Centers for Redefining the Performing Arts
Michael Taormina | Cobb Energy Performing Arts Centre
Matt Charkow | William Morris Endeavor
Lynn Cingari | Paradigm
Gerald Henlley | Fox Cities Perf. Arts Ctr.
Kelly Milukas | Providence Perf. Arts Ctr.
Tim Neece | Bass Concert Hall
Gram Slaton | Wheeler Opera House
Performing arts centers are often thought of as grand halls that cater to highbrow culture and present primarily resident ballet, opera and dance companies. But with the changing economic landscape, many are staging more touring artists, including – gasp – rock ‘n’ roll in order to reinvent themselves.
Sometimes the need to increase revenue and attendance runs smack into organization mission statements, because most are operated under the auspices of non-profits. It also means reach-ing out to different audiences in new ways, including social media.
One challenge facing PACs, according to panelist Gerald Henley, is overcoming a “stigma” attached to fine arts venues be-cause they’re perceived as not being experienced with commercial shows and not able to afford guarantees because of their non-profit status. Or, conversely, that they’re flush with money and can be charged higher rates.
“We need to start presenting ourselves as venues, not as PACs,” Fox Cities PAC’s Henley explained. “We have the database, we have the programs, we have an engine that will drive sales – advance to day-of.”
And then there’s the issue of filling dark dates between long-booked performance series.
“I have to give up 15 weeks for Broadway and an ‘Arts Alive’ series, which is 15-18 shows, then the remainder of the calendar gets thrown to me,” Henley continued. “I do the commercial booking of the venue, working with agents and managers, to put for-profit shows into the building. We sub-sidize the other programs with these shows. We do 184 ticketed events and have a 500-seat black box theatre for local and smaller bands.
“Plenty of comedians and others would love to play there, but there’s a stigma of being a PAC.”
Tim Neece said he was brought in to Bass Concert Hall at the University of Texas at Austin six years ago solely to book for-profit shows, and somebody else books a full fine arts season as part of the hall’s mission of staging such events and presenting workshops. He’s proud to note that even though the opera and other fine arts events take a lot of dates off his calendar, Bass Concert Hall still ranked No. 14 on Pollstar’s Top 100 Worldwide Theatres chart.
“When I got there, I was amazed that the deals that were made were not very good deals,” Neece said of the perception that PACs have more money to throw at artists and therefore get more expensive offers. “We’ve improved those and moved the mission for-ward. We’ve increased revenue streams that may seem like new areas to PACs.”
Paradigm agent Lynn Cingari said that perceptions are changing. She books artists like “Celtic Thunder” into PACs exclusively from the agency’s Monterey office.
“I started out booking clubs and moved up to the theatres,” Cingari said. “There are tons of theatres and PACs in New Jersey alone. The education I’ve gotten from these guys is amazing, and I’ve learned that each PAC is different.”
Moderator Michael Taormina did a quick poll of the room and found that most of the attendees also manage PACs. He explained that at Cobb Energy PAC, he tells agents that are looking to book commercial shows that he can give them their rates be-cause of their commercial shows.
“We had the shock of the economy in 2008, and 2009 was about adjusting and now recovery,” Taormina said. “So we’re looking for new product. When there’s an act on the rise, how do we create an audience for that?”
Providence Performing Arts Center buyer Kelly Milukas gave some examples. “From the buyer’s point of view, we’re partner-ing with clubs in our market and talking with them. Maybe we’ll package something up. We’re co-promoting with clubs and developing the relationship with managers and agents.”
Gram Slaton of Wheeler Opera House in Aspen, Colo., said that buyers, agents and managers should consider the needs of the non-profits and their missions. “We need to step in and help
some of the non-profits survive, either by partnering or giving them the building. They need to do their fundraising to get through this so they can come back in two years and be whole.
“By going in and rescuing these organizations, it’s allowed their boards to step up and say, ‘What are we doing wrong’ in case they are reorganizing. Now, some see the light and do what they should have done all along.”
Taormina and Henley addressed the maintenance and restoration fees commonly part of a PAC ticket, and said they should be spent on allowing for wear and tear that comes with mosh pits, food and beverage.
“Some of these buildings were built as temples of glass and crystal and carpet and so on. Some of us want to break out of that. If somebody spills on your carpet, spend that money and clean it,” he said.
Slaton agreed. “When I came in, my predecessor had made it so repressive nobody wanted to come. I had a frank discussion with the mayor of Aspen. She got it. It’s just paint. It’s just material. If something gets broke, fix it.
If something gets dirty, clean it.”
One unnamed venue in Atlanta, according to Taormina, should know all about redefining not just the arts center, but art. “One arts center booked mixed martial arts and called it the ‘Symphony Hall Slam,’ or something like that. The powers that be got very upset about it.
“There’s a mix of what makes for a successful venue. We sell our experience. We sell an intimate experience. When Harry Connick sings to a 6-year-old in the front row, everybody goes ‘awww’ and takes that home.”
|Deborah Speer|