Verdi Requiem

Saturday, May 5, 2018, 8 pm

The Akron Symphony Orchestra will present Verdi’s Requiem on May 5 at 8 p.m. – the first time in 20 years that the Symphony will present this monumental, imaginative and powerfully theatrical composition.

Verdi’s Requiem is one of music’s greatest masterpieces, providing artistic, emotional and spiritual sustenance whenever it is performed. No amount of discussion or analysis could exhaust its content, and yet any comments on it seem almost unnecessary — the Requiem speaks eloquently for itself and its composer. Perhaps it is most prudent to agree with Johannes Brahms, who honored his Italian colleague when he said, simply, “Verdi’s Requiem is a work of genius.”

We will be joined for the evening by the Akron Symphony Chorus and the Summit Choral Society Masterworks Chorale. In addition to the choirs, the performance will also feature soloists Dina Kuznetsova (soprano) Nancy Maultsby (mezzo-soprano), John Pickle (tenor) and Adam Cioffarri (bass).

The Akron Symphony Orchestra is under the direction of Christopher Wilkins. The Akron Symphony Chorus is under the direction of Marie Bucoy-Calavan.

A Preview from the Podium, featuring Maestro Wilkins discussing the evening’s program, will begin at 7 p.m. Please note that this concert will be performed without an intermission.

Single tickets for Verdi’s Requiem start at just $25. Tickets are available online or by calling the Symphony Box Office at 330.535.8131.

The performance will take place at The University of Akron’s E.J. Thomas Performing Arts Hall, which is located at 198 Hill St. Doors open at 6:30 p.m.

Christopher Wilkins, conductor
Marie Bucoy-Calavan, chorus director
Akron Symphony Chorus
Summit Choral Society Masterworks Chorale

About Dina Kuznetsova

Russian-American soprano Dina Kuznetsova has attracted considerable attention for her outstanding musicianship and captivating stage presence as she has graced the stages of many of the world’s greatest opera houses.

Last season, Dina performed the title role of Rodelinda with Bolshoi Theatre, the role of Tatyana in Eugene Onegin with Florida Grand Opera, and joined Teatro Municipal de Santiago de Chile’s production of Jenufa. An alumna of the Lyric Opera of Chicago’s Young Artist Program, Kuznetsova went on to star in a number of new productions at the theatre, including Cunning Little Vixen, Rigoletto, and, marking her role début as Tatyana, Eugene Onegin under the baton of Sir Andrew Davis.

Since that debut, Dina has built a name as an outstanding interpreter of Tchaikovsky’s leading lady, attracting acclaim from her many subsequent productions. Other highlights have included Desdemona in Otello with the Gulbenkian Orchestra under Lawrence Foster and Cio–Cio San in Anthony Minghella’s production of Madama Butterfly at English National Opera under Gianluca Marcianò and, in the original version, at Atlanta Opera. This season, Dina will perform the title role in Kátya Kabanová with New Zealand Opera, Cio-cio San in Madama Butterfly with Cleveland Opera Theater, and singing Verdi’s Requiem with the Akron Symphony Orchestra.

A keen recitalist and chamber musician, Dina Kuznetsova appears regularly at both the New York Festival of Song and the Chamber Music Society of Lincoln Center, and features as part of the Music@Menlo series of CDs performing songs by Dvořák and Shostakovich.

About Nancy Maultsby

American mezzo-soprano Nancy Maultsby is in demand by opera companies and orchestras throughout the world. Her unique vocal timbre and insightful musicianship allow her to pursue a repertoire extending from the operas of Monteverdi and Handel to recent works by John Adams. She regularly performs the major heroines of nineteenth-century French, Italian and German opera and the great symphonic masterpieces.

Highlights of Nancy’s future and recent seasons include performances of Debussy’s Pelléas et Mélisande with the Cleveland Orchestra as Geneviève in a new semi-staged production by Yuval Sharon, conducted by Franz Welser-Möst, as well as at Cincinnati Symphony with Louis Langrée in a staging by James Darrah.

Internationally, Nancy’s extensive career has taken her to the Royal Opera House, Covent Garden (Die Ägyptische Helena), Teatro dell’Opera in Rome (Oedipus Rex), Teatro Colón in Buenos Aires (Carmen), Teatro Carlo Felice in Genoa (Norma), Opéra de Montréal (Bluebeard’s Castle, Aida), Staatsoper Stuttgart (Die Walküre), Teatro San Carlo in Naples, Italy (Oedipus Rex), Semperoper Dresden (Oedipus Rex), De Nederlandse Opera (Rigoletto) and the Greek National Opera in Athens (Aida, Oedipus Rex, L’incoronazione di Poppea).

Nancy is a graduate of Westminster Choir College, and was a graduate student at Indiana University School of Music. She is an alumna of the Lyric Opera of Chicago’s Center for American Artists. Among numerous other awards, she is the winner of the Marian Anderson Award and the Martin E. Segal Award.

She is on voice faculty at Baldwin Wallace University in Berea.

She appears by arrangement with IMG Artists, LLC, 7 West 54th Street, New York, NY 10019. 212.994.3500.

About John Pickle

Tenor John Pickle quickly has established himself as a strong tenor, most recently for his portrayals of Erik in Der fliegende Holländer, a role he debuted with Los Angeles Opera.

This season, John performs Cavaradossi in Tosca with Nashville Opera and Pollione in Norma with Opera Southwest. He will also sing the tenor solo in Beethoven’s Symphony No. 9 with The Orchestra Now at Bard College and Verdi’s Requiem with Dayton Opera, DCINY in Barcelona, and the Akron Symphony Orchestra. 

Favorite engagements from recent seasons also include Canio in Pagliacci with Michigan Opera Theatre, Opera Memphis, and Dayton Opera; Cavardossi in Tosca with Intermountain Opera Bozeman and Townsend Opera; Rodolfo in La Bohème with Colorado Symphony; Riccardo in Un ballo in maschera and Don José in Carmen with Opera Tampa; Radamés in Aïda with Dayton Opera; Turiddu and Canio in Opera Delaware’s double-bill production of Cavalleria Rusticana/Pagliacci; and the title role in Candide with Fresno Grand Opera. Mr. Pickle has also performed Pinkerton in Madama Butterfly at Florida Grand Opera and Dayton Opera, Des Grieux in Manon Lescaut with Mobile Opera, and Alfred in Die Fledermaus at Florentine Opera.

John has also been featured on several operetta recordings for the Albany Records and Newport Classic labels. These include Alexius in The Chocolate Soldier by Oscar Straus; Barry O’Day in Eileen, Captain Dick in Naughty Marietta and Lieutenant Karl in Sweethearts, all by Victor Herbert; Prince Radjami in The Bayadere by Emerich Kalman; and The Duke in Eine Nacht in Venedig by Johann Strauss.

About Adam Cioffari

Bass-baritone Adam Cioffari recently sang the role of Papageno in Die Zauberflöte in a return to the Teatro Municipal de Santiago as well as the role of Figaro in Le nozze di Figaro with Opera Columbus, Colline in La Bohème with Knoxville Opera, and Masetto in Don Giovanni with Austin Opera and Salt Marsh Opera.

This past summer, Adam appeared with Pittsburgh Festival Opera as Judge Turpin in Sweeney Todd. He also recently sang the Commentator in the world premiere of Wang’s Scalia/Ginsburg at the Castleton Festival. He has recently performed with the Utah Symphony and Tucson Symphony, Pensacola Opera, Florentine Opera, and the Musiklehrer in Ariadne auf Naxos at The Glimmerglass Festival.

Recent debuts include the Los Angeles Philharmonic and the Theatre Capitole de Toulouse. Future engagements include return appearances with the Pittsburgh Festival Opera, the Columbus Symphony Orchestra, and Queen City Opera.

Adam recently joined the Staatstheater Stuttgart for a year for a number of roles, and also joined Komische Oper Berlin as a member of its studio. A former member of the Houston Grand Opera Studio, he created the role of Stanley in the world premiere of Andre Previn’s Brief Encounter. Other performances with the company include Elviro in Xerxes, both Angelotti and the Jailer in Tosca, and Snug in A Midsummer Night’s Dream.

Other recent performances include Leporello in Don Giovanni with the Music Academy of the West, Masetto in the same opera with San Francisco Opera’s Merola Opera Program, and Colline in La Bohème with Aspen Opera Theater.

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Individual concert tickets are now available online or through the ASO box office - 330.535.8131. 

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Concert Guide

Frequently Asked Questions

Every Akron Symphony concert experience is unique. Attending any concert can be an entertaining and enlightening experience, especially if you know what to expect.

Frequently Asked Questions Details

I’ve never been to an orchestra concert before. What should I expect?

Expect to enjoy yourself! This is the time to let go of any preconceptions you may have about classical music or the concert experience. If you feel a litle nervous, that’s OK. Some things about the concert may seem strange because they’re new to you, but if you just focus on the music, you’ll have a great time. Open yourself up to the music. Let it trigger your emotions and memories. Feel the rhythms; follow the tunes. Watch the musicians and the conductor, and see how they interact with each other. Notice how the music ebbs and flows — surging and powerful at some times, delicate and ephemeral at others, and everything in between.

What if I don’t know anything about classical music? Do I need to study beforehand?

There’s no need to study. The music will speak for itself. Just come and enjoy! Over time, many frequent concertgoers do find their enjoyment is deeper if they prepare for a concert. This can be simple, like reading the program notes beforehand; or it can be more involved, like listening to recordings of the music to be performed in the days before they attend a concert. You know yourself best, so if research interests you, go ahead and follow your curiousity. But if studying isn’t your thing, there’s no need to be concerned about it. Just listen with an open mind.

Will I recognize any of the music?

You might. Classical music is all around us: in commercials, movies, TV themes, cartoons, stores, and even some elevators! Popular music often quotes classical melodies, too. While you’re listening in the concert to a piece you think you’ve never heard before, a tune you’ve heard a hundred times may jump out at you.
Whether or not you’ve heard the music before the concert, as you listen, you’ll notice that each classical piece uses its own group of several tunes over and over, in different ways. You’ll start to “recognize” these melodies as a work progresses. Listen for the ways a melody is repeated: Is it exactly the same as the first time, or with a different character? Is it played by the same instruments, or different ones? Does it start the same as before, but go off in a different direction? Or start differently and surprise you by developing into the tune you recognize from earlier in the piece?

What should I wear?

There is no dress code! Anything that makes you feel comfortable is fine. Most people will be wearing business clothes or slightly dressy casual clothes, but you’ll see everything from khakis to cocktail dresses. Some people enjoy dressing up and making a special night of it, and you can, too. Still, evening gowns and tuxedos are pretty rare unless you’ve bought tickets for a fancy gala — and if you have, you’ll know! If you do decide to dress up, though, go easy on the cologne, which can distract others near you and even prompt them to sneeze (which may distract you)!

Should I arrive early?

Absolutely! Plan to arrive 20 minutes before concert time, so you can find your seat, take a look at your surroundings, absorb the atmosphere, and have time to glance through the program book. You won’t be alone. Most concertgoers make a point of coming early to read the program notes, or just watch the orchestra warm up.

Rushing to your seat at the last minute doesn’t really give you enough time to get settled, so you may not fully enjoy the first piece on the program. And there’s another good reason to come early: Most concerts start on time. If you’re late, you may end up listening from the lobby! If that happens, the usher will allow you inside during a suitable pause in the program, so your arrival won’t disturb other concertgoers.

How long will the concert be?

It varies, but most orchestra concerts are about 90 minutes to two hours long, with an intermission at the halfway point. Very often there will be several pieces on the concert; but sometimes there is one single work played straight through. It’s a good idea to take a look at the program before the concert to get an idea of what to expect.

When should I clap?

This is the number-one scary question! No one wants to clap in the “wrong” place. But it’s simpler than you may think.

At the beginning of the concert, the concertmaster will come onstage. The audience claps as a welcome, and as a sign of appreciation to all the musicians.

After the orchestra tunes, the conductor (and possibly a soloist) will come onstage. Everyone claps to welcome them, too. This is also a good moment to make sure your program is open, so you can see the names of the pieces that will be played and their order.

Then everything settles down and the music begins. Just listen and enjoy! The audience doesn’t usually applaud again until the end of the piece. That said, if you do applaud between movements, don’t worry about it, and disregard anyone who “shushes” you for doing so. It’s only in the last 50 years or so that audiences stopped applauding between movements, so you have music history on your side!

In most classical concerts the audience never applauds during the music. They wait until the end of each piece, then let loose with their applause. But this can be a little tricky, because many pieces seem to end several times—in other words, they have several parts, or “movements.” These are listed in your program.
In general, musicians and your fellow listeners prefer not to hear applause during the pauses between these movements, so they can concentrate on the progress from one movement to the next. Symphonies and concertos have a momentum that builds from the beginning to the end, through all their movements, and applause can “break the mood,” especially when a movement ends quietly. Sometimes, though, the audience just can’t restrain itself, and you’ll hear a smattering of applause — or a lot of it — during the pause before the next movement. It’s perfectly OK to join in if you enjoyed the music, too.

What if you lose track, and aren’t sure whether the piece is truly over? One clue is to watch the conductor. Usually, s/he won’t relax between movements, but keep hands raised; the attention of the musicians will remain on the conductor. If in any doubt, it’s always safe to wait and follow what the rest of the audience does!

At the end of the piece, it’s time to let yourself go and let the musicians know how you felt about their playing. Many pieces end “big” — and you won’t have any doubt of what to do when! Some end very quietly, and then you’ll see the conductor keep hands raised for a few seconds at the end, to “hold the mood.” Then the hands will drop, someone will clap or yell “Bravo!” — and that’s your cue. There’s no need to restrain yourself. If you enjoyed what you heard, you can yell “Bravo!” too.

What if I need to cough during the music?

Everyone gets the urge to cough now and then. Worrying about disturbing your fellow listeners is a laudable impulse, but don’t let it ruin your enjoyment of the concert. There’s a funny thing about coughing — the less worried you are about it, the less likely you are to feel the urge! So chances are you’ll feel less need to cough if you’re prepared.

Be sure to visit the water fountain in the lobby before the concert, and at intermission. If you have a cold, take some cough medicine in advance and bring wax paper-wrapped—or unwrapped—lozenges with you. (At some concerts, you’ll even see cough drops free for the taking in the lobby.) Have a few out and ready when the music begins. Allow yourself to become involved in listening to the music and in watching the performers. The more you are absorbed in what’s going on, the less likely you are to cough. If you absolutely can’t restrain yourself, try to wait for the end of a movement. Or “bury” your cough in a loud passage of music. If this is impossible, and you feel a coughing fit coming on, it’s perfectly acceptable to quietly exit the concert hall. Don’t be embarrassed—your fellow listeners will probably appreciate your concern for their listening experience.

What should I do with my cell phone during the concert?

Turn it off! The same goes for pagers and alarm watches. It’s a good idea to double-check in the few minutes before the concert begins, and again as intermission draws to a close. Better still, leave them at home if you can. Doctors and emergency workers who are “on call” can give their pagers to an usher, who will summon them quietly if they are paged.

Can I take pictures?

Cameras, video recorders, and tape recorders aren’t permitted in concerts. If you happen to have one with you, be sure to stop at the coat-check and check it in before entering the auditorium. If you have a camera and want a souvenir of a special evening at the symphony, it can be fun to ask someone to take your picture outside the concert hall before you go in.

Why is there an intermission, and what should I do during it?

It’s a short rest period for the musicians and conductor—once you see how much activity goes into a performance, you’ll understand why they need a break!

Listening to music is also an intense activity (even if considerably less physical), and a break in the middle helps the audience concentrate better in the second half. Some concerts, though, have no intermission because it would interrupt the flow of a long work. Check the program before the concert so you know what’s coming.

Most intermissions are fifteen to twenty minutes long, which gives you time to socialize with your companions, get a drink or a snack in the lobby, visit the facilities, or simply sit in your seat and read the program notes. Do whatever puts you in a good frame of mind to hear the second half of the concert.

Can I bring my kids?

It depends on the concert and on the age of your kids. Many standard-length classical concerts are inappropriate for small children because they require an attention span that is difficult for youngsters to maintain. Most concerts also are held at night, and stretch beyond “bedtime.”

So if your children are very young, check with your local orchestra, which may present family or child concerts on weekends; these are a great way for families to enjoy classical music together. Young children are especially intrigued by the many different instruments of the orchestra and the way they are played. Try to sit up close to the orchestra, so your kids will have a great view of everything that’s going on.

To further build your child’s interest in classical music, play classical radio or CDs around the house. When they are old enough to sit quietly for an extended period, you may wish to bring them to the first half of a standard concert. An interested preteen or teenager could also have a marvelous time at an orchestra concert, particularly if it features several different pieces.

In all cases, it’s a good idea to check with the orchestra directly about the appropriateness of the concert you plan to attend with your kids. Also ask about discounts for students and children.

How can I learn more about classical music?

Most orchestras give you several ways to learn more. You can read program notes online in advance of a concert, or in your seat before the concert begins. Many concerts are preceded by free lectures or discussions, and these can be entertaining and enlightening. Sometimes the conductor or soloist even talks about the music during the concert.

But you might not need to “know” more to have a great time at your next concert.

Most people who attend concerts frequently find that it’s like any other passionate pursuit: The more you do it, the more you enjoy it. Most of the classical works you hear repay frequent listening: The more often you hear a piece, the more wonderful layers you hear in it. If you enjoyed your first concert, plan to come again!

Check the orchestra’s web site for future concerts that are specifically designed to help you hear the many layers in the music. And if your concert hall has a gift shop, pay a visit during intermission; you may find books and recordings that will help you enjoy your next concert even more.

Here are some links to web sites where you can look up composers and their works, buy recordings, and learn more about classical music:

For a wonderful introduction to American music, visit the web site for the American Mavericks public radio series, which features the San Francisco Symphony. The site includes biographies of composers, music downloads, and interviews and features on contemporary music.

The online store has a very complete catalogue of classical recordings. So does

For kids who are learning to play instruments, offers a great resource, and access to public radio’s From The Top programs.

The Learning Zone of the Naxos Records web site has an introduction to classical music, biographies of composers, a glossary of musical terms, and an excellent guide to live-concert listening. You can also stream loads of classical pieces, so this is a great place to visit if you want to listen to a work a couple of times before you hear it in concert.

And if you like the very newest “classical” music, don’t miss NewMusicBox, a monthly web ‘zine about living composers and their works.

About the Orchestra

Everything from the instruments that compose the orchestra to their warmup activities.

About the Orchestra Details

What is a symphony orchestra, exactly?

A symphony orchestra is a collection of up to about 100 musicians who play instruments of four basic types:

  • Strings — violins (smallest, and highest in pitch), violas, cellos, and doublebasses (largest and lowest in pitch). These players sit in a semicircle directly in front of the conductor, and make up more than half the orchestra.
  • Woodwinds — flutes, oboes, clarinets, bassoons, and related instruments. These players sit a few rows back from the conductor, in the center of the orchestra.
  • Brass — trumpets, horns, trombones, tubas, and similar instruments. These instruments are the loudest, so you’ll see them at the back of the orchestra.
  • Percussion — the drums, bells, and other fascinating paraphernalia that are struck, plucked, rubbed, etc. This includes the kettledrums, the harp, and, on occasion, the piano. Some works use lots of different percussion; others may have a single musician playing the kettledrums, or no percussion at all. The percussion section is also found at the back of the orchestra.

Why are the musicians onstage playing before the concert begins?

Just like basketball players taking shots and practicing moves before the game, musicians need to warm up their muscles and focus their concentration. This is fun to listen to and to watch. Some of them are working on the passages they need to polish up before the performance, with no regard for what anyone else is practicing. Pick out the flute or the trumpet playing a solo line over and over, and listen to how it changes. Does it get smoother? If the player stops in the middle and starts over, can you hear the reason why? (It’s especially fun to recognize these solos later in the performance! Give a silent cheer for the player who nails the solo.)

Not all of the orchestra players practice onstage, of course. Just like the audience, everyone is doing his or her own thing. Some are talking; others are paging through their music. And some don’t come onstage at all until a minute or two before the performance. But at concert time, everyone is in place and ready to start.

Why do the musicians wear formal black clothes?

This is a long tradition that started a few centuries ago. Sometimes, these days, musicians dress a little more casually. But they still try to look uniform, so that the audience can concentrate on the music. Soloists are the exception: they often dress differently, because they are the focus of attention.

How come there are more stringed instruments than anything else?

The sound of each individual stringed instrument is softer than a brass or a woodwind instrument. But in large numbers, they make a magnificent, rich sonority.

Why do their bows move together?

The players of each individual section—first violins, second violins, violas, cellos, and doublebasses—play in unison most of the time. So all the cellos move together, for instance. As you listen, noticing the different bowings for each section gives you a visual clue to sort out the various melodies you’re hearing.

What does the concertmaster do?

The concertmaster sits in the first chair of the first violins. S/he acts as leader of that section, but also plays a leadership role with orchestra as a whole. S/he is also the last orchestra musician to enter the stage before a concert, and cues the oboe to “tune” the orchestra.

Why do all the musicians tune to the oboe?

The penetrating tone of the oboe is easy for all players to hear, and its ability to sustain pitch is very secure. The oboe plays the note “A,” and all the players make sure their “A” is exactly on the same pitch as the oboe’s. This ensures that they all are in agreement about the tuning before the concert starts.

Why do the string players share stands?

Fewer stands mean that the musicians, who are moving around quite a bit, have more room to play freely. Also, because the strings play more continuously than the other parts, their page turns can fall in inconvenient places where there should be no break in the music. Look closely and you’ll see that the player on the outside keeps playing, while the player on the inside briefly stops playing to turn the page.

Why does the conductor leave after every piece of music?

This provides the conductor a little breather—a chance to collect his or her thoughts before starting the next piece. If the applause is very enthusiastic, the conductor will come onstage again, bow, and perhaps recognize some musicians who played important solos in the piece. S/he may depart again once or twice before moving on to the next piece on the program.

Why don’t the musicians smile while they play?

Look closely and you’ll see that some of them do! But in general, they are concentrating deeply, just like outfielders waiting for the fly ball or pitchers winding up to a curve ball. They’re “in the Zone.” After the music is over, you may see them smiling broadly. If it was a concerto, and they liked the soloist’s playing, they won’t just smile—the string players will tap their stands with their bows as a sign of appreciation.

Seating Chart

Prices by seating section

Seating Chart Details

Prices based on single tickets

$60 = Sections A/D
$47 = Sections B/E
$37 = Sections C/F/G
$25 = Sections H/I

Video Games Live Prices based on single tickets

$65 = Sections A/D
$50 = Sections B/E
$40 = Sections C/F/G
$25 = Sections H/I

About the Concert Hall

About the Concert Hall Details

The University of Akron's E.J. Thomas Hall

198 Hill St.
Akron, OH 44325

Driving Directions on Google Maps

Parking Map

All Akron Symphony Cconcerts take place at The University of Akron's E.J. Thomas Hall.

Smoke Free

  • The University of Akron’s E. J. Thomas Hall is a smoke-free building. Smoking areas are located outside the building.
  • Cameras, recording equipment, cellular phones and pagers are prohibited from being used during a performance. You may take the devices back to your car, check them at coat check in Robertson Lobby (EJ) or check them with the Head Usher at the information counter.

Seating Latecomers

  • Please note the curtain time printed on your tickets, as performances begin promptly. In consideration of others, latecomers will be seated at a suitable pause in the program. This includes patrons who leave the auditorium before or during a selection. Patrons will be re-seated after the completion of that selection.


  • Intermissions are generally 20 minutes in length. The flashing of the lobby lights is your signal to return to your seat for the start of the performance. Latecomers will be seated at proper intervals.

Concert Conclusion

  • Members of the audience who wish to leave before the conclusion of the performance are asked to do so only between selections as not to disturb others.

Accessible Seating

  • The University of Akron’s E. J. Thomas Hall has Orchestra and Grand Tier level seating for patrons in wheelchairs or patrons with special needs. Adjacent seating for a companion is also available in both areas. To make reservations, call the Box Office at 330.535.8131.

Handicapped Parking

  • There are a limited number of handicap parking spaces available on a first-come, first-served basis in the E.J. Thomas Hall parking deck and in parking lots No. 26 and No. 27. There is a $5 charge (cash only) for parking. A valid permit must be displayed. 

Accessible Restrooms

  • Located at the bottom of both ramps on both sides of the building.


  • Public restrooms are located in Robertson Lobby. The Ladies’ Room can be accessed from the odd side of the building and the Men’s Room access is from the even side. The center stairs in Robertson Lobby lead to both restrooms. Accessible restrooms are located at the bottom of each ramp.

Public Telephones

  • Public telephones are located downstairs between the restrooms, off Robertson Lobby. Telephones are also located in our Ticket Office Lobby and McCormick Lobby. Both of these phones are wheelchair accessible.

Emergency Number

  • Should you need to be contacted when you are at a performance, please leave the Main Lobby phone number, 330.972.6828. Also be sure to leave your seat location with the caller so we can locate you quickly. Physicians and others expecting calls are requested to leave their name and seat location with the Head Usher in McCormick Lobby upon arrival.

Drinking Fountain

  • Drinking fountains are located at the top of both ramps in Robertson Lobby.

Information Counter

  • The Information Counter is located in McCormick Lobby, which is adjacent to the Ticket Office. The counter is manned by an attendant, who is available to assist you with your questions and concerns.

Assistive Listening System

  • A special sound system for the hearing impaired, Williams Personal PA Receiver is available at the information counter in McCormick Lobby, free of charge.

Lost and Found

  • The information counter serves as our lost and found department during events. If you discover that you are missing something the day following a performance, please call 330.972.7595 and make a report.

Food and Beverage Service

  • Food and beverages purchased at E.J. Thomas Hall are permitted in the auditorium. A full-service bar and concession stand are located in the building’s center lobby, Robertson Lobby. The Concession Stand offers soft drinks, bottled water, coffee, beer, wine, snacks and candy before the performance and at intermission.

Even and Odd Entries

  • E. J. Thomas Hall has 26 entries that lead into the auditorium seating over three levels. The even entries are located on the University Avenue/Ticket Office side and the odd entries are located off of Hill Street. All entries with the exception of 9-10-11-12-13-14 are accessed by stairs. Entries 10 and 14 are the easy access/wheelchair-accessible entries.