Last Chance for 2nd Anniversary Gala Dinner Reservations!

If you haven't made your reservation for the 2nd Anniversary Gala yet,... do it now!

The caterer needs a guest count no later than Wednesday, October 15th, so we need to have all reservations by that time.

Don't miss out on this great party for all of our Empress Theatre friends. Call the box office at (801)347-7373 right now, or make your reservation on line at the Empress Theatre's website.
Tell your friends to get their reservations in now too!

In addition to the dinner, there will be an awards ceromony, a preview of the 2009 season, and afterwards an evening of dancing the night away.

4th of July Thank You's

A big special thank you to everyone who helped us celebrate the 4th of July Empress Theatre Style!



Suzanne, Michele, Pam, Tammy, Dr. Haggart, Douglas, Amy, Ginny and all the ushers and tour guides and other people whose names I don't have who helped with the yard sale and the theatre tours. We made a little over $800, which is good money for a yard sale. I'm not sure we made enough to justify doing all the work everyone did again, but we're that much closer to our goal of raising the down payment on the Empress! Way to go!



Steve, Liz, and all the cast of Seven Brides for Seven Brothers and the cast of "Jesters Royale" (It was as big a surprise for me as it was for you) for your presence in the parade and for passing out the fliers. A special personal thank you to Adam McKinlay for rescuing Amy and Ephraim with the 4-wheeler.



Laura Bedore, KOSY-FM and Green Team Utah for providing our parade announcer. As usual, Laura was terriffic!

A 4th of July request

While I'm on the subject of the 4th of July, there is a flag pole on top of the Empress Theatre. It would look terriffic to have our flag flying proudly up there, but the pole is in need of paint and repair.

It would be even more cool to have someone design an Empress Theatre flag that could fly below Old Glory, and maybe even have a bunch of them over the sidewalk in front of the theatre.

Who is up for these two projects?

And all this was in Magna!

Somedays I have a hard time thinking about what I want to post. Not today! My wife had to work last night, and that left me with the kids... Well sorta.

Mirinda was running lights for closing night of The Foreigner (which had a really good crowd with a large contingent from the Harmon Home Senior Center in West Valley! It's always nice to see busses parked outside the theatre, and last night there were 2 of them!) Damia was rehearsing Big Bad Musical in the basement of Zions Bank. Since Lessa has left for Boot Camp in South Carolina, that left me with Mara, Peter, Neeva, Meyrick and Ephraim.

Mara & Peter wanted to go see Foreigner one last time, so I took all five of the kids to the show. Ephraim was too wiggly to sit through it, and Meyrick wasn't far behind, so I left Mara and Peter and took the three younger ones...

To the concert in Pleasant Green Park sponsored by the Arts Council of Magna! 'Seriously Evan' was playing. I chewed Starr Campbell out for not getting me date information sooner so I could post it in advance, so now I'm stuck with only being able to report after the fact. Neeva and Meyrick played in the playground while Ephraim and I listened to the music. For you Seriously Evan fans out there, the trio is going into the studio this morning to begin cutting an album.

I find it remarkable that there are so many different things going on in Magna. And the list keeps growing! There are two or three more concerts in the concert-in-the-park series; OHPAA and the Arts Council are teaming up to sponsor a Cultural Arts Celebration in August. The Arts Council is sponsoring an art contest and exhibit over the 4th of July. The Magna Parade is getting better every year. (There's a big surprise coming with the parade this year, but it gets its own post. So stay tuned!)

Amy was so jealous when she got home from work!

OHPAA Long Range Capital Plans

Rod, Joline and I (and Nolan for a few short minutes) met on Wednesday with Bob Bailey, a consultant, and a delegation from the county working to develop Salt Lake County's "Cultural Arts Master Plan" to discuss the future of OHPAA and the Empress Theatre.
We gave them a tour of the Empress Theatre and the Magna Hardware building, discussed what we've accomplished so far and what we plan to do in the future.
As some of you may already know, the Empress Theatre is the only live theatre serving the west side of Salt Lake County (HCT, located on 2200 W is actually east of the geographical center of the valley.) The only other live performance venue to serve the west side is the Usana Ampitheatre in West Valley City. The purpose of our meeting was to ensure that OHPAA and the Empress Theatre are included in the master plan so that we don't get bypassed as arts development monies are appropriated and locations for venues are chosen.
As part of the discussion, we talked about OHPAA's longer range plans. We still need to purchase the Empress Theatre from Leo Ware's estate beofre our purchase option expires in August. We are also working on purchasing the old Magna Hardware building right nextdoor to the Empress. That building includes the parking lot to the west and the alley easement that runs from the Empress to 9180 West and the building that currently houses Walgamott Realty. Further down the road, but not much further, we are looking at acquiring the old Dyches Drug building across the street.
The hardware building will be rennovated for use as a set construction shop, costume shop, storage and possibly some office space. We might also open the upstage wall of the Empress Theatre stage to communicate with the hardware store building to allow us to move scenery back and forth between the two buildings rather than take it through the lobby as we do now.
The 6000 square foot main floor of the Dyches building would be used as a rehearsal hall, classroom, reception area, and possibly a small eatery and gift shop. We could also use that building as a black box theatre or for non-play type performances like our show choir or for events like dances. (Despite the overwhelming preference for an outdoor party with live entertainment, I still want to have a formal gala. Probably in the winter. Fortunately, we can do both!)
Finally, the parking lot west of the hardware store would be paved and marked, while the alley behind the Empress Theatre and the hardware store would either become additional parking or would be landscaped for outdoor events. And we'd probably add the parking behind the Dyches building as well.
All told, it will take about $750,000 to $1,000,000 just to purchase the buildings and do enough of the rennovation to allow us to open them up. We'll have to decontaminate the meth lab in the Dyches building, tear down that eyesore on top, and fix the roof. And probably double that to actually complete the project. But I think it is well worth the effort for both OHPAA's sake and for Magna's.
These plans are still in the development stages, and haven't even been voted on by the Board yet, but I thought folks would like to know what we're looking at in the future.

Family Friendly Standards

One of the things OHPAA prides itself on is production of "family friendly" live entertainment. So I was a bit surprised when someone commented that they thought our current show, The Foreigner, "violated OHPAA's standards." I've never seen The Foreigner any where else, so I don't know if other productions of it have included offensive content, but I have no problem taking my children to see the Empress Theatre's production. In fact, my five under-twelve children have seen it three times. I suspect the comment was made based more on reputation than on the actual production on the Empress Theatre's stage.

The Foreigner does present the Klu Klux Klan and a scheming minister as the bad guys. And it uses deception as a major plot device. And there is the matter of a pregnant debutant...

Okay, so...

Joseph and the Amazing Technicolor Dreamcoat presents attempted fratricide, slavery, the deception of Jacob, and the summary execution of the baker; not to mention a half naked Joseph cavorting about on the stage. And what about that whole scene with Potiphar's wife?

Shakespeare's classic Much Ado About Nothing is all about deception and, oh yeah, eveasdropping on other people's conversations, though sometimes the conversations were designed to be overheard. The false accusation that Hero is "a committed stale" who knows the comfort of "a luxurious bed" is equally a depiction of a moral question. (Don't even get me started on Midsummer Night's Dream and the whole sleeping with the donkey thing!)

What makes the character of Owen Musser different than the character of Borachio? How is the Reverned David Marshall Lee different than Prince John the bastard. How do we find the scheming of Joseph's brothers to be acceptible on the stage while rejecting the scheming of Owen and David as improper content?

Guys and Dolls is all about gambling and depicts a crap game in a sewer. My Fair Lady uses the deception of passing 'Liza off as nobility and Alfred's panhandling of Higgins. In Oklahoma Curly suggests that Judd suicide and Judd has his "glass," presumably pornographic, in the smoke house; and don't overlook the knife fight and the "trial" Curly goes through after he kills Judd; or anything at all about Ado Annie...

Arranged marriages, Tevye's dream and a pogrom in Fiddler on the Roof; Sound of Music deals directly with the German takeover of Austria, and the von Trapp's flight from the very racist and brutal Gestapo. (As racists working under Hitler, the Nazi's did more damage than the Klan ever imagined. The KKK is ugly, the Gestapo was ugly, efficient, and had state sanction.) Polygamy and sexism are central to the plot of The King and I.

Yet each of these shows is considered a "classic" of American Musical Theatre.

Where and how then do we draw the line? What content is objectionable? What content is acceptable?

OHPAA is actually in the process of developing a formal set of standards, and we'd like your input as to what they should be.

Please leave your comments, but I ask that you follow a few simple rules: first, if you are going to comment on Foreigner, tell us if you've seen the Empress Theatre production of The Foreigner or if your comments are based on some other production. Second, please explain why you think a particular bit of content is objectionable as family entertainment, and whether or not you would consider it objectionable in other contexts. Finally, no dis-ing a show just because you don't like it; keep the comments centered on what type of content you consider appropriate for families and what you consider inappropriate.

I won't promise to post all coments, but I will promise to pass all on-topic comments on to the board and the standards committee. And I will post all comments that further a healthy discussion. And lets all keep in mind that not everyone will agree on every point.

Dance the night away or big picnic in the park?

Would you rather dance the night away or chill out at a big picnic in the park with friends? Over the last month, there have been more than 100 visitors to this blog, but only 12 of you have voted in the poll in the left margin. There are five days left, go register your vote. Do it right now!
The big picnic is in the lead at the moment, followed a close second by the formal gala.
While I'm on the subject... Who'd like to help plan either of these events?

The Value Beyond the Price of Admission

Every now and then I am confronted by someone who complains, as did a commentor in today's Tribune (see the comments associated with the letter): "What is it about dance, theater, opera and symphony, that they can't finance themselves like so many other artistic genres?"

This person is probably suffering from a common delusion that most of the operating money for live theatres like the Empress and organizations like OHPAA come from government grants. For the record, OHPAA received a whopping $3,000 in government subsidies last year; compared to over $500,000 in donated cash, volunteer labor, and materials from private sources and over $70,000 in earned income from ticket sales, etc. And that was just our first year of operation. We expect to make about $150,000 from ticket sales this year.

Nevertheless, the question is valid and deserves an answer. I think however, that we must first reframe the question slightly. Dance, theatre, opera, and symphony and all of the other performing and fine arts are all able to "finance themselves," but they don't do it strictly from the money collected from admission to events or sale of artifacts. These art forms are funded by a combination of "earned income," sponsorship revenues (from the sales of advertising and promotional partnerships) , and donations or grants from private and public sources.

For what it's worth, TV, movies and even professional sports wouldn't make it on admissions alone. They need sponsors and they get subsidies too! There is just a different mix and visibility, as well as different production & distribution efficiencies.

Next, I think we need to ask the question: Why is this this model used? This question is really two questions: What are the alternative models and why is this model chosen over them? And Why does this model work at all?

We can take up the first question at a later time, but for today, lets examine the 2nd. Why is it that "dance, theatre, opera and symphony" can finance their art and the operation of their venues with tax subsidies and private donations?

What value exists in the performing arts that justifies governmental subsidy programs like the Salt Lake County Zoo, Arts, and Parks program or a grant from the Utah Arts Council or the National Endowment for the Arts? What prompts a charitable foundation like the George S. and Delores Dore Eccles Foundation to establish arts as a philanthropic focus? What inspires a private donor to write a check for several thousand dollars and give it to an organization like OHPAA? And what's up with all the donated labor and time?

I have my thoughts on this, but I think I'm going to leave the question open for today. Instead, I'd like to hear your ideas about why it is even possible for a performing arts organization to acquire funding beyond what it can earn from the sale of tickets. Click on the comment link below and tell me what you think.

The Abundance League

As I was purusing the blogsphere in search of funding opportunities for OHPAA this morning, I came across an organization called "The Abundance League." Many years ago, one of my mentors taught me to think in terms like, "Other people have everything I need in the world, and they will happily give it to me if I give them what they need." The Abundance League seems to operate on that principle.
In the Abundance League Manifesto they say:

We believe that abundance flows from helping each other. That mutual aid,
collaboration, and interdependence lead to abundance in all it's forms - health,
wealth, happiness, friendship, know how, great experiences, and more.

That scarcity is created by anything that keeps us from helping each other. That
anything blocking increasing levels of cooperation cheats humanity of its full
potential. That beliefs, behaviors, and social divisions that keep us from
helping each other lead to poverty and violence.

That the purpose of our lives is to be of service to each other. That it is our responsibility to understand our unique abilities and passions, design a life of service that uses these for our own fulfillment and to the best advantage of others, and to find like-minded collaborators to advance our service projects. That this is not only our responsibility, but also one of the most powerful sources of purpose, meaning,
and joy to do the work we were meant to do.

Taken in this context, my job as the Development Director is to help others (our donors and patrons) to reach their objectives through helping us (OHPAA and the Empress) to reach ours. This is true of all the different aspects of what we do at the Empress and for OHPAA. Volounteers volunteer because they get something back from the experience.
I would like to start an Abundance League chapter in Magna. The meetings sound like a lot of fun for everyone, and would probably be profitable for everyone.
If you are interested, leave a comment or send an email to twimmer@empresstheatre.com

What makes you volunteer

I was contacted earlier in the week by Lisa Mann, a free-lance writer doing an article for DramaBiz magazine. Her story is about how live performance theatres, like the Empress, attract and retain volunteers. She was most interested in higher levels of volunteerism, like donated creative services or donations from lawyers, and so on. We'll have to keep our eye on DramaBiz for the next few months to see if the Empress gets a mention.

In the meantime, her query has me curious. For those of you who volunteer at the Empress, in whatever capacity, I'd like to hear from you. Why do you volunteer? If you're not an Empress volunteer, then why do you choose to volunteer, or not, for other organizations?

The Empress has some incredible people who keep coming back and doing more and more. And its not all actors wanting to be on stage. When I think of Joline Walgamott, our executive director, or Kelly, our stage manager, or Douglas, our house technical director, and others who give beyond the call of duty, often neglecting other parts of their lives, it gives me pause... and it inspires me!

So click on the comment button, and share with us what the fire is within you!

More than "Just Another Community Theatre"

As I talk to people from around the valley, they've either not heard of the Empress Theatre, or if they have, they immediately assume that the Empress is "just another community theatre," and they pass on the trip to Magna. Unless, of course, I'm talking to someone that has come to one of our shows. Then they ask me, "Where do you find all that talent? Are they all really local? Are they really just amatures?"

All three of those questions were posed to me by Betsy, a friend of mine from Holladay after she and her family came to a performance of Fiddler on the Roof last summer. Last Monday, she came back to see Joseph and the Amazing Technicolor Dreamcoat and brought 20 other people with her. This was her third trip back to the Empress... Somehow I don't think it will be her last. Several people, including my friend Betsy, have said we remind them of Hale when they were in their old digs downtown.

Clearly, the Empress is not "just another community theatre" in terms of our production quality and the talent of our performers. But there's more to the story than that. Over the next little while, I hope to post articles on each of the areas where OHPAA and the Empress are working. For now, here's a short list:

• Historical Preservation: The Empress Theatre isn't just an old building. She's listed on the "National Register of Historic Places" for her place in local history and for her distinctive architecture. And OHPAA's interest in preserving the history and cultural heritage of Magna doesn't end with just preserving the Empress Theatre.
• Educational Programs: We've already started working with local elementary schools to provide interesting field trips to introduce children to the performing arts, and even give some of them a taste of being on the stage. We're working on plans for a number of other educational programs. Afterschool, community, and homeschool group programs, personal lessons, and even a touring performance group.
• Community Building: OHPAA is working with other organizations like Salt Lake County and the Arts Council of Magna to develop cultural and social programs in the Magna area. We're very proud to note that several new businesses have open near the Empress recently, and we hope that the Empress had a part in the resurgence of Magna's Main Street.
• Arts and Culture: This would normally go without saying, but we certainly want the search engines to pick up on it! Beyond just producing plays and selling tickets, OHPAA has a committment to developing new talent and to exposing our audiences to other than the popular fare. We've committed to producing a series of One Act Plays written by Salt Lake Valley High School Students, we've produced two of Shakespeare's comedies and will produce more, we'll be producing an original musical, The Workshop, or trouble at the pole, by local playwright Jordan Dixon to premier this December.

If you haven't come to one of our performances, you're missing a treat! If you have, then consider either volunteering or donating to help us complete the project we've started.

Just another community theatre... Yeah, and Katrina was just another thunderstorm.