by Chelsea Sektnan
Applause filled the Norris Theatre as Executive Director Julie Moe-Reynolds stepped on stage on a recent afternoon. She wasn’t there just to introduce another live show. She was there to express appreciation for the perseverance the performing arts supporters displayed during the COVID-19 pandemic, when in-person events came to a standstill and the Norris Theatre faced an uncertain future.
“We have had a ball,” said Moe-Reynolds, the daughter of Norris Theatre founders Joan and Dick Moe. She described the vibrant summer concert series in a parking lot transformed into a “mini Hollywood Bowl.” “We dance, we sing, and we create a place where people can celebrate life together.”
For more than 40 years, the Norris Theatre and its sister venue, the Harlyne J. Norris Pavilion, have provided a cultural heartbeat for the South Bay. The nonprofit Palos Verdes Performing Arts (PVPA) remains a beacon for professional productions, youth education, and community events.
The organization traces its roots to 1973, when Joan Moe envisioned bringing a professional-quality theater to the Peninsula. Land and a shell were donated by developers Ernie Hahn and Ron Florence, and seed funding came from Ken Norris and the Norris Foundation. The 450-seat Norris Theatre opened its doors in 1983. The Pavilion followed in 1999, expanding PVPA’s ability to host performances, education programs, and rentals for local nonprofits.
When COVID-19 shuttered venues across the country, the future of the Norris Theatre was uncertain. That uncertainty had already been mounting because of a $1 million lawsuit filed by the Promenade on the Peninsula mall. The mall accused PVPA of trespassing because pavilion patrons used the mall’s adjacent parking lot. The legal dispute escalated when the mall placed signs and barricades discouraging theatergoers from parking in the lot, an action the city of Rolling Hills Estates ultimately forced the mall to reverse.
Community members rallied behind Moe-Reynolds, staging ‘Save the Theater’ demonstrations on busy street corners.
“It was very aggressive,” Moe-Reynolds said. “The discovery was endless, and it felt like harassment. But walking away would have meant losing everything my parents built. I wasn’t going to let that happen.”
She recalled sleepless nights and moments of doubt.
“But the community showed up,” she said. “People stood on corners with signs. That got me through.”
Moe-Reynolds said she believed the mall’s ultimate goal was to force PVPA into bankruptcy to avoid honoring a longstanding parking agreement for the use of up to 150 parking spaces — made between her father and former mall partner Ron Florance with a handshake in the late 1990s. Despite the pressure of both the lawsuit and the pandemic, she persevered. Loyal donors, quick thinking, and tireless fundraising saved the organization. New walls filled with donor tiles sprang up outside the theater, honoring those who stepped up to keep the arts alive.
“The donor campaign is what basically saved us,” Moe-Reynolds said. “We pivoted every way we could, outdoor classes, online programming, but it was the community that made sure we survived.”
The theater didn’t just survive; it adapted. By constructing a full-scale temporary outdoor stage across the street, the team created a flexible and energetic concert venue. It allows audiences to enjoy music under the stars, and if the weather strikes, shows can be moved indoors without missing a beat.
Greg Forbess, PVPA’s Operations and Technical Director for more than 20 years, said the organization’s resilience stems from its ability to continually evolve. During the shutdown, the team launched outdoor summer camps, hosted small outdoor shows with socially distanced “pods,” and used the downtime to upgrade infrastructure.
“We just kept going,” Forbess said. “We figured out how to host summer camps outdoors, socially distanced concerts, whatever it took to keep the lights on.”
Forbess emphasized that PVPA’s youth programming is vital for the community.
“There’s kids that do baseball and soccer, and there’s kids that want to sing and dance,” he said. “This is their sport, their outlet.”
He also noted that few other venues in the South Bay offer the same opportunities.
“There really isn’t anything comparable,” Forbess said. “It’s a space where kids and adults can be creative and have a community.”
Moe-Reynolds, who took the helm as executive director in 2016, wears many hats. In addition to managing operations, she scouts talent across the country to ensure that every show at PVPA is top quality.
“Before I came in, acts were sometimes booked off videos,” Moe-Reynolds said. “Now, I fly across the country to see performances live to make sure they meet our standards. We get one shot to make a first impression. I want it to be outstanding.”
This summer’s lineup reflects that commitment. Concertgoers can look forward to Broadway’s “Rock of Ages,” a Taylor Swift tribute show, “Blank Space,” a country music night honoring Toby Keith and Garth Brooks, and a Yacht Rock concert featuring Ambrosia, John Borgoli, and Peter Beckett. Meanwhile, the Cabaret Jazz Summer Club, now in its 25th year, will showcase acclaimed jazz artists in a more intimate setting.
Most recently, audiences enjoyed Chris Ruggiero, who took listeners on a nostalgic journey through the golden age of rock and roll, breathing new life into the timeless music of the 1950s, ’60s and ’70s.
Beyond the headline acts, PVPA nurtures young talent through its robust Conservatory programs. Summer camps fill up within minutes of opening registration, evidence of the organization’s deep impact on local families.
Joel Sluyter, Conservatory Director, oversees Camp Curtain Call, which offers three different two-week summer camps for ages 5 to 11. The program offers classes in singing, dancing, and acting at both beginning and intermediate levels, culminating in a live performance at the Norris Theatre for friends and family.
Past showcases have included beloved productions like Matilda, Willy Wonka, and Peter Pan Jr.. This year, students in the teen mainstage production will take on Mean Girls, offering a contemporary musical with challenging choreography, humor, and heart, all staged with the professional-level production standards PVPA is known for
“All campers get to sing, dance, and act in a fun environment with older counselors who have trained in the field,” Sluyter said. “We put on a show at the end of the two weeks, so after all their hard work, the kids get to perform for their families.”
The Conservatory also offers a competitive, audition-based summer production for students ages 14 to 20, attracting talented teens from across the South Bay.
“We run it as professionally as possible,” Sluyter said. “Even if only one out of 100 pursues this professionally, they will know exactly how it’s done.”
Sluyter emphasized the importance of nurturing spaces like PVPA.
“Kids today have so much to deal with — social media, peer pressure, it’s different than when we were kids,” he said. “This program gives them a safe, loving environment where they can be themselves without fear of judgment. It’s so important.”
“Many students find the Conservatory at Palos Verdes Performing Arts to be a safe and nurturing environment,” said Sluyter.
Whether or not they pursue a career in the arts, Sluyter emphasizes, these young performers gain confidence, teamwork skills, and lifelong memories.
Longtime supporters, such as Diana Martin, a former board member who launched the theater’s Valentine Ball fundraiser decades ago, credits Moe-Reynolds with carrying forward the original vision.
“We owe it all to Julie,” Martin said. “Her parents would be very proud. This place feeds your soul.”
Becky Cool, a Rancho Palos Verdes resident and major donor, echoed the sentiment.
“They’re extremely important for our children,” Cool said. “There’s a lot of people that we also sponsor here so that they can see live theater.”
She added that supporting children’s exposure to the arts is vital to the Peninsula community.
Linda Borg, Events and Box Office Manager, has witnessed firsthand how the theater has adapted since the pandemic.
“Gone are the days of season subscriptions,” Borg said. “People buy tickets last minute now. But thanks to Julie and the team pivoting, we’re still here, and thriving.”
She emphasized the importance of maintaining accessible venues like the Norris, particularly for community groups, dance recitals, and local performances.
“There are so few venues like this available,” said Borg. “You have to have spaces like this to keep the arts alive. It’s not just important for performers; it’s important for the entire community.”
Moe-Reynolds said her work is about more than just managing a venue.
“It’s a legacy for the community,” she said. “I want it to be here for another 100 years.” Pen