Kotobuki Seating International, the international leader in public seating design and manufacturing, is proud to announce its role in the full-scale revitalization of The Delacorte Theater in Central Park, home to The Public Theater’s renowned Free Shakespeare in the Park. In close collaboration with Ennead Architects, Fisher Dachs Associates Theater Planning and Design and Kotobuki designed and produced 1,864 new seats that merge ergonomic performance, outdoor durability, and inclusive design—setting a new benchmark for spectator comfort in the theater’s 63-year history.

The $85 million renovation was driven by a singular goal: to bring The Public Theater into the modern era with an emphasis on improving experience and accessibility for everyone – audience, actors and staff. For Kotobuki, this meant designing a seating system that not only elevated comfort and accessibility but also responded to the unique challenges of an open-air cultural landmark.

The seating system is central to the theater’s transformation, supporting Ennead’s architectural vision of a space that is both timeless and newly attuned to the needs of a contemporary public. Kotobuki’s contribution addressed multiple design challenges inherent in the open-air venue using seats that were proudly made in the United States:

· Custom engineering for inclusivity: Kotobuki was tasked with creating XL seats that look indistinguishable from standard seats, ensuring patrons of all sizes feel equally accommodated without being singled out. Sixteen 27-inch seats were seamlessly integrated into the overall design.

· Quiet-rise technology outdoors: The AURA Chair, proudly made in the United States, was adapted for The Delacorte with a custom quiet-rise function. This innovation minimizes noise during performances, supporting the intimacy and acoustics of live theater in an outdoor setting.

· Enhanced donor recognition: Each seat features a custom-sized donor plaque, increasing legibility and ensuring that the theater’s philanthropic supporters are honored in a meaningful, highly visible way.

· Audience comfort upgrades: Outdated 18-inch seats were eliminated in favor of wider 19- to22-inch options, complemented by ergonomic refinements designed to withstand Central Park’s seasonal extremes.

· Expanded accessibility: The number of ADA-accessible seats more than doubled, rising to 34, directly supporting The Public Theater’s mission of free and equitable access to culture.

“Kotobuki approaches seating not merely as furniture, but as an architectural component integral to the spatial and cultural experience,” said Keiko Fukasawa Sutton, CEO of Kotobuki. “At The Delacorte, we were asked to solve challenges that demanded both technical precision and design sensitivity—from developing XL seating that feels discreet and dignified, to bringing our indoor quiet-rise technology into an outdoor context. The result is a system that embodies inclusivity, comfort, and longevity.”

The seating upgrades are among the most visible improvements for audiences. Together with Ennead’s striking new façade crafted from reclaimed redwood water towers, rebuilt lighting towers, and expanded backstage facilities, the new seating underscores the design team’s commitment to resilience, sustainability, and inclusivity.

“Kotobuki provided a new and innovative design of their Aura chair, which enhanced accessibility and comfort for audience members,” said Cathleen Bachman, Principal, Fisher Dachs Associates. “The new XL seat sets a new standard for outdoor seating. Kotobuki was essential to the success of this project.”

“The revitalization of The Delacorte is about much more than restoration; it’s about reconceiving the entire audience experience,” said Patrick Willingham, Executive Director of The Public Theater. “Kotobuki’s seating design was instrumental in delivering a space that is not only more comfortable but more equitable, supporting our mission of free theater for all New Yorkers.”

Reopened in July 2025, The Delacorte Theater inaugurates its next chapter with Twelfth Night directed by Saheem Ali, staged before audiences seated in Kotobuki’s newly designed system—an architectural detail as critical to the performance as the stage itself.

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