The Opera Theatre of St. Louis (OTSL) is set to embark on an ambitious project, aiming to construct a new performing arts center at the former Caleres shoe company headquarters in downtown Clayton. Though the opera company has put the building under contract, it is still evaluating crucial details such as cost and timeline. If successful, the plan involves demolishing the existing structure to build a state-of-the-art facility designed specifically for OTSL and other performing arts organizations. The organization acknowledges this endeavor will require its largest fundraising campaign ever but remains confident in the support of its community.

While no definitive budget or timeline has been established, the organization envisions creating a space with rehearsal, production areas, and a theater. This initiative is partly fueled by a historic $45 million donation from the late Phyllis Brissenden. Collaborating with Clayton’s municipal leadership will be the final step in planning. Despite current uncertainties, the move aims to address limitations faced at Webster University’s Loretto-Hilton Center, such as inadequate acoustics and a small orchestra pit, which hinder co-productions and touring shows.

Visionary Plans for a Dedicated Performing Arts Space

The Opera Theatre of St. Louis envisions constructing a bespoke venue that addresses long-standing operational challenges. Current facilities, like Webster University’s Loretto-Hilton Center, have limitations in terms of acoustics and stage design, making it difficult to host large-scale productions or collaborate with other companies. With aspirations to elevate their artistic standards, OTSL seeks to create a purpose-built facility capable of accommodating advanced performances and fostering innovation within the performing arts sector.

This transformational project represents a significant leap forward for the opera company. General Director Andrew Jorgensen emphasizes the importance of tailoring the new center to meet specific needs. For years, the organization has relied on partnerships with institutions like Webster University, yet these arrangements fall short of fully supporting their artistic vision. By investing in custom-designed infrastructure, OTSL hopes to overcome technical constraints and unlock greater creative potential. The envisioned space would not only include a mainstage but also expansive rehearsal and production areas, enabling seamless preparation for complex performances. Additionally, the new center could serve as a hub for collaboration among various local arts groups, enhancing the cultural landscape of St. Louis.

Community Support and Strategic Collaboration

Central to this initiative is the strong backing from both the community and key stakeholders. A generous legacy gift from Phyllis Brissenden has provided substantial financial resources, allowing OTSL to pursue its dream of establishing a world-class performing arts center. Furthermore, the city of Clayton has expressed enthusiasm for the project, recognizing its potential to enrich the area culturally and economically. Mayor Michelle Harris highlights the alignment between OTSL's goals and the community's priorities, reinforcing widespread support for the endeavor.

Successful implementation of this plan will depend heavily on strategic collaborations with local authorities and other arts organizations. Once detailed designs are finalized, OTSL plans to work closely with Clayton’s municipal leadership to ensure smooth execution of construction plans. Meanwhile, discussions with fellow arts groups, including the Repertory Theatre of St. Louis, focus on optimizing shared use of the new facility. Such partnerships promise mutual benefits, strengthening ties across the arts community while ensuring efficient utilization of the future venue. While timelines remain flexible, the momentum behind this project underscores a shared commitment to advancing the arts in St. Louis. As OTSL celebrates its 50th anniversary, this bold venture marks a pivotal moment in its storied history, poised to redefine its impact on audiences and artists alike.