Wednesday, May 27, 2009

Case Study: The Amish Project

Here's a new fundraising model for you. Jess Dickey -- actor,
writer, creator/performer of the solo show "The Amish Project" -- has gone on an old school barn raising fund drive to get her show into production at the Rattlestick. Over the last year Jess, her director Sarah Cameron Sunde, and agent Morgan Jenness found supportive and interested producers, but the money just wasn't there. So the two of them created a website, and forum for accepting donations, and send out email and facebook status blasts asking for money. Over the past 6 months, the money began to materialize, both in small donations and large gifts. I recall one facebook status update from Morgan that stated if every one of her facebook friends gave $20, the budget for the show would be totally covered. I love this model. The diffuse, small $ donations mean you get many many more people literally and figuratively invested in your project. Give $15-20 to a friend to help with their show, and you're then more likely to make an effort to see the show when it's up and running. I also like the relationship and joint effort that Morgan and Jess utilized to make this happen. Of course, Morgan is known for this kind of personal investment, but I think this model might be where it's at in a more general way. The obstacle to this, of course, is that most agents have such full plates that they can't always dedicate this much time and energy to one client. Even so, I think there's something to be learned here.


Tuesday, May 26, 2009

When Audiences Become Creditors

An article from the Chicago Tribune about when ticket-holders are met with cancelled shows (or even closed venues).

Theater Task Force of Community Board Five in Manhattan

David Diamond (Board Member, The Barrow Group Theater Company, and Chair of Theater Task Force, Community Board Five, Manhattan) sent along some very interesting info to me today.  

David says: "We, along with 4 other Boards in our area hosted a symposium on endangered theaters and the economic crisis back in March. Shay Gines of New York Innovative Theater did a study of closed and potentially closing theaters in New York.  Also, David Pincus (manager of the Workshop Theater and head of CB4's Task Force) is current on the subject. We have a loose consortium of our task forces and other community based organizations who are working together to address the problems of specifically, the smaller companies that are affected, which are located in our communities. We are attacking the problem on a legislative front (encouraging tax breaks for landlords that house nonprofit theater companies), a real estate front (negotiating better terms for theaters), accessing economic stimulus monies, foundation and government funding and other initiatives.  Below are some recent resolutions passed by CB5 which are being widely distributed. Paul Nagle of Council Member Gerson's office is very active on this issue. He's a good resource."

..................................

Other bloggers have dissected/responded to this work here, here, here, and here.

......................................
CB5 RESOLUTION

WHEREAS: Arts and Entertainment is one of the largest industries in New York City with the economic impact of non-profit estimated to be $5.8 Billion and 40,460 jobs (NY Alliance for the Arts, 2005);

WHEREAS: Small to mid sized theaters and other arts organizations are an integral part of the Arts & Entertainment industry: A) as an entry point for actors, playwrights, and other artists, B) for the expression and exploration of the diverse culture of New York City communities, C) sites of creativity, experimentation and innovation, D) jobs;

WHEREAS: Small to mid sized theaters and other arts venues are a closely tied to their local neighborhood small businesses, for instance one theater in CB3 had 70 restaurants contribute food to a recent festival;

WHEREAS: Small to mid sized theaters and other arts venues are economic drivers of local neighborhoods, and are a crucial to the cultural and economic resilience and diversity of our neighborhoods;

WHEREAS: A cyclical economic downturn is the TIME TO INVEST in our neighborhood economic drivers and NOT TO DISINVEST in local economic drivers;

WHEREAS: The proposed disinvestment by the City and the State in community based arts may have an adverse multiplier effect on the small businesses and neighborhoods that they are based;

WHEREAS: Foundation funding and government funding are down by 20-40 percent, yet small to mid sized theaters and other non profit arts venues have fixed real estate costs;

WHEREAS: Government funders recommendations to small to mid sized theaters and other arts organizations to cut back on programming in this time of crisis will not work, as programming constituted the revenue for fixed costs and employment;

WHEREAS: Community Board Five's smaller theaters have been an historic incubator for talent and product that eventually play the neighboring Broadway theaters;

WHEREAS: Our area (CB5, CB4, CB2) has recently lost 25-30 percent of their small to mid sized theaters in the last five years predominantly due to real estate competition (New York Theatre Innovative Theatre Awards study, Dec 08);

WHEREAS: Community Board Five remains the most active, viable center for theater and performing arts;

WHEREAS: There exists innovative policies (land use, tax, public buildings) to sustain and retain theater and other performance venues that other cities and states have successfully used;

WHEREAS: The New York State Assembly member O’Donnell, and NYC Council member Alan Gerson’s office are proposing bills to create a property tax abatement for commercial landlords that rent to non-profit cultural groups;

WHEREAS: The recent joint Community Board Forum on small to mid sized theaters was well attended with extensive expert and public testimony on the loss of theater and arts venues, the importance of theater and arts venues for local communities, and the severe financial crisis hitting small to mid sized theater.

THEREFORE IT BE RESOLVED: Community Board Five calls on its elected officials to acknowledge small to mid sized theaters and other arts organizations to be crucial to the cultural and economic resilience and diversity of our neighborhoods, to recognize the arts as economic drivers and integral to local small neighborhood businesses;

THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected officials to develop and adopt land use, tax and other governmental incentives and policies to retain and secure theater and other arts and cultural venue spaces and to retain arts and cultural organizations in our district and the City of New York.

THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected officials, and the Governor, to act in order to restore the 100 percent funding cut from remaining funds of the New York State Council of the Arts (NYSCA) for Fiscal Year 2009, to restore NYSCA funding to sustainable levels in Fiscal Year 2010, and not to discriminate against small to mid-sized theaters and arts organizations.

THEREFORE IT BE FURTHER RESOLVED: Community Board Five calls on its elected representatives of Congress to include small to mid-sized theaters and other arts organizations in job retention and economic stimulus funding, and not to discriminate against the arts and non-profits in urban stabilization, job retention, and other funding and policies assisting other small businesses.

.................

ARTS IN ED LETTER:

Dear Mayor Bloomberg and Members of the New York City Council,

As we know from the NYC Department of Education’s own assessments, the City’s public schools are not meeting state requirements for arts education. Hundreds of thousands of New York City public school students do not have access to arts education – visual arts, music, dance, theater - in their classrooms, despite state law requiring a specific number of hours in arts be taught throughout a K-12 education. In fact, according to the NYC DOE, nearly 30% of schools have no certified arts teacher on staff, less than half of middle school students are provided with the minimum state arts requirements, and only 8% of elementary schools are even in the position to meet minimum state requirements in the arts. The elimination of Project ARTS – an initiative that secured a minimum level of arts education through dedicated funding making possible essentials like art supplies, hiring art teachers and valuable partnerships with cultural organizations– has made a bad situation a dire one.

National studies show that the arts not only motivate kids to learn more; they also keep youth in school and graduating on time. Unfortunately, data provided by the NYC Department of Education shows that schools with the most low-income students offer the least arts education. As new, stricter graduation requirements are being implemented, it is imperative that all students receive at least the arts education they are guaranteed by law bolstering their chances of graduation. Without the guarantee of dedicated funding for arts education, the opportunity gap will only continue to widen.

Regardless of changes in elected leadership, school governance or the
economy, we must have a structure in place to guarantee that all children can meet minimum standards for arts in the schools.

To that end, we are urging you and the City Council to create a dedicated funding line for arts education – an essential step in ensuring every child receive a quality education that includes the arts.

Sincerely,

Richard Kessler, The Center for Arts Education
Michael Mulgrew, United Federation of Teachers
Billy Easton, The Alliance for Quality Education
Don Fann, Learning Disabilities Association of New York City
Kim Sweet, Advocates for Children
Associated Musicians of Greater New York, Local 802 AFM
Chung-Wha Hong, New York Immigration Coalition
Cynthia Nixon, Actress, Public School Advocate
Jennifer March-Joly, Citizens’ Committee for Children
Jonathan Hollander, Battery Dance Company
Sondra Forsyth, Ballet Ambassadors
Kathleen A. Christie, Brooklyn Arts Council Arts in Education
Kyra Sedgwick, Actor
Claire Yeoman, Children’s Museum of the Arts
Barbara Fisher and Richard Spiegel, Ten Penny Players
Idina Menzel, Actor
Marisa Suescun, Coro New York Leadership Center
Dorothy Savitch, Brooklyn-Queens Conservatory of Music
Theodore Wiprud, New York Philharmonic
Julianna Margulies, Actor
Janine Nina Trevens, TADA! Youth Theater
Elizabeth Halverstam, Arts Horizons
Hjördis Linn-Blanford, American Tap Dance Foundation
Caryne Hayes, Careers Through Culinary Arts Program
Hazel A. Younger, Community Board 16, Brooklyn
Phyllis Cohn, Music for Many, Inc.
Kyra Popiel, The Town Hall
Karina Collado, Riverdale Neighborhood House
Diane Wilson, Community Board 9, Manhattan
Theresa Scavo, Community Board 15, Brooklyn
Peter Nicholas Trump, The Town Hall Foundation
Laura McManus, Museum of Biblical Art
Susan Goldbetter, Circuit Productions, Inc.
Tara Sansone, Socrates Sculpture Park
Joanne Bernstein-Cohen, The Little Orchestra Society
Young Playwrights, Inc.
Susan Fenley, Sundog Theatre
Nellie Perera, Henry Street Settlement
Joanne Zipay, Judith Shakespeare Company NYC
Andrea Crawford, Community Board 9, Queens
Annette Esposito, Community Board 2, Staten Island
David Siesko, Community Board 5, Manhattan

Julie's Notes: Richard Florida's "Rise of the Creative Class" -- Part 1

"In today's economy creativity is pervasive and ongoing: We constantly revise and enhance every product, process and activity imaginable, and fit them together in new ways" (5).

Florida writes abundantly about the growth of our humanity over the past 50 years in contrast with the industrial and technological growth that happened in the first half of our century.

Now a days we define ourselves by our interests, who we surround ourselves with, what we are good at. In the 1950's we characterized ourselves by our professions: "housewife," "fireman," "doctor." These days we do not move to another city or state for a job usually, we move because we are interested in that city and we find jobs based on where we want to live. We are the creative class, thriving off of our many faceted interests and beliefs, no longer conforming to the assembly line, bowing our heads to the sign Don't Think, Just Work. 

Now, major corporations and manufacturers, even factories with assembly lines encourage the opposite. Toyota has a rule in place that allows the manual laborer to halt the line to filter out any malfunctioning part, so that the products are of the highest quality, never misshapen or with a potential to be hazardous. "A company will get nowhere if all the thinking is left to the management. Everybody in the company must contribute and for the lower level employees their contribution must be more than just manual labor. We insist that all our employees contribute their minds" (53). This quote is directly from the founder of Sony.

So what interests me is the people we have become, because we have now transformed the way jobs are. Work weeks are not the same, because the creative mind is spontaneous and doesn't turn on at 9am and shut off at 5 pm. We wake up sometimes at 4 am and have a brilliant idea for a product or a concept. 

Since we have transformed our idea of what a job is in this way, we also do not cling to any singular company; and we certainly do not rest in any one position. We stay at a job for two or three years, and then move onto something greater, or something completely different. 

The creative class thrives in cities like San Francisco, New York City (duh), Boston, D.C., Seattle, Austin. Even smaller cities like Boulder, Santa Fe, Gainesville, Provo in Utah, and Huntsville in Alabama. We thrive in these places  because we are "increasingly opting out of places where tradition is more valued and where the social norms of the organizational age still prevail" (11).

.......................................
"Artists, musicians, professors, and scientists have always set their own hours, dressed in relaxed and casual cltohes and worked in stimulating environments.....replacing traditional hierarchical systems of control with new forms of self-management, peer recognition and pressure and intrinsic forms of motivation, which I call Self-Control" (12). It seems artists have shaped this movement in the professional world, because human nature is more like uncharted waters instead of strict linear lines and grids.

So to connect all of this back to our question of Recession or Reset........we realize we are creative people, who cannot be tamed by the assembly line or merely manual labor or merely a CEO position without some kind of social life, hobby, interest, activity that feeds us as well. Feeds us creatively, feeds our soul, and hunger to create. In this economic struggle, Florida says we need to embrace what we have to offer instead of what we may lose if finances are tight. We need to reorganize the way we have been comfortable now that money is tight.

He describes the process of creativity: "Preparation, incubation, illumination, verification or revision" And the last step is never ending as we well know!

He says some really beautiful things about creativity. He describes the bravery it takes because usually when we fully express an honesty or a close-to-home detail, we are breaking the rules or going against the grain of that society or professional atmosphere.
Creativity "involves not only a passionate interest but self-confidence too. A person needs a healthy self-respect to pursue novel ideas, and to make mistakes, despite criticism from others. Self-doubt there may be, but it cannot always win the day. Breaking generally accepted rules, or even stretching them, take confidence. Continuing to do so, in the face of scepticism and scorn, takes even more" (31).


The Case for Manual (rather than "Creative") Labor

The NYT this week offers as its magazine feature a piece that posits an alternative to the rise of Richard Florida's theorized Creative Class.  With the economic shift, writer Matthew B. Crawford argues, there is a new attention to and need for manual labor.   -- Or perhaps we're talking about the rise in creativity in the area of the trades?

Monday, May 25, 2009

Good News in Bay Area

News of Aurora Theatre and SF's EXIT Theatreplex.

TYA Company Leverages Word of Mouth

Childsplay, a company for young audiences based in Tempe, AZ, is utilizing new ways of getting audiences on board and willing to spread the news of upcoming productions.  Especially interesting given that Childsplay was reported to me as being recently hit with furloughs -- hopefully this new strategy will help turn things around.

A New Model for Community Arts Support

From Scottsdale, Arizona, a new take on how to collect and distribute arts funding.

Rocketing Through Hard Times in Austin

A fabulous piece by LMDA's Elizabeth Cobbe about how small companies in and around Austin are using their flexibility to manage the economic crisis to mostly good ends.

Effects in Boston

I will start by saying that I rarely see eye-to-eye with Boston blogger/arts critic/pundit Tom Garvey, but his post, "This Economic Cloud Has a Cultural Silver Lining," begins to articulate something I haven't seen anyone else in Boston engaging in print yet.

Kaiser on the Bailout for Arts

An interesting article by Michael Kaiser from the Washington Post.  And one about him from the WSJ.  An interview from MIT/Sloan.

Michael Kaiser / Kennedy Center's Arts in Crisis Initiative

Arts & Business guru Michael Kaiser seems to be worth looking into.  My pal in the non-profit world Katherine Urbati turned me on to his book "The Art of the Turnaround: Creating and Maintaining Healthy Arts Organizations," as well as an mp3 of a recent talk he gave at Harvard.  Also interesting, he's the president of the Kennedy Center these days, and was the leader on the Center's new Arts in Crisis program.  Given that our session will be at the Kennedy Center, maybe we can make a connection.

I think it's worth investigating his work further.

Friday, May 22, 2009

Bridge Project

A project created by Kevin Spacey and Sam Mendes devoted to keeping theatre alive during the recession by casting celebrities to attract audiences, performing in repertory, and tours.

Theatre Talk radio story about The Bridge Project

“The surest way to ruin a man who doesn't know how to handle money is to give him some.” George Bernard Shaw

Sam Mendes and Kevin Spacey are the behind the scenes guys of the Bridge Project. In this radio story there are some hints about why their project is successful so far. 

Re-imagining Dead Commercial Space

My favorite story from the last year or so comes out of St Louis, where a foundering mall decided to give its empty storefronts (including a large empty anchor store) over to arts groups.  

I'll paste the text of the original announcement from the St Louis Post Dispatch (oddly no longer available in their archives) below.  

Here's a more recent follow-up article, and here's a report from the successful grand opening: in 40 previously vacant retail spots, now there are 21 arts tenants up and running, and 25 more set to open.  Wow.

.............................

AT THE FLAGGING MALL IN CRESTWOOD... 
Plenty of space for the arts Empty shopping areas are transformed in a dream come true for theater groups, artists. 

Judith Newmark; POST-DISPATCH THEATER CRITIC
Edition: Third Edition / Section: News / 12-26-2008 

CRESTWOOD - Erin Kelley and John Contini, actors who have performed on stages all over town, pace off a carpet in front of the dressing rooms in an empty Man Alive clothing store in a struggling mall. 
 
They're figuring out the dimensions of Avalon Theatre's new stage - a prospect that makes Kelley, the troupe's managing artistic director, choke up with joy. After years of performing in a church basement, Avalon is converting the former shop into a theater at ArtSpace, a section of Crestwood Court that's evolving into a new home for more than 50 arts groups. 

Leisa Son, the court's specialty leasing manager, says she knows of nothing like ArtSpace at any other mall in the country. Neither does Jill McGuire, executive director of the Regional Arts Commission. She looks forward to a time early next year when St. Louisans will be able to enjoy a real "New York day" - shopping, a nice meal, a show - in a single place. With lots of parking, no less. 

"The arts have been recognized as an impetus for economic development for about 10 years, in places like Washington Avenue downtown," McGuire said. "But ArtSpace is suburban, and it's enormous. It's a very exciting opportunity to integrate arts into the community." 

Theater companies, dance troupes and visual artists are among the tenants who will share the space in the shopping center, a South County landmark at Watson and Sappington roads. For years, the mall was known as Crestwood Plaza. 

Like many malls, however, Crestwood Plaza has suffered a downturn. Although Macy's and Sears remain, the third anchor, Dillard's, closed its Crestwood store in 2007. Several small shops are gone, too. 

In March, the 51-year-old mall was purchased by Chicago-based Centrum Properties and New York-based Angelo, Gordon & Co. They plan to tear down all or most of it. It will be replaced with a modern open-air lifestyle center featuring shops, restaurants and entertainment. 

But that's at least two years off, maybe five. What to do in the meantime? 

Centrum managing partner Sol Barket, a former St. Louisan, has a long-standing interest in the arts. He suggested turning the Dillard's wing into an art gallery where area painters could display their work. 
 
Running with the idea, Son called Lisette Dennis, RAC's grants and volunteer manager. "I said, 'I have space, lots and lots of space. Do you know any artists who need space?' 
 
"Lisette said, 'Leisa, if this is your idea of a joke, I don't think it's very funny!'" 
 
Things moved fast after that. Last month, RAC sponsored a couple of open houses where arts groups could explore more than 100,000 square feet of empty, but clean and usable, space. Son was astonished by the response. 
 
"I thought we'd get maybe 10 applications," she said. "But about 70 came in immediately, and they are still coming in." 
 
Those that have started to move in include Laumeier Sculpture Park, DaySpring School of the Arts, Jeane Vogel Fine Art, Marble Stage Theatre, the Hangar and the bookstore I Don't Want to Kiss a Llama. 
 
In exchange for the space, the arts groups agree to decorate the shop windows, a convenient way to call attention to their work. They have to pay for utilities, but the rent "is just north of nothing," said Son, in some cases as low as $50 a month. 
 
The former shops may need a little, or a lot, of work. Avalon, one of the first groups to move in, will divide its space into three areas: a lobby, a house with about 100 seats arranged on risers, and a compact arena-style playing area on the floor. Stage lights will hang from the open ceiling; walls will go up on the sides and behind the stage. 
 
In back are the kinds of luxuries that small theaters only dream of: an office, ample work space for building sets and costumes, lots of storage in the loft. There are even fitting rooms where the actors can change into their costumes. Contini, who will direct February's production of "The Subject Was Roses," observed that each actor in the three-character drama will enjoy a private dressing room, like a real star. 
 
"This space allows us to expand," said Avalon producing artistic director Larry Mabrey, who is Kelley's husband. "We can add a fall show, maybe a holiday show. And it gives us a public presence outside of our house." 
 
Each space will be arranged to suit its group's needs. For example, Son expects several dance companies to share one of the big spaces. One painter - who enjoys talking to visitors while he works - plans to turn his space into a studio; another group of artists plans to work elsewhere, but show and sell their paintings in a collective gallery. A fabric artist, a jewelry designer and an organization that recycles industrial materials for school art projects will be ArtSpace neighbors, too. 
 
In time, McGuire hopes some groups will collaborate. Maybe a painter will decorate a stage set, or a dance troupe will perform in one of the theaters. 
 
"Everybody is so busy that we tend to stay in our own little silos," she said. "I am excited about the opportunity here for cross- pollination." 
 
She also sees big potential for arts classes in a mall, where parents can drop children off, then go shopping. "I would have loved that when my kids were little," she sighed. One of the organizations that will offer classes, Laumeier Sculpture Park in nearby Sunset Hills, will expand its educational programs for children and adults once it moves into ArtSpace. Currently it mainly offers classes in warm weather so they can meet outdoors, where there's room. 
 
"We think that ArtSpace will broaden our audience," said Laumeier's communications director, Mike Venso. "Some people come to the park just to walk their dogs, but while they're here they get to enjoy great sculpture. We think the same thing will happen with mall walkers and shoppers. 
 
"This is smart for everybody. It will be good for the arts groups, and it will rekindle the mall space." 
 
Son shares Venso's optimism. 

"Anything that entertains my shoppers is great," she said. By the same token, she figures that anyone who goes to an art opening or to see a play or to take a sculpture class is apt to buy at least a cup of coffee. Or maybe a pair of earrings, or a sweater. Or a dishwasher. You never know. 
 
She figures that by February, when everyone has moved in, the buzz will be irresistible. 
 
"You'll feel this whole area come alive," she predicted. "This is a win-win for everybody." 
 
(Copyright (c) 2008 The Post-Dispatch)

The Imagination Economy

Courtesy of LMDA's own Danielle Mages Amato:

An article from Fortune on the Imagination economy.  

An article from the Washington Post on cultural groups convening to discuss what to do about this whole economic mess.  The depressing subtitle of the piece: "Cultural Groups Ask What to Mount Next. The Answer, Increasingly: Losses"

(Thanks, Danielle!)

The Flexibility of Smaller Companies

This article really interests me because it addresses one of my nascent theories: that in a time of recession, the flexibility of smaller companies possibly makes them more able to take advantage of the reset mentality.  So, check out this piece on co-productions, from Backstage.


Artists and Obama: Studio 360

Great episode (broken into multiple podcasts) from Studio 360 about government and the arts.  Check out all the stuff on this page.  

$$ -- 2009?

Here are some predictions from TCG on what 2009 will mean, fiscally, for the American theatre.


Big Post of Mike Daisey Stuffs

Can't talk about the state of American theatre and its fiscal status without engaging the work of Mike Daisey -- monologuist & provocateur.

Ok, so first of all, there's his piece How Theatre Failed America.  Here's Daisey's article from Seattle's alt-weekly, The Stranger.  Here's a YouTube excerpt of the monologue.

Here's an interview with Daisey from the Denver Post.

There's Teresa Eyring's rebuttal in American Theatre magazine, called "How Theatre Saved America, part I."  

Here's Daisey's rebuttal to Eyring.

Here's Eyring's follow-up, "How Theatre Saved American, part II."  

The Guardian UK takes on the kerfuffle.  (This post links to many others which are worth investigating.)

GOLD STAR ALERT:  The items of value in this blog post (about the Wilma production) are in the comments section -- LOTS of people want to talk about the issues Daisey raises, and many post links to other fiscal/cultural studies that may be of use for us.

After Eyring, Daisey took on Todd Olsen, Artistic Director of the American Stage Theatre in St. Petersburg, FL, who emailed Daisey a challenge.  Here's round two.  And a follow-up.


I'll paste below an editorial from Back Stage West on Daisey (you'd otherwise need password-restricted database access to read it online).

................

The Sweet and Sour Smell of Regional Theatre Success
Back Stage West 15.14 (April 3, 2008)


Full Text:COPYRIGHT 2008 Nielsen Business Media, Inc. 

A little over three months ago, President Bush signed the Consolidated Appropriations Act of 2008, authorizing a $20.1 million funding increase for the National Endowment for the Arts, bringing its budget to $144.7 million--its highest level since 1995. Not that a lame-duck chief executive would pander to artists to bolster his political fortunes, but the increase did earn Bush some upbeat press. Since studies have shown that every dollar of federal, state, and local arts appropriations has a measurable economic impact on communities, the nonprofit world--including regional theatres--rightly rejoiced.

But a funny thing happened on the way to fiscal nirvana. In the mainstream press and in the blogosphere, the mood has turned sour. Monologist Mike Daisey, for example, recently published an essay in The Stranger, the Seattle alt-weekly, called "The Empty Spaces: Or, How Theater Failed America." He argues that nonprofit theatres have become too corporate, too top-heavy with administrators and nonartistic personnel. Worse, he says, their mission has morphed into a risk-averse hash of the original intention of the regional theatre movement: "to house repertory companies of artists, giving them job security, an honorable wage, and health insurance." Blame the "increasingly complex corporate infrastructure" of these organizations, Daisey declares; blame the expanding marketing and fundraising teams that raise "millions of dollars from audiences that are growing smaller, older, and wealthier." Frankly, these assessments seem reductive: There's no founding document stipulating that all nonprofit theatres must be repertory companies, nor is there conclusive proof that young companies aren't being formed every day, drawing in young audiences and young (or younger) donors. What's salient about Daisey's essay, however, is the growing sense that artists are increasingly becoming an afterthought in a business model that too often prioritizes the corporate over the creative.

Here's an example of what we mean. Referring to Daisey's essay, a recent New York Times feature noted that while theatres such as the Guthrie in Minneapolis; Arena Stage and the Shakespeare Theatre Company in Washington, D.C.; the Signature Theatre in Virginia; and Berkeley Repertory Theatre in California have raised tens of millions of dollars to build new homes, politicians don't see these projects as artist-centered but as forms of urban renewal popular with their constituents. For high-level donors, the projects are seen more as a way to affix their names to buildings than to provide havens for artists. Is there something wrong when millions of dollars are raised and spent on building projects while artists remain largely underpaid and underemployed?

Yes, this is an old squall: No artist or staffer ever feels adequately compensated for his or her work. Speaking of which, on the listserv of Dramaturgy.net, the literary manager of a major regional theatre and an Off-Off-Broadway director have been mixing it up on the topic of internships at regional theatres. While no one expects the rare internship stipend to pay the rent, the debate is about ethics: Is it right for regional theatres to rely on cheap labor when top administrators (i.e., artistic and managing directors) often earn six-figure salaries? Indeed, was the nonprofit business model meant to make people rich?

Daisey's solution is a wholesale reevaluation of the regional theatre system. Others--noting the recent bankruptcy filing of Buffalo's Studio Arena Theatre--believe some retrenchment is in order and that we should lobby for more public and private arts funding. Truthfully, all these ideas have merit. We ask industry leadership organizations, such as Theatre Communications Group, to consider Daisey's criticism seriously; perhaps they could convene a special conference to address whether administrators receive outsized shares of the funding pie, thus dewing theatre artists appropriate compensation. Daisey also notes that regional theatres too often import actors from New York. That too should be a prominent part of the agenda.

Yet we also call on everyone to sell the public on giving generously to your local regional theatre. The American theatre community is depending on it.

For Editorial submissions: c/o Back Stage West 5055 Wilshire Blvd. Los Angeles, CA 90036 email: bswedditorial@backstage.com


Source Citation:"The sweet and sour smell of regional theatre success.(Our View)." Back Stage West 15.14 (April 3, 2008): 7(1). General OneFile. Gale. Boston Public Library. 22 May 2009 

Jack Reuler of Mixed Blood Theatre

A personal reflection about the gaps between commercial and non-profit theatre, with a focus on questions about the success of the regional theatre.

Thursday, May 21, 2009

Philanthropy

An interesting piece about the role of federal stimulus money for non-profits.

Monroe Journal's "Promises and Perils of the Art Industry"

A cool article with mention of Richard Florida.

Florida's creative class homepage

This section is a statement about the oncoming rise of New York City, London, and Paris as the reset gains momentum. All these cities are breeding grounds for theatre. If more people are moving to these cities does it mean more creative flow or less jobs in theatres with the increase in numbers?

Wednesday, May 20, 2009

More Fractured Atlas

Fractured Atlas is beginning to survey NYC-area artists on the effect of the economy.  This is worth keeping an eye on, and perhaps contacting them about how we might get access to the data.

Here's their 2008 data on performance spaces/real estate.

Refuting Florida

Here's an interesting trend: the refutation of Richard Florida's statistical analysis.

Check out: 

(As a PS, Fractured Atlas is worth checking out for lots of other stuff unrelated to this project.  Add it to your list!)

Baseball Analogy

Ok, you have to get through the baseball stuff (and I love baseball stuff) before you hit the meat of the argument, but it's worth it.   This is good stuff. 

Highlight:

-Industrialization is ALWAYS a wasteful process.
-In theatre our raw materials are people.
-Those people waiting tables in New York, providing casting directors one more alternative look, with enough talent to be ‘starting’ elsewhere? That’s wasted raw material.
-That’s hurting theatre.

Scott Walters' Theatre Ideas

Scott Walters (Assoc. Prof. of Drama at UNC Asheville) has a great blog called Theatre Ideas.  Apart from being worth following in general, he's had some recent posts that might be pertinent re: the SF-area theatre ecology.  Check out two posts in particular, here and here.

Ravenhill takes on $$

Playwright Mark Ravenhill (who has a regular blog on the Guardian's website) talks money and theatre, here.  UK-centric, but perhaps useful.

TCG's Theatre Facts 2007

From TCG:

"Each year, TCG conducts a thorough fiscal survey in which many of our member theatres participate.  The data gathered in the Fiscal Survey becomes the basis for Theatre Facts, TCG’s annual in-depth industry report. Available to all member theatres, as well as the general public, Theatre Facts is the only document analyzing the national not-for-profit theatre field and is a vital advocacy and policy tool for trustees, foundation and corporate executives, policy makers and the national press."

Linked here, you can find several collections/interpretations of fiscal data for theatre in the US in 2007, including a very useful press release (summary of findings) as well as the report itself.  Also listed are Theatre Facts fiscal surveys going back to 2000.

Here is the narrative version of the 2007 report, originally published in American Theatre magazine. (Narratives of previous years' reports are available through the link in the above paragraph.)

Some Older Materials

The next bits here are from TCG, circa 2002-2003.  I wonder if we might glean some insight from them.


-An article called Art Will Out by Jaan Whitehead (SITI Co./Theatre for a New Audience)

Here's an excerpt:

"The deepest essence of theatre is the connection of the actor to the audience. You do not need sets, lights, costumes or even a stage to create this connection or to create theatre; you just need an actor speaking to an audience. We tend to think of our theatre institutions as the means by which this connection takes place, the means by which we gather resources to produce the art and gather an audience to witness it. But we do not think very much about the fact that the theatre institutions we create are not a neutral means for doing this, that the institutions themselves affect not only what art is presented to what audience but which artists create the art and how it relates to the wider community. Because our institutions are so familiar to us—they seem so natural and inevitable—we do not ask the probing questions about how they affect and mediate the art. In fact, in seeming to be the obvious answer to the issue of how to produce theatre, the institutional model becomes a mask that obscures these deeper questions."


-A roundtable discussion titled "For Institutions: Is Art the Bottom Line?"

Participants of the roundtable:
Beth Emelson, Naomi Grabel, Irene Lewis, Michael Maso, Jonathon Moscone, Jim Nicola, James Still,  Paula Tomei

The NYT Addresses the Issue

An arts feature from yesterday's paper: "Tight Times Loosen Creativity."

More from the Arts Beat blog -- lots of comments from readers which looks like it might be a gold mine.

It begins...

I'll begin by posting the Richard Florida material that sparked this particular bugaboo.

The On Point episode.

The article from the Atlantic.

An interview with Florida from the same issue of the Atlantic here, and a multimedia feature here.

And finally, a visual aid of Florida's theories from the graphic design firm Alphachimp Studio and their PopTech program.