SALT LAKE CITY The fight over having residents vote on the historic status of a pair of downtown Salt Lake City theaters is now headed to court.
The leaders of a group seeking to preserve the two landmarks filed a lawsuit against the city after they were told both of their efforts to put an initiative asking residents to vote on providing historic status for the structures didn t qualify for the November election.
Casey McDonough and Michael Valentine, both from Salt Lake City and lead members of the group Save the Pantages Theatre, filed the lawsuit in 3rd District Court on Friday. It lists Salt Lake City recorder Cindy Lou Trishman, Salt Lake City attorney Katherine Lewis, and the city as respondents of the lawsuit.
| Updated: 11:11 p.m.
Sacrificing Main Street’s run-down Utah Theater for a residential skyscraper project is supposed to bring other benefits to Salt Lake City.
As part of a controversial pact to “sell” the vacant 102-year-old relic to co-developers Hines and The LaSalle Group for zero dollars, city leaders who agonized over giving up on fixing the building sought guarantees in return: affordable homes in the resulting tower, a midblock walkway cutting west off Main and a new pocket park in a part of downtown where public open space is scarce.
Another big condition for the city’s land discount was perhaps the hardest to fulfill: Create a digital repository to fully capture the crumbling grande dame of Utah’s performing arts past for future generations before she gets demolished.
Kelly Hogan, a backup singer for Neko Case and former Rock A Teens guitarist, has an intense fan base impatient with the pace of her infrequent solo work. Four years ago, Hogan teamed up with fellow Chicago vocalist Nora OâConnor, Scott Ligon, Alex Hall and Casey McDonough to form The Flat Five. While not entirely an a cappella group, the five singers merge their voices in droll and unexpected ways. Their 2016 debut album has just been followed by
Another World (Pravda Records), a sophomore effort that revels in fun.
They might seem to overload the gimmicks and tricks, as if Squirrel Nut Zippers teamed up with New York Dolls for a vaudeville revival. Even the silliest songs, like âDrip a Drop,â have much to recommend them. But when they get serious in tracks like âThe Great State of Texasâ or âHouse of Foam,â it becomes apparent that the quintet is maturing into a 21st-century equivalent of Manhattan Transfer. Still, with Hogan and OâConnor�
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