The Music Center's Ahmanson Theatre

The Music Center's Ahmanson Theatre

Opened in 1967, The Music Center’s Ahmanson Theatre (Ahmanson) features a state-of-the-art configuration with variable seating capacity that can accommodate a diverse selection of performances. The theatre was underwritten by philanthropist Howard F. Ahmanson Sr., the founder of H.F. Ahmanson & Co., a Los Angeles-based insurance and savings and loan company, and named for his second wife, Caroline Leonetti Ahmanson. The Ahmanson is home to a wide-ranging selection of theatrical and dance performances and is the site for Center Theatre Group presentations, including Pre-Broadway runs as well as the best of Broadway and the West End.   

Originally faced on all four sides with off-white stone, the façade was altered in 1995 by Ellerbe Becket, the successor firm to Welton Becket & Associates, which designed the original Music Center campus. The theatre is joined with The Music Center’s Mark Taper Forum (Taper) by a 47-foot high colonnade that surrounds both structures and creates a visual balance with The Music Center’s Dorothy Chandler Pavilion (Pavilion) across Jerry Moss Plaza. The main façade has a glass skin that extends the full 73 feet of the five-level structure, giving patrons the opportunity to view the Taper’s massive mural.  

The 2,109-seat theater was designed for musical comedy and theatrical productions, ranging from the intimate to the spectacular. To create a warm, welcoming feeling for patrons, the Ahmanson’s auditorium is wider than it is deep. There are three levels of seating: Orchestra (988 seats), Mezzanine (606 seats including the boxes) and Balcony (515 seats including the boxes). Like the Pavilion, the first 13 rows of the Ahmanson are arranged in continental style with no front-to-rear aisles. Audience members reach the Mezzanine and Balcony from large promenades that overlook Jerry Moss Plaza.   

Renovations in the early 1990s enhanced the theatre’s acoustics, improved sightlines and allowed for more flexible seating arrangements. In fact, the Ahmanson can be quickly transformed from a 2,109-seat theatre to a 1,200-seat venue. Updates included changes to the circulation of the auditorium and the addition of six boxes on each of the side walls. At the same time, the architects lowered the ceiling and covered it with new acoustical paneling. They moved the Balcony and Mezzanine closer to the stage, expanded backstage areas and installed mobile dividers in the Balcony to decrease the number of seats for shows that require a more intimate setting. In addition, the Ahmanson now has a three-story lobby. Patrons can view the sculpture, “Acrobat Freeway,” created by local artist Peter Shire, as they enter the building. 

The Ahmanson’s original décor featured rich reds and pewter gray tones. Purples and golds were later introduced as part of the Ellerbe Becket renovations. The proscenium was widened in 2010, and its appearance and functionality enhanced with metal mesh curtains and a removable/storable proscenium header. 

 

Featured at the Ahmanson Theatre

  • Tue Dec 10 8:00 PM

    Sun Jan 05 1:00 PM

    Center Theatre Group Once Upon a Mattress

    Ahmanson Theatre

    Musical theatre legend Sutton Foster (The Drowsy Chaperone, The Music Man) returns to the Ahmanson Theatre as Princess Winnifred in this beloved musical fairytale. Full of gloriously catchy melodies like “Shy” and “In a Little Wh...Show More

    Musical theatre legend Sutton Foster (The Drowsy Chaperone, The Music Man) returns to the Ahmanson Theatre as Princess Winnifred in this beloved musical fairytale. Full of gloriously catchy melodies like “Shy” and “In a Little While,” this uproarious update of Hans Christian Andersen’s The Princess and the Peapromises both classic charms and new delights.

    Directed by Tony-nominated Encores! Artistic Director Lear deBessonet (Into the Woods) and with a new adaptation by Amy Sherman-Palladino (The Marvelous Mrs. Maisel), Once Upon a Mattress sets an unapologetic free spirit loose in a repressed kingdom, reveling in Winnifred’s ability to charm and transform with willpower, honesty, and a little bit of help from her friends.

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  • Sat Feb 08 8:00 PM

    Sun Mar 09 1:00 PM

    Center Theatre Group Steven Sondheim's Old Friends

    Ahmanson Theatre

    Celebrate one of Broadway’s true icons with this legendary theatrical event! Stephen Sondheim’s Old Friends is an irresistible celebration to the master himself, with a company headlined by none other than Tony Award® winners B...Show More

    Celebrate one of Broadway’s true icons with this legendary theatrical event! Stephen Sondheim’s Old Friends is an irresistible celebration to the master himself, with a company headlined by none other than Tony Award® winners Bernadette Peters and Lea Salonga. Stephen Sondheim’s Old Friends comes to Broadway from London’s West End, where it sold out in a matter of hours, earned a bevy of five-star raves and was hailed by The Times as "unmissable musical theatre."

    Center Theatre Group will present the North American premiere of Old Friends at the Ahmanson Theatre in advance of the Broadway premiere at the Manhattan Theatre Club on March 25, 2025.

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  • Fri May 02 7:30 PM

    Sun May 04 2:00 PM

    A TMC Arts Program: Glorya Kaufman Presents Dance at The Music Center Grupo Corpo

    Ahmanson Theatre

    Founded in 1975 by brothers Artistic Director Paulo Pederneiras and choreographer Rodrigo Pederneiras, the Brazilian dance company Grupo Corpo (meaning “Body Group” in Portuguese) is renowned for its unparalleled blend of popular Brazilian culture...Show More

    Founded in 1975 by brothers Artistic Director Paulo Pederneiras and choreographer Rodrigo Pederneiras, the Brazilian dance company Grupo Corpo (meaning “Body Group” in Portuguese) is renowned for its unparalleled blend of popular Brazilian culture, African rhythms and classical technique. The program opens with Pederneiras' 1992 work 21, a ballet divided into three movements that weaves rhythmic and timbral combinations around the number 21. Audiences will be captivated by the musical score’s unique sounds, emanating from composer Marco Antonio Guimarães’ unusual instrumental creations. For Gira, Pederneiras immersed himself in the history and practices of Brazil’s Afro-Brazilian religions, particularly Umbanda, transforming the rituals into a universal expression of humanity and emphasizing the trance-like turning and movement that characterize these ceremonies. “It is the sheer physical virtuosity of the company that is so impressive—the sinuous, athletic bodies seemingly inexhaustible.” —The Guardian, London

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