Colbert recovers lost 1927 Moorish dome inside the Ed Sullivan Theater

When Stephen Colbert inherited the Ed Sullivan Theater, he didn't just step into a television studio; he entered a time capsule. Built in 1927 by Arthur Hammerstein, the space was originally conceptualized as a cathedral of culture. For decades, the grandeur of this architectural vision remained stifled by the technical necessities of broadcasting. Previous iterations, including the tenure of David Letterman, prioritized acoustic control over aesthetic preservation, resulting in a space that felt closed off and utilitarian.

Peeling back the layers of broadcast history

Designing for television often demands a sacrifice of history. To combat the "slapback" audio echoes caused by the theater's hard surfaces, past production teams installed massive sound sails and thick fabric baffles. These elements, combined with a lower lighting grid, completely obscured the upper reaches of the theater. Experts and executives alike believed the original interior features were long gone, allegedly torn out during renovations in the 1950s. However, curiosity proved more accurate than corporate memory.

Restoration of the Moorish masterpiece

Upon removing the acoustic obstructions, Stephen Colbert and set designer Jim Fenhagen discovered the original Moorish design was perfectly intact. The intricate plasterwork and the massive, ornate chandelier—once thought destroyed—were simply hidden behind the soundproofing. This discovery shifted the project from a standard set build into a meticulous restoration. By securing funding from CBS, the team revived the painted dome, ensuring the history of the space became an active participant in the modern show.

Design as a storytelling bridge

Integrating 1920s architecture with a high-definition late-night set creates a unique visual tension that honors New York's history. The theater has hosted everything from the first Honeymooners sketches to Jackie Gleason, and now, through the preservation of its original ceiling, the The Late Show with Stephen Colbert bridges that gap. It proves that functional design doesn't have to erase the soul of a space; instead, it can frame it for a new generation of viewers.