Byrd Theatre Foundation v. Barnett

Supreme Court of Virginia·Decided February 27, 2014·No. 130691·Published

Opinion

PRESENT: All the Justices

THE BYRD THEATRE FOUNDATION OPINION BY

v. Record No. 130691 JUSTICE ELIZABETH A. McCLANAHAN FEBRUARY 27, 2014

DAVID M. BARNETT

FROM THE CIRCUIT COURT OF THE CITY OF RICHMOND Melvin R. Hughes, Jr., Judge

In this premises liability action, The Byrd Theatre Foundation (the Foundation) appeals a final judgment entered against it in favor of David M. Barnett (Barnett). The Foundation argues that the circuit court erred in denying its plea of charitable immunity and in failing to instruct the jury on notice to a corporation. We will affirm the judgment of the circuit court.

I. BACKGROUND

The Foundation, a non-profit corporation qualifying as a tax-exempt organization under 26 U.S.C. § 501(c)(3), owns the Byrd Theatre, a national historic landmark and motion picture theater in Richmond that was opened in 1928 and houses a Wurlitzer theater pipe organ installed the same year. The theater is operated by 1928 Limited, Inc. (1928 Limited), a non-stock for-profit corporation formed by the Foundation shortly after its purchase of the Byrd Theatre in 2007. Barnett, a member of the Foundation's organ restoration subcommittee, was injured in the theater's organ chamber when

he was performing repairs to the organ and a wooden plank he stepped upon "gave way" causing him to fall four feet to the floor. 1 Asserting that the wooden plank was not properly secured, Barnett filed suit against the Foundation and 1928 Limited claiming they failed to maintain the premises in a reasonably safe condition and warn him of the dangerous condition of the plank. Following a jury trial, the jury rendered a plaintiff’s verdict against the Foundation and a defense verdict in favor of 1928 Limited. The circuit court entered judgment on the jury's verdict after denying various post-trial motions filed by the Foundation.

II. CHARITABLE IMMUNITY Prior to trial, the Foundation filed a plea of charitable immunity. Because Barnett stipulated that the Foundation is a charitable organization operating in accordance with its charitable purpose, the issue presented to the circuit court was limited to whether Barnett was a beneficiary of the Foundation at the time of his accident.

1 The organ chamber is located three stories above the floor level of the auditorium and houses the ranks of pipes and instruments, and other parts of the organ necessary to power the organ and relay signals from the organ console to the music producing parts located in the chamber. Wooden walking planks are located approximately four feet above the floor of the chamber to provide access to certain parts of the organ.

A. Evidence and Ruling on Plea At the hearing on the plea, the Foundation presented evidence that, pursuant to its articles of incorporation, the Foundation was formed "[t]o cultivate, promote, and develop the public's knowledge, awareness, understanding, and appreciation of the performing arts." After its purchase of the Byrd Theatre, the Foundation, through an amendment to its bylaws, narrowed its mission to owning and restoring the Byrd Theatre "as a grand movie palace and community resource." In performing this mission, the Foundation's principal activity is raising funds to be used in its restoration of the theater, including the organ. Because the Foundation does not have any salaried employees, it utilizes independent contractors to perform any such restoration and repair of the theater and the organ.

Barnett is a long-time theater pipe organ enthusiast, who has held memberships and leadership positions in several organ enthusiast clubs that are dedicated to the preservation and appreciation of historic pipe organs. He purchased a Wurlitzer theater pipe organ in 1978, and over a two-year period, dismantled, restored, reassembled, and installed the organ in his home. Although Barnett does not play the organ, he is fascinated with the sound and mechanism of theater organs, and has received visiting organists to play the organ installed in

his home. He is passionate about the preservation and restoration of the Byrd Theatre organ and has attended the Byrd Theatre, over the years, to hear the organ played.

From 1976 to 1990, Barnett consulted on and performed restoration and repair work to the Byrd Theatre organ either as an individual volunteer or with a group of volunteers from the Virginia Theatre Organ Society. In 2008, Barnett was asked by Robert Gulledge, Jr., the house organist for the Byrd Theatre, to serve on the Foundation's organ subcommittee of the theater restoration committee. 2 As the "steward" of the organ, the organ subcommittee arranges for and oversees restoration of the organ. Barnett's duties were of an advisory nature and included making contacts with organ technicians who might enter into contracts with the Foundation for long-term restoration or short-term renovations, as well as reviewing the terms and scope of work included in proposed contracts.

During a period in which the subcommittee was without an organ technician under contract, Barnett volunteered to undertake certain repairs to the organ that were needed to

2 Barnett testified that between 1990 and 2008, he did not perform work on the organ and was not affiliated with the Byrd Theatre, though he would occasionally bring out-of-town company to see the theater or its lobby.

address sound quality issues. 3 While making repairs to the organ was not within the scope of his duties as a member of the organ restoration subcommittee, the work "needed to be done, and nobody else was available to do it." Barnett arranged to perform the repairs with Linwood Lunde, a former house organist for the Byrd Theatre who was still affiliated with the theater and obtained a key to the organ chamber from the theater manager. When Barnett fell in the organ chamber, Lunde was in the auditorium working at the organ console.

Barnett testified that he volunteered to perform the repairs since he "had a passion to have the organ work properly as a service to the Byrd Theatre" and "was happy to do that because, if that organ had not had people take an interest in it, it would have most likely gone silent." Barnett further testified that he "gain[ed] satisfaction from knowing that [he] was helping the theater" and "getting the work done that needed to be done." According to Barnett, he "didn't get any other satisfaction out of it."

Based on the evidence presented, the Foundation asserted that Barnett was a beneficiary of the Foundation's charitable

3 Although an organ technician had been under contract, he was unable to resolve the specific problem being addressed by Barnett and Lunde, and the Foundation was in the process of terminating his contract and contracting with a new technician.

purpose through the work he performed since "the sound, the mechanism and the music are all improved, which is something he's interested in and passionate about." In permitting him to perform this work, the Foundation argued, Barnett was given access to one of the few original installation theater organs in the country and provided the unique opportunity to work on the organ, in pursuance of his long-time hobby and passion.

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