Open House Reminder

Reminder that the OHPAA board will be holding a public open house at the Empress on Tuesday, March 3, 2009, from 7 to 9 PM. This event is open to all patrons, volunteers or anyone else that has an interest in OHPAA or the Empress Theatre. The purpose of the open house is to take feedback from patrons and volunteers about how well we are doing. Come tell us your thoughts.

Programs for Big Bad Musical

Okay, so here's what happened...

We had a smash hit with Joseph, that covered our expenses and allowed us to reimburse some long outstanding purchases and cover some other deferred expenses.

"An Evening of One Act Plays" was an educational program, not a major production. It was artisticly and educationally successfull, but it didn't make us any money. We may have even lost a bit on the deal. But that's why we're a non-profit organization.

We hoped that The Foreigner would ride on Joseph's coattails and be successful at the box office. Based on this expectation, we committed cash to secure the rights to Big Bad Musical and Seven Brides for Seven Brothers. And we started putting money into Seven Brides.

Well, Foreigner didn't do as well as we'd planned. It was a risky show for us to do. It's not well known outside of theatre circles, and it has some language and situations that some find objectionable. It just wasn't what our audience wanted. It's a wonderful show, and Porter and the cast have done a marvelous job with it. But we just didn't draw the paying audience we expected for it. Hopefully, when all the beans are counted, it will have covered its expenses.

But Foreigner hasn't put any cash back into the till.

Meanwhile...

For our big productions, we have a contract with Theatre Publications to actually publish the book. They have the right to sell some of the advertising, so they underwrite a large portion of the printing bill. So those big 32-36 page full color programs don't cost us very much. And we are able to sell advertising to help defray some more of the costs.

But our smaller shows and educational programs are not covered in the contract. One-Acts and Young Performers' Theatre isn't expected to draw large audiences, and we'd never recoup the cost of the big programs without selling a lot more advertising than we've been able to do so far. We've only had a couple of volunteers step up to sell ads, and they've had marginal success. (though they've been more successful than I was when I tried doing it for a living in Las Vegas!)

We were able to have the programs for One-Acts printed for $200. When I asked about doing the Big Bad programs, and I was ordering only half as many, the quote was $250. That was a pretty steep increase. And we're cash tight.

So, here is a specific need for donations or sponsorships. We need to raise enough cash to cover printing the program for Big Bad, and we need some additional cash to cover the cost of printing flyers and postcards and doing our other marketing things. If we can raise $500, we can do 500 black and white, 8 page programs and have color postcards and flyers printed. If we can raise $750, we can have the programs in color. For $1,000 we can do 16 pages in color.

(No. We're not in danger of closing up shop. We have a temporary cash shortage. But we do still have a long way to go before we'll be financially comfortable and able to reach our goals. I always look at these little situations as opportunites. Lets see if we can raise some cash to meet this need! As an educational program, this is one of those things that has value beyond the price of admission.)

So, I'm going to ask you to either make a donation, become a sponsor, or help us find some sponsors for Big Bad Musical. (BTW, I already have one $50 pledge... From one of our friends in Holladay!) The deadline to submit the program to the printer is Monday, so don't procrastinate.

UPDATE: As of 11:40 this morning, I have received a committment from one Friend of the Empress for a $50 - $100 donation, but she won't be able to make it until June 25 when she returns from Brazil. Another of our friends has agreed to put a full page ad in the program. And finally, we've received a $200 donation through Google Checkout. That's $325 we've raised so far. Lets keep going!

UPDATE: Got an email from Joline a few minutes ago. Kathy Wilcox just made another donation for $100. Kathy you Rock!

UPDATE 6/9/2008: Jan Lowder just donated $100 via Google Checkout! This is awesome!

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.

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.

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.