One of the biggest nights of a Hollywood actor's career is the prestigious Academy Awards, and every year, celebrities arrive dressed to the nines. While A-list men wear their best tuxedos, it's the women who get the majority of the attention, arriving on the red carpet in their dazzling one-of-a-kind gowns. However, what happens when two big-named stars arrive wearing nearly identical dresses? It would seem that someone would definitely be in trouble.

According to Bustle, Tina Fey and Reese Witherspoon arrived on the 2016 Oscars red carpet "totally twinning" in their "strikingly similar royal purple, strapless gowns." Fey and Witherspoon must have done a double take when they spotted each other across the carpet, but upon closer inspection, these leading ladies of Hollywood wore two different dresses. According to HuffPost, the30 Rock actor wore a Versace gown and paired it with a dazzling sapphire diamond necklace with her hair in an updo, while theBig Little Lies star wore Oscar de la Renta, keeping her neck bare, but adding diamond earrings, and statement cuffs, with her hair flowing down behind her shoulders.

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Celebrities That Awkwardly Wore The Same Outfits On The Red Carpet - Nicki Swift

COLUMBUS, Ohio Recently allocated $1.25 million of the State of Ohios 2020 capital budget, the Columbus Association for the Performing Arts (CAPA) has combined a portion of the State funds which must be used for the repair, reconstruction, or construction of physical property with donations from private sources to begin a $900,000 renovation of the historic Ohio Theatres loge, mezzanine and balcony.

A complete overhaul of the Ohio Theatres loge (or first seven rows of upper-level seating) began last week to reconstruct the aisle steps and implement new handrails. The railings lining the front and back of the loge will be upgraded and replaced as well, and new carpeting will be installed.

In addition, new handrails and carpet will be installed in the mezzanine and balcony (the remaining 25 rows of upper-level seating) and the railings lining the front and rear of each section will be upgraded and replaced.

This renovation was originally slated for the summer of 2020, but was suspended indefinitely as CAPA and other local arts organizations battle the effects of the pandemic, stated CAPA President and CEO Chad Whittington. These funds come at the perfect time, allowing us the opportunity to make use of the shutdown in a positive way. This renovation is an important safety enhancement for our patrons when we are able to welcome them back to the Ohio Theatre again, enabling us to offer an even better customer experience. We are very grateful to the State of Ohio for its acknowledgement of the beloved Ohio Theatre.

CAPA will employ all local contractors for the renovation which is expected to conclude in mid-May.

While plans are still in development, CAPA will utilize the balance of the capital budget allocation funds and private donations to implement further improvements to the Ohio Theatre including renovation of the mezzanine concessions area, enhanced wayfinding signage, and ADA accessibility upgrades.

The Spanish Baroque-style, 2,791-seat Ohio Theatre, designed by world-famous architect Thomas Lamb as a palace for the average man, opened on March 17, 1928, as a Loews movie house complete with its own orchestra and theatre organ. In addition to movies, vaudeville found a home on the Ohio stage, boasting performances from legends such as Milton Berle, Cab Calloway, Buddy Ebsen, Jean Harlow, and Ginger Rogers.

Today, the Ohio Theatre hosts more than 100 performances of BalletMet, Broadway in Columbus, the Columbus Symphony, CAPA-presented performances, and a wide variety of touring artists and shows each year. The venue is also listed on the National Register of Historic Places, been declared a National Historic Landmark, and is the State Theatre of Ohio.

Pictured is the inside of the Ohio Theatre at 39 E. State St. in Columbus.

Submitted by the Columbus Association for the Performing Arts (CAPA).

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Ohio Theatre to undergo renovation - Delaware Gazette

ATLANTA, Feb. 9, 2021 /PRNewswire/ -- Interface, Inc. (Nasdaq: TILE) announced today that it intends to release its fourth quarter and fiscal year 2020 results on Tuesday, March 2, 2021, prior to the open of the market.Interface will host a conference call the morning of Tuesday, March 2, 2021, at 8:00 a.m. Eastern Time, which will be simultaneously broadcast live over the internet.Daniel T. Hendrix, Chairman and Chief Executive Officer, and Bruce A. Hausmann, Vice President and Chief Financial Officer, will host the call.

8:00 a.m. Eastern Time, 7:00 a.m. Central Time, 6:00 a.m. Mountain Time, 5:00 a.m. Pacific Time

Listeners may access the conference call live over the Internet at the following address:

or through the Company's website at:

Please allow at least 15 minutes prior to the call to visit one of these sites and download and install any necessary audio software.An archived version of the conference call will be available at these sites for one year shortly after the call ends.

Interface, Inc. is a global flooring company specializing in carbon neutral carpet tile and resilient flooring, including luxury vinyl tile (LVT) and nora rubber flooring. We help our customers create high-performance interior spaces that support well-being, productivity, and creativity, as well as the sustainability of the planet. Our mission, Climate Take Back, invites you to join us as we commit to operating in a way that is restorative to the planet and creates a climate fit for life.

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Interface, Inc. To Broadcast Fourth Quarter and Fiscal Year 2020 Results Conference Call Over the Internet - McDuffie Progress

National Burn Awareness Week raises awareness and prevents burn injuries

February 7-13 is National Burn Awareness Week

In recognition of 2021 National Burn Awareness Week, which runs Feb. 7-13, Insurance Commissioner Mike Causey reminds North Carolinians of the causes of burn injuries and the resources of burn care available.

Since families are spending more time at home, National Burn Awareness Week presents an opportunity to review some simple safety steps to prevent burn injuries at home, at work, and outdoors.

This years theme from the American Burn Association is Electrical Safety from Amps to Zap (A to Z).

Commissioner Causey, who is also the State Fire Marshal, reminds all North Carolinians to stay focused on electrical safety because unprotected electrical outlets and improperly used extension cords are often the cause of a fire.

Every year, about 400,000 people receive medical care for a burn-related injury, said Commissioner Causey. With people spending more time at home, its important to stay focused on burn prevention, raise awareness of potential electrical hazards in our homes and make sure our children know the importance of electrical fire safety.

In this broadcast quality video, State Fire Marshal Causey shows the dangers of space heaters and improperly used extension cords.

To prevent electrical burns, State Fire Marshal Causey offers these safety tips:

Do not overload power outlets.

If you have a major appliance, like a refrigerator, a stove, a microwave or a dishwasher, plug it directly into a wall outlet, not a power strip.

Make sure extension cords are not worn, broken or frayed.

Do not run extension cords under carpeting.

Perform routine maintenance on your heating and ventilation systems.

Do not pull on the end of the cord that's plugged into an outlet.

Burn injuries continue to be one of the leading causes of accidental death and injury throughout the country.

Most fire-related injuries are burns. In fact, approximately every 60 seconds, someone in the U.S. sustains a burn injury serious enough to require treatment, according to the National Fire Protection Association (NFPA).

According to the American Burn Association, burn injuries continue to be one of the leading causes of accidental death and injury in the United States with approximately 486,000 people receiving treatment of burn injuries annually. Almost one-third of all burn injuries occur in children under the age of 15.

To prevent burns from fires and scalding, State Fire Marshal Causey offers these safety tips:

Install and maintain smoke alarms in your home -- on every floor and near all rooms where family members sleep. Test your smoke alarms once a month to make sure they are working properly.

Create and practice a family fire escape plan and involve kids in the planning. Make sure everyone knows at least two ways out of every room and identify a central meeting place outside.

Use safe cooking practices, such as never leaving food on the stove unattended. Also, supervise or restrict children's use of stoves, ovens and microwaves.

Check water heater temperature and make sure to set your water heater's thermostat to 120 degrees Fahrenheit or lower.

For more information and safety tips, visit the Fire Prevention and Education section of the Office of State Fire Marshal website.

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National Burn Awareness Week raises awareness and prevents burn injuries February 7-13 is National Burn Awareness Week - Caswell Messenger

With hair extensions, you want to ensure you are taking care of your scalp. We often forget that scalp is skin, the largest organ on your body. The types of products you use are equally as important as the application. Girl + Hair has a system that includes a water-to-foam sulfate-free shampoo, a hydrating leave-in conditioner with tea tree and neem oil, and a hair balm that contains castor and Abyssinian oil. The products all come with an easy-to-use applicator tip, allowing you to provide your scalp nutrients with ease.

If you use dry shampoos on your natural hair, you may want to hold off a bit while having extensions. Kimble warns, "Dry shampoo can dry out extensions. Limit the use of these on extensions to keep them looking great longer."

After you wash and condition your hair, let it air-dry. This will put less stress on your natural roots. If you must use a blow-dryer, use it on the lowest setting, and if blow-drying curly extensions, use a diffuser.

"The best way to sleep with your hair extensions is by wrapping them in silk or sleeping on a silk pillowcase to prevent dryness," Kimble says. You can easily learn how to prepare your extensions before a good night's rest. "Using a small soft bristle brush, gently brush the area where theextensionsare connected to your ownhair(near the roots). Using a silk scarf, tie around the circumference of your head, then tie from around the back and knot it near your forehead area it'll keep thehairgoing in the same direction."

If you want a wavy look the following day, Kimble suggests putting your hair in "two loose pigtail braids which will give you some texture for styling." She also gives warns against using some of the most common bedtime styles: "Do not tie up [your hair] in a topknot, low bun, or [leave it flowing freely]." You'll end up with a matted, knotted mess.

Speaking of mats and knots, Francis instructs that you must "brush all tangles out after each use." Wearing your straight extensions curly? Make sure you brush out the curls before starting a new style. If you're working with straight extensions, use a paddle brush. If you are working with curly hair, use a wide-tooth comb or a detangling brush when hair is wet and conditioned. Issa Rae's hairstylist, Felicia Leatherwood, created a (Best of Beauty-winning) detangler brush with flexi-bristles that glide easily through your hair, gently removing knots.

Sometimes more does not equate better and if you are a product hoarder this one's for you. "Product is good if you know how to use them," Porsche shares with a slight warning. If your extensions are straight or silky and non-synthetic, she says it's best "not using much product throughout the style because it's already straight and straight hair usually stays pretty good." She adds, "I would recommend using only a heat protectant, dry shampoo, or shine spray." And remember dry shampoos should be used sparingly. Use a defrizzer like the John Frieda Frizz-Ease Extra Strength Six Effects + Serum paired with the paddle brush of your choice to keep your hair sleek.

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These Hair Extension Care Tips Will Help Yours Last Longer - Allure

Range Rover customization king Overfinch celebrates five years in the U.S. with the sensational new Sandringham Edition.

Overfinch has been working hand in hand with Range Rover since 1975 PHOTO COURTESY OF OVERFINCH

The Sandringham Edition boasts 22-inch Centaur diamond-turned alloy wheels with color-coded Nebula Black inner spokes and black brake calipers.

Since 1975, Overfinch has been solely devoted to one purpose: enhancing and customizing Range Rovers and Land Rovers. From sumptuous interior leather upgrades to performance enhancements such as Bluetooth-controlled exhaust systems to added interior monograms or family crests, the England-based outfit has demonstrated itself to be world-class at its craft and iconic in the luxury auto realm.

The reimagined cabin offers a posh lounge-style aesthetic.

To celebrate its fifth anniversary in the U.S., the brand has unveiled its latest pice de rsistance: the Sandringham Edition Range Rover LWB. Available only in North America and limited to a production run of just five vehicles at $315,000 each, the Sandringham (whose name nods to the brands English heritage and also happens to be the moniker of the country estate of the Queen) is a showcase of Overfinchs bespoke workthink a Nebula Black exterior paint finish accented with a purple fleck, a gorgeous leather interior in Capiz White and myriad other custom touches such as 24-way heated and cooled massage front seats and deep-pile sheepskin carpet mats. Notes Alex Sloane, vice president of Overfinch North America, The Sandringham Edition is by far the most luxurious vehicle weve produced for North America to date. After five years in the States, weve listened to and learned a lot from our audience. Top-end customers want true exclusivity, not just factory options. Luxury, particularly in the rear of the cabin, is essential for users who want to relax and enjoy the journey. The Sandringham is distinguished but head-turning. Its a tasteful yet conspicuous expression of individuality for those in the know.

Categories: Wheels, Lifestyle, Feature, Migration,

Photography by: PHOTOS COURTESY OF OVERFINCH

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Overfinch Levels-Up With A Limited-Edition Range Rover - Men's Book

Many of Norwoods older buildings started out being used or built to serve a completely different function than they do today.

Driving down Pine Street today, one could be forgiven for not noticing the house at No. 46; however, this unassuming building once hosted impressive revivals and faith services as The Norwood Gospel Hall. Many may also remember it when it was the The Pine Street Centre.

In 1931 and 1932 a group, affiliated with the Peterborough Gospel Hall, started to make regular visits to the village to hold open-air gospel services.

Within a couple of years their following had increased to the point where the group had pitched a large tent in the lot behind the Norwood Town Hall and conducted weekly meetings. In the years that followed rooms in various buildings and homes were used, some led by students from a Toronto Bible College.

By 1947 several new families had moved to the village and under the leadership of James Booker from the nearby community of Lang, interest had increased to the point where the Town Hall was rented to conduct both a Sunday morning and an evening service. Attendance at these services soon grew to a point where the congregation decided that a building of their own was warranted.

The lot of land at 46 Pine Street was donated to the cause by a couple from the congregation, a Mr. and Mrs. Gordon Stackhouse. The building was designed by Mr. Watson and construction progressed quickly with much of the labour performed by volunteers from the flock. The first official service in the chapel was held in the fall of 1948 led by James Booker (who had moved to the village by this time) and a George Pinches.

The building was clad on the outside with red artificial brick, a popular building material from the era made from a substance similar to modern day shingles. Inside the upper level housed the sanctuary with the traditional pulpit and rather than the usual long pews, the church used individual chairs for seating, on the lower level was a comfortable and spacious room and small kitchen area suitable for Sunday school and Bible study. The congregation remained strong for many years and at its peak there were more than 25 families attending worship services regularly.

In May of 1979 the Gospel Hall was sold to the Village of Norwood with the one stipulation that it could not be used for any purpose that does not honour God. The village councils original plan for the building was to convert it into a new medical centre, but the new medical centre was eventually built on King Street.

In the mid 1980s the village donated the building (for the sum of $1) to the Norwood Friendship Seniors Club for use as their meeting and events hall.

The name was changed to the Pine Street Centre and a new mission for the building began. The Seniors Club secured a $30,000 grant from New Horizons, a federal program dedicated to the health and welfare of seniors. Over the next few years the old building underwent a transformation. First, because of the buildings cathedral style ceilings it was found that the walls were slowly bowing outwards. This structural defect was quickly repaired by stringing metal cables across the span to reinforce and to pull the walls in straight again.

The exterior was covered in new vinyl siding, and a ramp was added. Inside, new lighting and fans were installed; a kitchen area was added upstairs, while the downstairs kitchen was remodelled, both upstairs and downstairs bathrooms were also given a facelift. A new commercial vinyl tile floor was installed on the upper level while the downstairs received new carpeting. A new furnace was installed and a central vacuum system was also fitted. Even the original Gospel Hall piano was refinished and tuned.

On April 21, 1990 The Seniors Friendship Club and Norwoods first Community Care Office opened its doors in the new Pine Street Centre. The ventre quickly became a hub of activity in the community hosting several weekly euchre games, afternoons of entertainment, bazaars, teas and so on.

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Community Care eventually outgrew the space and moved to Colborne Street and then to Maple View Retirement Centre where they remain today. The Norwood Historical Society moved into the space vacated by Community Care, allowing them to bring a considerable portion of their collection together in one spot for the first time. The Society also outgrew the space and following a couple of moves they now have their own dedicated home at the Historical Centre in the former Westwood Municipal building.

The village reassumed ownership of the centre around 2010. The building received a few upgrades, including a new roof and a new gas furnace. The centre was put up for sale in 2013 and is now a family home.

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Norwood: A history of the Gospel Hall and Pine Street Centre - ThePeterboroughExaminer.com

Sarkis has put his unmistakable, mustachioed visage back together, applying methods of stained glass and the Japanese pottery technique of kintsugi, literally translated as golden repair. Thin, and young, from his earlier days ripe for the streets of Paris, he stares back into time from the installation of lead, steel and LED. It is, titled, V 06 (2012), one of only a pair of editions from the Rabia-Ali Greli Collection, chairpersons of Contemporary Istanbul.

V 06 appeared recently at Dirimart, a prestigious international gallery, often showing German and American artists alongside Turkish innovators. Using pieces of stained glass as kintsugi, Sarkis effected a kind of Christian nostalgia for spiritual tragedy, imbued with a Japanese accent on impermanence. The piece looks across the institutional, whitewashed hall at a neon-lit installation by Frat Engin.

Frequency Series I, by Engin, includes a polyester frame, wood and decota, which is a polyvinyl chloride foam sheet. The neon, frequently employed by Sarkis, makes a number of appearances in the show 6 Artists in Search of a Precedent as it emanates with the passage of time. The pinkish-blue hue reflects off a darkened space that would otherwise house a mirror within its oval frame, elaborated with floral designs in metal.

Engins work dominates the immediate visual field in the entrance room of 6 Artists in Search of a Precedent, particularly his installation, Istila, which is, occupation, or plague, in Turkish. It is essentially comprised of polyester coffee cups, grande-size, painted in a subdued gold. Some of the cups are knocked over, perhaps to communicate a context in which material that is trashed comes back to haunt the world, in a more malign form.

The first law of thermodynamics, also referred to as the Law of Conservation of Energy, states that energy cannot be created nor destroyed. In that sense, the deluging proliferation of coffee cups is analogous to the rampancy of free-market capitalism in confrontation with the prevailing era of the global pandemic. The floor is taken over by the useless objects of waste at the end of which Engin installed, Breath IV (2017), a found broken window, an apt symbol.

The curatorial choices of Kahraman are suggestive of broad, historical influence within the present, cultural moment. The placement of an object in the intellectual laboratory of a public art exhibition has the potential to grab unsuspecting eyes and make them realize that, simply by seeing that they may open doors, that lead to doors, unlocked and waiting for new entrants. That is just the effect of Carpet with Horses (1986) by Glsn Karamustafa.

The artists reputation precedes her, where, with younger artists at the show, they are preceded by their predecessors who made art history in which their works are situated, or advance toward some unforeseen, critical horizon. Carpet with Horses, to the weary and untrained, might appear naive, unworldly and even random. But its collagist emergence through the materials and figurative display conveyed are couched in perennial intrigues.

Karamustafa received her passport in 1987. The year she created Carpet with Horses was her very last confined to Turkey. Apparently, she had been focusing on rural migrants, and their culture, which would explain the rather kitsch piece of carpet craft. Another female artist who works with textiles, Gne Terkol, is curated alongside the piece by Karamustafa, only Terkols installation, Holographic Record (2014-2020), has a more directly complex tone.

Eight pieces of double stitched fabric hang suspended from the ceiling, floating in the interior air. They show human figures carrying signboards, as walking advertisements on the corner of certain inner-city roads in the United States. And in the background, a projection animates the cold rattle of metal fencing, and a textile piece, like that physically in the room, swaying in the wind on what looks to be a sunny, winter day.

A blast of electric light bursts through retinas upstairs, on the second floor of the Akbank Sanat show, 6 Artists in Search of a Precedent. And approaching the hybrid piece of neon, carpet, wood and plexiglass by Ramazan Can, titled Feel at Home (2020), there is a warmth that can be felt. Its crimson-purple luminosity is almost palpable, as the artist reconstructed the intricate weave of a traditional Turkish carpet with glowing neon tubes.

Can has subverted ordinary perception with his distinctive material fusions, which touch the nerves of life in Turkey. His piece, Attic (2017-2018), merges concrete and weaving over 35 unique pieces. Attic could be seen as the upstairs corollary to Engins Istila, exploring the spread of both concrete, as basic to the widespread construction zones of Istanbul, and woven carpets, a key part of Turkish national consciousness.

Attic, however, facilitates curious insights, where the concrete and weaving interact, as the woven material fades, piecemeal, fragmented and nonexistent over some of the bare, rock cubes. The use of carpets and empty space is curated, in direct line of sight with Attic, in the piece Untitled (2019) by akir Gkeba. It is of a carpet that has been cored, a circle cut out of its center. But the circle is completed outside of its frame.

Through artists Burcu Yacolu, Murat Akagndz and Alpin Arda Back, Kahraman has curated with a deepening sense of blur, or the perceptibility of transience in the objective spatiality of two-dimensional works. Yacolu, integrating a skeletal jaw, also included a video and drawings of pencil and acrylic on paper. These defy gravity, as a swimmer floats under a marine sky upside down, and the chaotic atmosphere swirls like a living organism.

Akagndz, using graphite material on paper, explored abstract washes of nebulous transparency, multilayered with varying degrees of density and technicality. In 2016, the writer Asl Seven curated a show of Akagndz's works at Arter, titled Vertigo. In the catalog essay, she wrote: The intangible movement of light between the shades of white never relinquishes the possibility that this meaning reached by a gaze stretched in time, might, at any moment, slip away and disappear into the void of an endless abyss.

The curatorial decisions that Kahraman made to exhibit works by Avni Lifij, who died in 1927, or Semiha Berksoy, born in 1910, round out the exhibition as encompassing almost the entire breadth of modernism in Turkish painting toward a renewed grappling with issues that have prevailed since, yet, to contemporaries, might seem utterly unprecedented. These artists are in search of a precedent, after all. And what Kahraman is perhaps asking is whether or not the world of art-making can be presumed to follow the first law of thermodynamics.

Excerpt from:
On creativity and the past: A curation of 6 artists | Daily Sabah - Daily Sabah

SC&H Capital, a leading investment bank specializing in sell side M&A and ESOP advisory services for middle-market companies, is pleased to announce the successful sale of its client, Carpet & Wood Floor Liquidators, to an employee stock ownership plan (ESOP). The transaction provides an opportunity for the companys 60 plus employees to gain equity ownership in the company as participants in the ESOP, a move that research shows contributes to more productivity, faster growth, increased profitability and lower turnover.

Headquartered in Baltimore, MD, Carpet & Wood Floor Liquidators began as a wholesaler of excess inventory for the carpet mills, and over the past 30 years has evolved and grown into a full-service distribution business focused on residential, property management and commercial sales and installations in the mid-Atlantic.

Randy Pleasant and I had hoped and planned to one day transition the ownership of the company to our employees, but we werent sure if it would work or how to accomplish our goal, said Bob Nichols, CEO of Carpet & Wood Floor Liquidators. SC&H Capital was instrumental in leading us through the analysis, providing us with the best options, and implementing the transaction. They gave us the confidence to know that becoming an employee owned company was a viable option for us to achieve our goals, reward our employees and continue to serve our customers.

We were very pleased to have the opportunity to assist Carpet & Wood Floor Liquidators throughout the transaction process, said Greg Hogan, Managing Director at SC&H Capital. Randy and Bob were steadfast in their desire to effect a transaction that allowed their employees to become owners and provided for the continuity of the business as an independent dealer serving their dedicated customers. An ESOP transaction was a great fit to allow them to accomplish both of those goals.

The transaction was lead by Greg Hogan at SC&H Capital. Rick Mapp and Christopher McLean of Kaufman & Canoles served as legal counsel to the company. Terms of the transaction were not disclosed.

About SC&H Capital

SC&H Capital, an affiliate of SC&H Group, is an investment banking and advisory firm providing merger and acquisition (M&A), special situations, employee stock ownership plan (ESOP), capital raising, and business valuation solutions to middle-market and growth companies nationwide. SC&H Capital delivers investment banking and advisory services across numerous industries, including technology, healthcare, manufacturing, and government contracting, to help owners achieve their exit planning goals and liquidity objectives. To learn more visit http://www.schcapital.com.

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SC&H Capital Advises Carpet & Wood Floor Liquidators on the Sale of Stock to an ESOP - Citybizlist

COLUMBUS -- Recently allocated $1.25 million of the State of Ohios 2020 capital budget, the Columbus Association for the Performing Arts (CAPA) has combined a portion of the State funds which must be used for the repair, reconstruction, or construction of physical property with donations from private sources to begin a $900,000 renovation of the historic Ohio Theatres loge, mezzanine, and balcony.

A complete overhaul of the Ohio Theatres loge (or first seven rows of upper-level seating) began last week to reconstruct the aisle steps and implement new handrails. The railings lining the front and back of the loge will be upgraded and replaced as well, and new carpeting will be installed.

In addition, new handrails and carpet will be installed in the mezzanine and balcony (the remaining 25 rows of upper-level seating) and the railings lining the front and rear of each section will be upgraded and replaced.

This renovation was originally slated for the summer of 2020, but was suspended indefinitely as CAPA and other local arts organizations battle the effects of the pandemic, stated CAPA President and CEO Chad Whittington. These funds come at the perfect time, allowing us the opportunity to make use of the shutdown in a positive way.

"This renovation is an important safety enhancement for our patrons when we are able to welcome them back to the Ohio Theatre again, enabling us to offer an even better customer experience. We are very grateful to the State of Ohio for its acknowledgement of the beloved Ohio Theatre.

CAPA will employ all local contractors for the renovation which is expected to conclude in mid-May.

While plans are still in development, CAPA will utilize the balance of the capital budget allocation funds and private donations to implement further improvements to the Ohio Theatre including renovation of the mezzanine concessions area, enhanced wayfinding signage, and ADA accessibility upgrades.

All of the performance spaces owned or managed by CAPA closed March 12, 2020, as a result of the Governors executive order prohibiting gatherings of more than 100 people.

Upon the Governors August 2020 reopening guidelines allowing public events at 15% of venue capacity, the Ohio Theatre has hosted a small number of public, socially distanced events such as an abbreviated CAPA Summer Movie Series and Columbus Symphony performances.

About the Ohio Theatre

The Spanish Baroque-style, 2,791-seat Ohio Theatre, designed by world-famous architect Thomas Lamb as a palace for the average man, opened on March 17, 1928, as a Loews movie house complete with its own orchestra and theatre organ.

In addition to movies, vaudeville found a home on the Ohio stage, boasting performances from legends such as Milton Berle, Cab Calloway, Buddy Ebsen, Jean Harlow, and Ginger Rogers.

The Ohio Theatre thrived as a movie house until the suburban sprawl of the 1960s drew traffic out of downtown, and Loews closed its doors on February 24, 1969. Sold to a local development company with plans to raze it, the Columbus Association for the Performing Arts (CAPA) was established on May 21, 1969, with the immediate mission to save the theatre from being destroyed.

The newly formed non-profit leapt to rally the community in a Save the Ohio campaign that ultimately raised more than $2 million in less than a year. The unprecedented effort met its mark, and the glorious and beloved Ohio Theatre was saved.

Today, the Ohio Theatre hosts more than 100 performances of BalletMet, Broadway in Columbus, the Columbus Symphony, CAPA-presented performances, and a wide variety of touring artists and shows each year. The beloved venue is also now proudly listed on the National Register of Historic Places, been declared a National Historic Landmark, and is the State Theatre of Ohio.

# # #

The Ohio Arts Council helped fund CAPAs 2020-21 season with state tax dollars to encourage economic growth, education excellence, and cultural enrichment for all Ohioans. CAPA also appreciates the generous support of the Greater Columbus Arts Council and the Lois S. and H. Roy Chope and Helen W. Wildermuth Fund for Drama and Music funds of The Columbus Foundation.

About CAPA

Owner/operator of downtown Columbus magnificent historic theatres (Ohio Theatre, Palace Theatre, Southern Theatre) and manager of the Riffe Center Theatre Complex, Lincoln Theatre, Drexel Theatre, Jeanne B. McCoy Community Center for the Arts (New Albany, OH), and the Shubert Theatre (New Haven, CT), CAPA is a non-profit, award-winning presenter of national and international performing arts and entertainment. For more information, visit http://www.capa.com.

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CAPA puts capital budget allocation toward Ohio Theatre renovation - knoxpages.com