As The Cap approaches its 92nd birthday this August, we're looking back on the history of our home, the stories behind the shows, and the memories that we've made. What better way to celebrate The Cap's history than with a Cap original? Dennis Bochichio is no stranger to The Cap's inner workings, starting as a part-time employee in 1968, where he would eventually find himself devoting a major portion of his life to the theater. With so much experience here, we consider Dennis an absolute legend. We recently caught up with Dennis to discuss his relationship with The Cap and all the experiences and memories he became a part of. Check it out!

Your legacy at The Capitol Theatre started in 1968, which was arguably one of the most pivotal eras in music history. How did you come to start at The Cap and what were some of your duties?

The owner of the building, Phillip Steinberg, had purchased the Capitol Theatre in April of 1968. It was a movie house at the time. In October 1968, our church (Corpus Christi Church) drama group rented the theater for a production of "The Odd Couple." I was a senior in high school and was in charge of lighting for the play. We were there for about two weeks. After we finished, the manager, Big Lou, asked me if I was interested in working in the theater part-time. I started working the following week. I changed the marquee and cleaned the theater on weekends. I also worked the candy stand, ticket taking, and maintenance. Big Lou was so please with my work that he had me work more hours with more responsibilities; I repaired the seats, changed all chandelier lights, and was learning to become a projectionist. I learned how to run the heating plant and the ventilation system. I took care of the maintenance of motors, and became a plumber fixing bathrooms. You name it I did it!

Howard Stein did the first set of concerts in February of 1970. By then, I was going to school In New Jersey for an electronic technician degree, but on my weekends and spare time, I'd work at concerts at the theater. If I didn't have a ride to get back, Howard Stein would send a limo for me at the school. I saw and worked most of the concerts during Howard Stein's time. It was very interesting and I learned more about the business. Howard Stein was there from February 1970 to near the end of 1971 when he decided not to renew his lease at the Capitol; he went on to New York to open the Academy of Music/Palladium, and later, Xenon Disco.

After Howard Stein, there were a number of promoters working at the Capitol. They included Bud Filippo, and, later, Eddie Claridge. During their years, I continued to work when I could (I had a full-time job), either providing lighting services, as house electrician or for electrical work and maintaining the theater. Also, when there weren't any concerts, it was rented out for rehearsals. Alice Cooper did his “Billion Dollar Babies” tour set up there. It was also used for Fleetwood Mac's “Rumors” tour and David Bowie's “Ziggy Stardust” tour. Around 1976, Eddie Claridge had left because Mr. Steinberg didn't want to renew his lease, and he went to RKO in White Plains and then to several other places.

Mr. Steinberg passed away in April 1977, so the theater went dark. During its dark time, from 1977 to around 1980, I was still there periodically, representing the owner's family, taking care of minor maintenance, trying to keep the building alive because there were stores and offices in the front of the building that needed to be maintained along with the vacant theater. In 1980, the owner's family gave up the building, the stores and offices closed, and I left. Around 1983, Marvin Ravikoff bought the theater. I was familiar with Marvin; I knew him from his business in town, he knew who I was, and I started helping again that year with the restoration of the theater. He rented the theater to groups for concerts, and turned it into a catering hall. Katy Perry, Flo-rida, Three Dog Night, and the B-52s all played for private events. It was also rented for rehearsals - Paul Simon and Bob Dylan were two of the performers, for instance. Several scenes for TV shows , movies & commercials were also shot there. I worked many of the shows at that time until Peter Shapiro took over in 2012. I was asked to stay on, but I declined - 44 years was enough! Let the younger crew take over!

Serving through 2012, you’ve worn many caps around the theater, which have ranged from lighting to maintenance work. In that same vein, you’ve also seen the theater change over the years. Since re-opening in 2012 under Peter Shapiro, you’ve still been a visible presence here and have seen the theater into the 21st century. What are the main differences that you note between the theater in the 1960s to what the theater is today? Is there a difference in culture and atmosphere, or does the theater still capture the same charm?

The differences? I miss the enchanting wall murals and the stunning crystal chandeliers. In regards to what the theater was like back in the late 60s/early 70s as compared to today, I would say that, even though the decor and the stage production is different, it has the same culture and atmosphere. The Capitol still captures the charm, it's a beautiful theater, it always will be, and it should always do well whatever type of entertainment is provided there. Any seat in the house is a good seat, the acoustics are phenomenal ... and it's a great building!

Speaking to the legacy of live music at The Cap, you’ve been around when Janis Joplin wrote and debuted Mercedes Benz, the Grateful Dead played 18 shows in 1970-1971, as well when MTV ran live at The 10 Spot specials with David Bowie and The Rolling Stones. How is it that magic seems to happen around every corner at The Capitol Theatre? Can you describe its unique spirit and vibe?

I have to say that the Capitol was a mecca - the bands were great! The audience was always full of energy. Janis played one of her last concerts there before going up to the "big stage in the sky"! The Dead loved playing there - Jerry said that it was one of two halls in the U.S. that were the best (the other being the Filmore). Over the years it still holds on to the magic!

In a New York Times article regarding the reopening of The Cap, you mention that Joe Cocker in 1970 was one of your favorite shows here at The Cap. What was so encapsulating about that show that it remains with you to this day? Overall, what was your favorite era of music at The Cap?

The Joe Cocker concert was amazing! There were two shows that night, 7:30 & 11:00, and because of some technical issues, the early show started at 9:00 & the 11:00 at 1:30. Joe was phenomenal - so much Energy! The crowd was wild & he played until around 5am, and nobody left. After the concert, there were close to two thousand people running out onto Westchester Avenue!

In regards to my favorite music era at the Capitol, I would have to say the Howard Stein years was the best music era of the time. You have to realize that a lot of those bands were up and coming, they were looking for venues to play, and they really did an outstanding performance there. Over the years, of course, different promoters have been there. Peter Shapiro has done a phenomenal job restoring the theater and bringing back great acts. He should be commended for keeping the theater going - very good, Peter - along with Tom Bailey & the rest of the great staff. It's always been fun working there, and I'm sure that all of the audiences enjoy every concert that they go to. Even though I am rarely there, I'm still a big fan of the theater!

There’s a series of pictures that you have shown us in which you’re standing on top of the marquee outside of the theater in 1974. Do you remember climbing onto the marquee and breathing in that view of Port Chester in the 1970s? What's the story behind those photos? Do you find yourself often looking back on this pictures and reminiscing?

I spent a lot of time up on the marquee working behind the big "Capitol" sign that was on there. There are control boxes with fuses and running light relays and so forth that would always get goofed up because of the weather. I was up there doing repairs, and my friend George, who used to take photos of the concerts there, happened to be coming down Westchester Avenue. The pictures that you've seen are the ones that he took of me that day. I remember them very well! The picture of me sitting on the ledge was actually during coffee break; I didn't feel like coming down from the building so they brought me up a cup of coffee and passed it out through the window. I had some interesting stories about working the marquee changing the letters - once being hit by a truck, another time by a convertible (and ending up in the back seat), and another time the ladder caved in on me and left me hanging on!

You have spent most of your life here and in a way, it must feel that The Cap is ingrained in your life. How has The Cap inspired you or motivated you throughout the years? What do you believe is the greatest gift you have ever received from The Cap throughout your lifetime? 

When I first went into the Capitol Theatre in October of 1968, I did not realize that I would be in that building for almost 44 years on and off! It was a great experience. The gift that the Capitol has given me is insight into the stage lighting industry. I started a stage lighting company basically from working shows at the Capitol; it got me interested in buying equipment and I did many concerts up and down the East coast. The best part was meeting many fine performers!

Technology takes a central role at The Cap, specifically through the means of revolutionary audio and visual mechanics that help elevate the live performance. What are some technologies that exist today that you wish you could have had back in the day and additionally, what are some technologies from the past that you wish could still be used today?

When Mr. Steinberg first bought the Capitol in 1968, there were only border lights and footlights on the stage. When concerts started in 1970, the original lighting truss was actually a window washer's scaffold that hung from the ceiling in front of the stage, along with added lighting along the sides and on the border lights. The house sound system was provided by Weissberg Sound Company. The early concerts didn't have any electronic dimmer boards, the sound amplifiers were basically tube amplifiers, and there were no wireless mics or ear monitors. Blue Oyster Cult was the first band to use lasers at the Capitol. The equipment has drastically changed for better over the years. It would have been nice, I guess, if we had some of the modern equipment in 1970-72, but as time went on, more and more modern equipment came into the theater. Either way, the acoustics in the theater are one of the best; in every seat the sound is good and the view of the stage is great. It's just an all-around great concert venue - not overwhelmingly large, great for an intimate concert, and it's just fun when stuff goes on there.

Looking forward, The Cap is swiftly approaching its 92nd anniversary in Port Chester. Where do you see the future of The Cap heading, especially with the 150th anniversary of Port Chester in the near yet distant future? Do you feel that The Capitol Theatre will stand the test of time and continue to be a staple in the realm of live music and if so, why do you feel so?

The Capitol Theatre in the great town of Port Chester, as long as Peter can keep it going, will always be a great venue and it will always be used for something, I can't see why it can't make another 92 years of history, entertaining people in the tri-state area. As I said earlier, it's been a great run for me, I was there from the end of '68 on and off until Fall of 2012, about 44 years. It's been a great experience of my life, and even though I had some rough days there where I walked home shaking my head, I would never give it up. I do it all over again - it was so much fun! Thank you, Capitol Theatre!