Three Days at the Kennedy Center

Anne Murphy Douglas, President of the Board of Theatre IV, and Bennett Fidlow, new Board member at Barksdale Theatre, joined Phil and me for a three-day seminar with Michael Kaiser and others at the Kennedy Center. We returned yesterday afternoon after a highly informative, intensive and fun learning experience. We’re eager to put our newfound insights to good use here in Richmond.

For those who don’t know, Michael Kaiser (who also recently spoke at the University of Richmond’s Modlin Center) is a world-renowned arts leader. Prior to becoming President of the Kennedy Center in 2001, Michael served as Executive Director of the Royal Opera House (the largest performing arts organization in the UK), Executive Director of American Ballet Theatre, Executive Director of the Alvin Ailey Dance Theater (the world’s largest modern dance organization), and General Manager of the Kansas City Ballet.

Spending two and a half days with Michael feels a little like cramming a year of arts administration training into 20 hours. Part of his brilliance is that he is able to speak clearly and simply, boiling down his extensive experience and research into comprehensible two-hour sessions. His focus areas at seminars such as this include Building an Effective and Energized Board, Strategic Planning, and Institutional Marketing. Other senior executives from the Kennedy Center staff spoke from their areas of expertise: Business Management, Development, Technology and Program Marketing.

Phil and I have been in our positions for 32 years, and never have I felt more in sync with a speaker. In point after point, it was clear that Michael knew exactly what he was talking about. And the points he made applied not only to mammoth international organizations (the Kennedy Center has an annual budget of approximately $160 million) but also to large regional organizations like Barksdale Theatre and Theatre IV (combined annual budgets of approximately $5 million).

If you’ve been to many seminars like this, you know that experts can sometimes speak for hours in a theoretical realm, offering little practical advice. Michael knows how to cut to the chase—how to identify the challenges we face and then offer specific suggestions on how to address these challenges. It really was a terrific learning experience, very validating, mind-stretching and informative.

Special thanks to the Virginia Commission for the Arts for funding our participation through their Technical Assistance grant program, and to Anne and Bennett for giving up their time to join us. This is one seminar that I think will pay off handsomely in the futures of Barksdale Theatre, Theatre IV and the Metro Richmond arts scene in general.

Ruth Salisbury Passes at 93

Few people had a bigger impact on the founding and building of Theatre IV than Ruth Salisbury, retired Associate Professor in the Theatre Department at the University of Richmond. When Phil returned from the Navy to co-found the company in 1975, Ruthie gave him free housing in exchange for a little bit of weekend yard work. After Phil and I moved into our Grove Ave apartment/office, every time we ran out of money Ruthie invited us over for spare ribs, cabbage, and gin and tonics.

Neither Phil nor I became skilled practitioners in stage make-up after taking Ruth's rigorous course at U of R--we're both extraordinarily untalented in that area. But when it came to theatre in general, Ruthie taught us more than she ever knew. Her professionalism, commitment and energy were second to none--and she demanded these attributes from her friends and students just as much as she demonstrated them herself.

Over the decades, we saw and discussed well over a hundred shows with Ruthie--here in Richmond and also in D. C. and New York. We spent endless evenings chewing the fat on her comfortable porch overlooking her showplace backyard. We mourned with her over the loss of beloved pets.

Saying goodbye to Ruth Salisbury is like saying goodbye to Mr. Chips. She was for us everything an educator could and should be. We learned just as much from her life as we did from her lesson plans. She was a very dear friend. We will miss her and treasure her forever.

The Show Must Go On! Well...

There’s a familiar slogan in our business that literally everyone knows and almost everyone subscribes to. “The show must go on!” This slogan is helpful when a performer or technician is feeling under the weather and needs an extra boost to rally the energy needed to perform. It also serves well when there is great sadness in the company or the world, and we need an injection of commitment and good will to fortify our hearts before we can bare them before an audience.But there are instances, in my opinion, when the show must not go on if the more responsible decision is to delay an opening or cancel a particular performance.Ticket holders, understandably, hate it when a performance is cancelled. They’ve gone to a lot of trouble to set up their schedules around a particular evening in the theatre, and then they’re asked to go back to their calendars to select a different date and plan their lives all over again. The decision to cancel a performance should always be a last resort.So when is cancellation the best policy? I believe that a performance should be cancelled when the producer believes that:A. doing the performance under existing circumstances would create an unsafe environment for either performer or audience member, and/orB. the performance that could be mustered under existing circumstances falls significantly short of the artistic standards that the theatre has led the audience to expect.

This past weekend I made the tough decision to cancel the Friday student matinee and the Friday Opening Night of The Wizard of Oz at Theatre IV. As much as I am aware of and sorry for the inconvenience that the cancellation caused valued members of our audience, I still believe I made the right call.Wizard is a huge show, and despite everyone’s best efforts, we simply weren’t ready. We faced technical difficulties that posed a significant threat to the physical safety of our cast and crew of approximately 70 theatre artists. We desperately needed several hours of additional rehearsal time to operate a show of this size safely, and the only way to get that rehearsal time was to postpone opening by one day.Within 24 hours of my decision, our wonderful box office staff worked its hardest to personally contact every one of the 800 or so audience members affected. Most audience members were understanding; a few were furious.The request I make of audience members is this. When informed by a reputable theatre that a particular performance has been cancelled, please know that the decision was not made lightly. And consider that being offered the opportunity to switch dates or accept a refund will always be preferable to seeing someone seriously injured on stage, or seeing a show that is simply no good because it isn’t ready to open.When facing these difficult decisions (which I have to do once every 15 or so productions), I will always err on the side of safety and artistic quality. I think that’s the best way to serve our audience responsibly. Only when I know that the workplace is safe and that artistic standards are being respected and maintained will I insist that the show must go on.The good news is that the extra rehearsals we had this morning and this evening for The Wizard of Oz made all the difference in the world. I'm now confident that we'll have a terrific show. And in the end, that's what everyone wants the most.

posted by Bruce Miller at 10:08 PM