s I”m very happy we’re having this conversation. 

We have a listener-submitted question from a member of an area high school film club. I think this is Liam, the first time we’ve ever had a listener-submitted question. 

So, Jennifer, you’re creating quite some enthusiasm here among our audience. But their question is, can you make public suggestions about your programming? How would someone go about getting the theater to screen a specific film? Do you have a suggestion box on your website or in person? How does that work?

Jennifer Carlson: Yes. So we actually just created an email specifically for film recommendations. So it’s [film@thecolonialtheatre.com]. And, of course, theater spelled with an r e. So you can email to that email. Sometimes, people will do this in person when they’re at the theater. They will strike up a conversation with a staff member. The staff actually have a form that they will input those suggestions, and that all feeds to a spreadsheet that the programming team and I can see.

We often have people who are interested in sponsoring films, and, usually, how we go about that is if we already have a film planned, then we, of course, appreciate the sponsorship. People who are helping to pay for the cost of running the film, and they get so many tickets and maybe their name on the marquee. 

We can’t always promise that if you said, hey, I wanna show this movie, you know, can you do it? And it really depends on so many factors. So we try to work with films that are already in our queue and planned for the year. But really it’s about communicating with the team at the Colonial and letting them know what you’re interested in, why. 

And I would say our staff is pretty good at getting back and letting them know is that something that’s even available to us? Because amazingly, not everything you see on streaming or on YouTube are you able to get licensed for a theater. It depends.

Liam Dempsey: Well, we’ll be sure to include that email address over on the show notes on [startlocal.co]. So excellent. I love that answer. 

So I wanna take you back to your impact report. We saw that you were sharing that on the theater’s website. It came through in the newsletter for the 2023 2024 fiscal year. And it looked like from where I was sitting that there was a real emphasis on delivering value for the wider community beyond ensuring the viability and flourishing of the theater. But as you’ve shared in the course of this conversation, helping Phoenixville flourish as a community. Tell us about some of the highlights of within that report, if you would.

Jennifer Carlson: Yeah. Thank you for asking about that, Liam.

A lot of nonprofits are starting to do impact reports rather than annual reports just filled with numbers, about the financials because, ultimately, as a 501C3 charity nonprofit, we really should be showing what are we doing to serve our communit? Why are we asking for support in doing this?

So the Colonial for a very long time, well, even before my time, has offered local smaller nonprofits discounted or sometimes even free rentals using our spaces for their own fundraisers. So we have helped a number of nonprofits in that way. It’s something we continue to do every year. It looks like for the 23, 24 fiscal years, we donated the equivalent of $20,000 in rental cost. And I can tell you that’s a very conservative estimate. I don’t think that includes the labor.

And then, I talked about the draw that that Blobfest brings. And certainly, when we have a big concert, it’s known here that people will be eating dinner, and everyone at, like, 07:30 needs their check to get to the 08:00 concert. So, you know, restaurants know if we have a big concert, they’ll hire extra staff. So, we put in our impact report, we were able to use a calculator on the National Endowment for the Arts website to input some numbers and figure out what is your economic activity that you generate, and they estimate it’s at least 2,000,000 for the Colonial Theatre. 

And then certainly, you know, we finished a new strategic plan at the top of ’24. So that is for the next three years, and that’s on our website if people would like to see what our top strategic goals are. That’s something that’s really important for nonprofits to have. Donors always like to see that.

And we celebrated 25 years of Blobfest. So, thankfully, we got a wonderful article in the New York Times about this 25th year of Blobfest. And joining us for that, we had a woman who had been an extra in the film, who was visible during the runout scene, and she joined us to do the runout at Blob Fest. And it was just wonderful.

Erik Gudmundson: It’s extremely evident that a lot of the things that Colonial does really has a significant positive impact on local businesses as well as nonprofit organizations, as we found in your last answer. Would you share a local business or nonprofit that our listeners should know more about?

Jennifer Carlson: Yes. So there is a nonprofit actually right up the street from the Colonial Theatre and it’s called Orion Communities, O-R-I-O-N, Orion Communities. They’ve been a nonprofit for a long time, but they help people who are experiencing homelessness or other financial difficulties. They are tireless in trying to help people who are really struggling right now, and that’s all age groups. I know that they’ve been dealing with a lot of seniors who are struggling with increased taxes and increased expenses and unlimited incomes. So it’s always eye-opening when I talk to them and kind of learn some of the new data. I personally support what they do, and we at the theater, work with them on their annual fundraiser called Music for Everyone, that they do. I think it’s every October. So, I would really encourage people to check them out as well.

Liam Dempsey: Yeah. Thank you for talking to me about them, for sharing with us about them. You know, I’ve heard of them. They’ve been on my radar, but to hear you speak so passionately and admiringly of their work certainly gives me impetus to look more into them and to see what I can learn about them as well. Thank you for that.

So we’ve talked a lot about the different stuff going on at the theater, and I just wonder, are you hiring, or are you looking for more volunteers? And if so, where can folks learn about either employment or volunteer opportunities?

Jennifer Carlson: Yeah. So all of that information is on our website, the [colonialtheatre.com]. We don’t have any major roles available right now, but I know that our front-of-house team is always looking for people who are interested in working box office and concessions. Sometimes we’re looking for people who are interested in, maybe only working a few times a year, the busy times and not looking for a constant schedule. It never hurts to have some of those people, you know, in our Rolodex, as you would say. 

We are also always looking for volunteers. So we do have a pretty strong volunteer usher corps who will do the ushering for these larger concerts and events. But then we also have people who only volunteer for Blobfest. 

We have people who love volunteering to check people in for the movies, take their ticket, help them where they’re going, and just offer that friendly face, you know, when people are coming in. So, volunteers are really wonderful because they’re giving up their time, you know, that they can’t get back. And I always enjoy engaging with them, and they really, enjoy engaging with our patrons. So if anyone’s interested in volunteering, you can look at our website or when we’re open, just let a staff person know, and they will give you some contact information.

Erik Gudmundson: Aside from coming out to a show, how can the local community support the Colonial Theatre?

Jennifer Carlson: Well, yes. Besides coming to a show or any other type of event, we also have information on our website of how you can become a member. You can purchase a gift membership for people in your life. You could consider sponsoring an upcoming film. You could also just donate directly. We have a lot of projects right now. We’re, you know, looking to fund a projector and some other building projects. And, you know, you can tell us, do you want this donation toward building projects or toward our, our annual operating budget?

Also word-of-mouth. Please, you know, share our social media posts or let people know about programs at the Colonial. We would really appreciate that.

Erik Gudmundson: Jennifer Carlson, Executive Director of the Colonial Theatre, where can listeners connect with you and learn more about what’s going on at the Colonial Theatre?

Jennifer Carlson: Well, my email is [jennifer@thecolonialtheatre.com]. So you’re welcome to contact me. Just know as executive director, I sometimes need 48 hours plus to get back to your email. But certainly, our website has a lot of information and socials, but I always love hearing from our patrons as long as they are just patient with me getting back to them.

Liam Dempsey: Jennifer, thank you so much for making the time today. I’ve really enjoyed spending time, chatting, and learning about the theater. This is just such a treat. Thank you.

Jennifer Carlson: Well, thank you. I enjoyed talking with both of you and hope to see you at the theater soon.

Erik Gudmundson: I’m sure you will. Thank you so much, Jennifer. Really appreciate it. And thank you also to my co-host, Liam Dempsey. I’m Erik Gudmundson. 

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