"It is tremendously exciting to see the conclusion of a long-term project," says Nancy Dornan, president of the Springfield Landmark Preservation Trust, which oversees its construction and budget. From the original plan to restore the Gillioz less than $2 million, to the $8.5 million two-building Ronald and Nancy Reagan Center it's become, the project has survived financial setbacks, board changes and a few missteps to become one of downtown's most anticipated venues for art and entertainment.

And yes, it will be finished on time, project manager Elise Crain can say with certainty. Especially after a breathlessly awaited bridge loan was locked in place last week.

"We expect to be out of here by Sept. 1," says Crain of DeWitt and Associates — the construction company managing the project designed by architects at Butler Rosenbury and Partners. That leaves September to install new seats in the orchestra level and restored vintage seats in the balcony. Which should be in time for the nearly two-week grand opening extravaganza and 80-year-anniversary celebration planned between Oct. 6 and 27.

The Gillioz will seat about 1,100 for arts events and film and music festivals. The interconnected 27,000-square-foot Jim D. Morris Arts Building next door will house offices, a catering business and retail outlets.

Want a peek at progress? Follow us inside.

CROWNING GLORY

Let's start at the tippiest top of the theater which, come fall, will no longer be accessible for close encounters. Here, a maze of scaffolding puts the textured dome ceiling within arm's reach — close enough in some places to bump your noggin (hence hard hats).

For now the crumbling ceiling sports gaping holes and old paint flakes that cling like tiny bats. Due to humidity, plaster workers can't move into the theater until HVAC units are running, slated in a few weeks.

However, a portion of one area where ceiling meets wall was restored several years ago, providing a clear example of what original paint colors in gray, green and pumpkin must have looked like. This is no modern movie theater: Scrolled brackets, flowerlike medallions, intricate patterns in gold leaf and blue, plus crests and urns are a few palatial details found throughout.

"Think about it," says Crain. "This was done in 1926 for a movie theater where the lights were always going to be low or off. To bring this back to life will be a real pleasure."

Behind fragile ceiling walls, permanent catwalks were installed about four months ago, so they can more easily change light bulbs, says Crain.

For now, catwalks are seen through a hole in the ceiling of the old projection room, on the theater's balcony level. This space won't be historically restored, but rather reconstructed, says Crain. New projectors (to show older films) in addition to more contemporary movie electronics, plus sound and lighting capabilities will go here and a nearby space once $1 million more is raised to purchase and install such technology.

The installation of new duct work for cooling and heating is nearly complete. Crain calls Ray Carter of Connelly Mechanical a miracle worker, given logistical challenges. Like most who work on the project, he has a great attitude, she says.

"It's kind of cool," says Carter, nearly hidden inside the domed ceiling where he and a crew work. "There's a certain amount of accomplishment since it's not a normal job."

LOBBY AREA

The first area Gillioz visitors see is the outer front lobby facing Park Central East. Rectangular openings along the east brick wall once held marquees — and will again. Each is topped by a colorful frieze. Light fixtures will be restored to match the original with red and orange bulbs, turned on during winter to "warm" the area, and blue and green which, in the summer, exuded cool light.

Lines drawn on the west side indicate where ticket booths and an office will be installed by the first of June, Crain estimates. A spot in the floor will hold a time capsule, and old radiators will be replaced for looks.

Behind reproduction front doors, plaster repair is under way. The grand two-story front lobby, with its open rotunda, is nearly finished with many crumbled pieces already rebuilt and ready for paint. Reproductions of original trim are stored and ready for installation.

Plaster repair is currently under way in the area just before entering the auditorium. Some walls are pink from a chemical bond — the first of four layers in the process as walls are evened out. Detail work is done by hand, says Jim Hannon of Luczak Brothers, the Chicago company contracted by Conrad Schmitt Studios of Wisconsin, to restore walls and ornamental elements.

Once walls and embellishments are repaired, everything will be painted with historical accuracy. That takes a little detective work, says supervisor Robert Naftzger of Conrad Schmitt, which has done numerous restorations including Union Station in St. Louis and the Waldorf Astoria in New York.

He'll strip down layers of remaining paint to determine original colors, including the gold leaf.

He won't just try to match those colors, he says. He will match them, and not as they were when faded with age.

"As they were originally," he says.

Arched doorways near the current plaster project lead to a small room — once a restroom facility, now slated for concessions. New accessible rest-rooms should be completed by the first of June on three floors of the Jim D. Morris Arts Building, says Crain. And an elevator, scheduled to arrive by mid-May, could be running in about four weeks.

MORRIS BUILDING

"We were trying to echo some of the qualities in the Gillioz," says chief architect Craig Hacker. "It creates movement in the space, and visual interest."

Large rooms on the second and third floors, in which wood floors will be restored, are almost ready for occupants. Caterer Ryan Tiller, who owns Dining by Design, has leased the second floor. He'll call the reception hall Wellington Place.

Dornan says they've booked one event for next year and more inquiries roll in. In October, the board's focus will change from construction and fundraising to management and operation.

At last, she says: "We're moving from one phase to another."