March on Washington

Architecture meets personal legacy in a Broadway landmark When Stephen Colbert took over the Ed Sullivan Theater, he inherited more than just a soundstage; he stepped into a 1927 masterpiece designed by Arthur Hammerstein. Originally envisioned as a cathedral of culture, the space resonates with the echoes of The Honeymooners and David Letterman. For a designer, this is a lesson in respecting architectural bones while injecting a new soul. Colbert doesn't just work here; he curates the space to reflect his own journey. Nerdy chic and the art of the meaningful prop Interior design often struggles with how to display collections without looking cluttered. On the set of The Late Show with Stephen Colbert, high-fantasy and comic book lore sit comfortably alongside historic architecture. A sword gifted by Viggo Mortensen—the steel of Aragorn—and a Captain America shield aren't just toys. They serve as focal points that humanize the grand, vaulted environment, proving that high-end design can, and should, include the things we love. Hidden portals and the thrill of discovery Every great space should have a secret. The theater features historic secret doors tucked into its balconies and a functioning trapdoor on the set. These features remind us that design is as much about movement and mystery as it is about aesthetics. While Colbert jokes about the safety of the trapdoor, these elements honor the theater's original 1920s craftsmanship. They provide a sense of play that keeps the environment from feeling like a static museum. Intimate history on a national stage Perhaps the most striking design choice is the inclusion of a banner from the March on Washington. It connects Colbert's personal family history to the broader American story. By placing a photograph of his father and a relic of his mother's presence at the I Have a Dream speech on the set, Colbert transforms a massive commercial theater into an intimate home. It’s a masterclass in how to make a public space feel deeply, authentically personal.