Custom engineering to integrate L-Acoustics KARA II into the historic Criterion Theatre

Built in 1932 on Main Street in Bar Harbor, the Art Deco Criterion Theatre has been a cultural landmark for the community for almost a century, hosting film screenings, theatrical productions, concerts and other live events.

The theatre is now entering a new chapter under Stephen and Allison Sullens, founders of the non-profit Harper House Music Foundation, which has taken ownership and is leading its revitalisation. The aim is to preserve its historic identity while expanding the quality and range of performances it can host.

The sound system had been in need of a comprehensive upgrade for years. The previous configuration could not deliver the coverage, output or consistency required by contemporary productions, particularly in the balcony area. The main loudspeakers were ground-stacked on the elevated stage, making it difficult to direct sound effectively to every part of the audience.

WSDG began the project with an acoustic and electroacoustic evaluation of the auditorium, taking measurements at different points throughout the room and assessing the requirements of its varied programming. The first phase focused on the sound reinforcement system and audiovisual infrastructure, with the aim of creating a modern technical foundation for theatrical productions as well as rock, pop and country concerts and nationally touring artists.

The Criterion is a jewel of Bar Harbor and a venue with a remarkable history, so our objective was not simply to install a more powerful sound system. We needed to understand how the room was performing acoustically, provide the coverage and output required by today's productions and create an infrastructure capable of supporting the theatre's next chapter. This first phase establishes that foundation while preserving the character that makes the Criterion so special, explains Jonathan Bickoff, senior partner at WSDG and project manager for the upgrade.

A flown L-Acoustics KARA II system

At the heart of the upgrade is a newly configured L-Acoustics KARA II line array system. The design increases the number of enclosures on each side of the stage and incorporates central subwoofers, front fills and dedicated under-balcony loudspeakers.

Flying the main arrays above the stage allows sound energy to be directed more precisely towards the audience, achieving more consistent coverage and improved intelligibility across both the main floor and the balcony.

"The previous ground-stacked system could not be aimed effectively at every part of the audience because of the height and position of the stage", explains Connor Martin, acoustics and AV systems engineer at WSDG. "Flying the new arrays gave us much greater control over how sound was distributed throughout the room. Achieving that safely within a nearly century-old structure required close coordination between WSDG, Stone Mountain Systems and the structural engineer".

An installation shaped by an HVAC duct

Stone Mountain Systems, a long-standing WSDG collaborator on projects throughout Maine, handled system integration, installation documentation and the installation itself. Noah Cole led the company's design work, while Pat O'Donnell supervised the onsite team.

One of the biggest challenges was rigging the flown arrays. A large HVAC duct occupied the ceiling space directly above the planned loudspeaker positions, restricting both the available attachment points and physical access for installation.

Stone Mountain Systems worked with WSDG and Timothy Dean, structural engineer at LeMessurier, to develop a custom trapeze-style rigging structure. Heavy-duty steel channels, positioned back-to-back, were secured to the building's structural beams. A series of threaded rods supports an additional channel beneath the duct, allowing the loudspeaker loads to be transferred to the building structure without interfering with the HVAC system.

The rigging was challenging because the HVAC duct was positioned directly where we needed to place the support points. Thanks to our collaboration with WSDG and LeMessurier, we developed a solution that allowed us to work around the obstruction and suspend the system safely, explains Cole. 

DiGiCo digital consoles and Q-SYS control

The project also introduced a modern production, signal routing and control infrastructure.

Stone Mountain Systems supplied and installed DiGiCo Quantum225 mixing systems for both FOH and monitor mixing, replacing equipment based on an outdated analogue workflow.

The new digital snakes and signal routing capabilities provide greater flexibility for both the theatre's technical staff and visiting sound engineers. In addition, a Q-SYS control platform, equipped with an onstage touchscreen, allows different operating modes to be selected according to the type of event.

The work had to fit around the theatre's active events calendar. The installation was completed within an accelerated nine-day window ahead of the summer season. This required precise coordination of equipment deliveries, rigging, installation, commissioning and staff training, as well as detailed logistical planning due to the venue's location on the coast of Maine.

An immediate and noticeable improvement in sound quality

The improvement was immediately apparent, particularly in areas that had previously suffered from limited coverage. The difference was so significant that audience members said the sound had been completely transformed.

Dave Cook, front-of-house (FOH) engineer for Natalie Merchant, mixed several shows at the Criterion during the summer. "I was so impressed when I walked in and saw the installation, but I was even more impressed when I listened to it", he says. "Right from the start, it sounded perfect. I didn't touch the EQ or make any adjustments to the system. It simply didn't need it".

Courtney Sale, executive director of the 1932 Criterion Theatre, shares that assessment: "When I first heard music through the new system, I teared up because it felt as though we were in a new building. The Criterion has always been a beautiful venue, and we used to say that there wasn't a bad seat in the house visually. Now we can say the same about the sound. It reaches every corner of the auditorium and envelops the entire audience, including those seated in the balcony. It has elevated everything we do".

The upgrade of the sound system and audiovisual infrastructure marks the first stage of a broader, multi-phase modernisation programme. Future phases are expected to explore potential improvements to the room acoustics, architecture and aesthetics of the building, while preserving its historic character.

A theatre this beautiful deserves to sound as good as it looks, and the artists who perform here deserve a system that allows them to do their best work. This is only the first chapter, and we couldn't be more excited about what comes next for the Criterion and its community, says Stephen Sullens, founder and president of Harper House Music Foundation.

"Meeting Stephen Sullens and becoming part of the story of this very special theatre has been an honour for all of us at WSDG", concludes John Storyk, founding partner of WSDG. "We are very proud to have contributed to this next chapter in its remarkable history".