Local arts honchos and music-lovers are appalled that Community Board 2 has denied a new Boerum Hill theater what most area venues already have: a liquor license.
The board denied a license for Roulette — a renowned Manhattan arts center that is moving to the YWCA building on Third Avenue in September with a grand opening featuring Lou Reed — because some members said the venue could be a club in disguise.
Supporters say that the board gave the edgy Roulette a raw deal, especially when other theaters including DUMBO’s Galapagos Art Space and St. Ann’s Warehouse have licenses that allow in-seat swilling.
“What a shame!” said Nicole Federici, a Boerum Hill violist. “It’s like denying a major restaurant a liquor license and expecting them to make money off the food.”
Galapagos Director Robert Elmes also lamented the panel’s decision, saying that alcoholic concessions are critical revenue sources for theaters.
“Our model of funding has relied on the sale of cocktails in a social environment,” Elmes said. “We’ve never had problems. If it’s done smart, it can be done well, and Roulette is a very smart organization.”
Roulette’s 20-year lease with the YWCA requires a midnight curfew and security to deter people from loitering after performances.
“I’m not quite sure what all the hoopla is about,” said YWCA executive director Martha Kamber. “Roulette would be a great addition to neighborhood.”
At a public hearing last Monday, the board argued over whether allowing Roulette to serve liquor would bring drunken and rowdy concertgoers to the community — which is already rattled about the Barclays Center and at least two nightclubs slated to open next year.
“I’m just concerned that private events at the theater will bring promoters,” said board member Andrew Lastowecky. “This is a space for 600 people, and that scares the heck out of me.”
Boerum Hill resident Eric Albert was one of a few locals who said the theater hasn’t convinced neighbors that it won’t become a party zone.
“In the past when the Y leased this space, it was very loud, boisterous and spilled out on the street,” Albert said. “I just don’t want that in my neighborhood.”
Roulette Director Jim Staley defended his operation.
“This is not a bar,” he said. “We’re not going to be a problem to the community.”
But in the end, the community board failed to pass either of two motions to approve a liquor license. One motion would have limited alcoholic beverage to the lobby, while the other would have allowed Roulette to serve booze after consulting the State Liquor Authority about where it could be consumed.
Testimony from Roulette’s former neighbors in Manhattan might have helped, but no one was on hand to back up Staley’s position.
“They had a respectful crowd, so we never had any complaints,” said Heather Wagner, a curator at Location One, a gallery next door to Roulette’s former stage on Greene Street in SoHo.
The community board rejection of any liquor license is only advisory; Roulette will still take its request to the State Liquor Authority.
This isn’t the first time CB2 has come under fire for refusing newcomers booze permits. After the board denied licenses to several restaurants including the Brooklyn Ice Cream Factory on Fulton Ferry Landing, Borough President Markowitz told the panel to be more supportive of an eatery’s right to serve alcohol.
Roulette [509 Atlantic Ave. between Third Avenue and Nevins Street in Boerum Hill, (212) 219-8242]. For info, visit www.roulette.org.
©2011 Community News Group
By submitting this comment, you agree to the following terms:
You agree that you, and not BrooklynPaper.com or its affiliates, are fully responsible for the content that you post. You agree not to post any abusive, obscene, vulgar, slanderous, hateful, threatening or sexually-oriented material or any material that may violate applicable law; doing so may lead to the removal of your post and to your being permanently banned from posting to the site. You grant to BrooklynPaper.com the royalty-free, irrevocable, perpetual and fully sublicensable license to use, reproduce, modify, adapt, publish, translate, create derivative works from, distribute, perform and display such content in whole or in part world-wide and to incorporate it in other works in any form, media or technology now known or later developed.