REEL LIFE Invigorating the Columbus Theatre proves difficult BY BYAN DONNIS

The Columbus Theatre boasts any number of attributes, particularly a gorgeous old-world venue that dates to the early 20th-century, and a Broadway location on Providence’s West Side, an arts stronghold that would seemingly represent a hospitable environment for the majestic independent cinema. So why has invigorating the Columbus proved so difficult since proprietor Jon Berberian replaced adult movies with art-house fare in August 2002?

Although Berberian, a former opera singer who helped to preserve the stately theater for years by showing X-rated flicks, cites a scarcity of more lucrative independent films and the overarching draw of large cinematic exhibitors like National Amusements, he also expresses puzzlement about the situation. "I don’t really know what’s happening here," he says, noting that even a number of critically praised films failed to generate much box office at the Columbus since the theater went legit. "When I go to the theater and no one shows up, it’s degrading, and embarrassing, and demoralizing."

After recently giving up a conventional slate of movie screenings, Berberian is focusing on utilizing the Columbus through periodic rentals by such groups as the Providence Singers, the Rhode Island Committee for the Humanities, Community Music Works, and Opera Providence, and occasional bookings of independent films, such as a February 26 screening of School of Fish. "News is getting around that I’m available," he says. But as far as the possibility of turning the Columbus into a repertory theater — seen by some as perhaps a more viable alternative — Berberian says he lacks the staff to take on such programming.

Sara Archambault, part of the Picture Start Film Series collective that has previously screened films at the Columbus, notes that older theaters face particular challenges because overhead, maintenance, and restoration costs often exceed ticket sales. It also bears noting, she says that the theater’s transition to art-house fare was just a little more than a year old and perhaps not fully recognized. That said, Archambault believes the Columbus can fare better not by competing with Providence’s two more successful art houses, the Avon and the Cable Car, but by offering more creative programming — such as genre series, directors’ series, classic newsreels, and the work of local filmmakers. "The answer in my eyes is to start offering things to people that are outside of the ordinary — that excite them about the movies again, or remind them why the movies are exciting," she says.

SueEllen Kroll, who has helped to bring Human Rights Watch’s annual Traveling Film Festival to the Columbus and other local theaters, also believes the Columbus has untapped potential. "I personally wouldn’t attribute the fact that it is doing poorly to the big chain theaters," she says. "There is certainly a large community here that is mindful of supporting independent businesses. People like to walk/bike to hangouts in their neighborhood and can appreciate the vibrant feeling thriving independent businesses generate — how long can one hang out at the Decatur or White Electric without running into an acquaintance?"

Regarding the beauty of the Columbus, Kroll says, "It offers such a unique experience that can not be compared to the big box theater in the suburbs or even the Cable Car or the Avon. So why hasn’t it lived up to its potential? The things they have tried (e.g., sing-a-long musicals, independent films, concerts) certainly haven’t turned people off or turned them away, they just haven’t attracted the crowds. Generally, people are still receptive to what’s going on there — they are just waiting for something to come along they want to see."