Letters to the editor: June 2009

Gary Peterson, whose resume includes a stretch as the Executive Director of the James Sewell Ballet, clues us in on an attempt by the Twin Cities dance community, in the mid-90s, to create a local touring circuit to suburban venues. Obviously, the dream of connecting the performing arts community in the metro with culture-loving audiences around the state has been around for a while. He writes:

In the mid 1990s, a number of discussion streams within the Twin Cities dance world considered the possibilities of identifying and/or developing some number of venues located away from the urban core for the regular presentation of dance. Participants in the various discussions included Bonnie Mathis and Marcia Chapman of Ballet Arts Minnesota; John Munger, Dance/USA; Danial Shapiro, Shapiro and Smith Dance; Susana di Palma, Zorongo Flamenco; Gary Peterson, James Sewell Ballet; Danny Buraczeski, Jazzdance; Stuart Pimsler, Stuart Pimsler Dance Theatre; and others. Over time, program officers of the McKnight, Bush, and Dayton Hudson foundations also became part of the discussions, as did Mike Steele, dance critic for the Star Tribune. For reaction and discussion purposes, a pro-forma, multi-year budget was created that contemplated the "creation" of seven venues located in Twin Cities suburbs. The concept was very mathematical: dance would be presented on Friday and Saturday evenings of two weekends per month at each of the seven venues. The resulting 168 "performance weekends" (2 weekends x 12 months x 7 venues) would permit 24 different dance companies to perform once a year at each venue. The annual budget for the whole operation was estimated at $3.2 million, managed by a full time administrative, marketing, and production coordination staff of five people. Regular, part-time employment would have been provided for free-lance theatrical production personnel. Financing would have derived from a mix of earned and contributed revenue, and would have provided each of 24 dance companies with an average earned performance income of $56,000 per year that they did not then have (and that they still do not have). By the late 1990s, McKnight and Bush spotted a modest sum to support a census study of various Twin Cities venues and the organizations that did (or might) be enlisted for support. The study was conducted by John Munger, whose regular gig is as director of research for Dance/USA. Munger's efforts proved to be an interesting adventure in themselves, and produced at least one eye-opening finding: people in many Twin Cities suburbs do not consider themselves "subs" of anything; rather, they are their own complete and distinct municipalities and communities. This was a revolutionary insight for many among our urban-centric colleagues. Munger eventually identified seven venues and communities that had an interest in working with Twin Cities dancers., Responsibility for leading and coordinating the effort devolved upon the Minnesota Dance Alliance, later known as Dance Today. Whether it was the best course remains in dispute. About the same time, Munger, became a full-time employee of Dance/USA and left off his involvement with the venue project. Dance Today had many internal challenges that impacted its ability to meet the external opportunities and challenges that presented themselves. Not the least was taking the decision to forge ahead with the venue project while grossly undercapitalized and with fundraising plans that were not solid or based in tested realities. When Dance Today crashed and burned early in this decade, the dance venue project disappeared as well. Twin Cities dancers are not unique in considering such alternative venues. I have had conversation over the years with dance organizations in Fort Worth-Dallas and in Cincinnati who have had similar dreams, but who, to my knowledge, took no investigative actions such as occurred here.

Christine Seitz, Executive and Artistic Director of the Duluth Playhouse, keeps us posted about some exciting developments up North. The Duluth Playhouse was founded in 1914 and is "the largest community-based theater in the region and oldest in Minnesota." With a six-show mainstage season of musicals, comedies, and dramas, “The Playhouse employs guest directors and designers for the highest standards, many whom may reside from the Twin Cities to New York.” (Visit the website for more information.) But, did you also know:

The Playhouse also manages a second theater called the Play Ground. The Play Ground is an alternative performing arts venue offering engaging, thought-provoking programming in all disciplines — theatre, dance, music, poetry, art, film and the spoken word. While serving as a home for emerging and experienced artists alike, it reflects the vibrant artistic community of Duluth and northeastern Minnesota. Since it’s opening in 2005, this downtown theatre has attracted local and touring artists statewide. On any given weekend you may find poetry, mine, theater, dance, comedy, music, concerts, staged readings, independent films and foreign films. The Play Ground lobby has been designed to exhibit visual art and every 3 months a new artist’s work is presented. What is exceptional about the Play Ground is that it is not a rental house — it is free of charge for all artists to use. The Playhouse offers the stage, all equipment, a stage manager, technical support staff, box office staff and marketing for the presenting artist’s event, and in return receive a split of the box office receipts. This formula helps the Playhouse recover costs of overhead and offers presenting artists an opportunity to actually make money. The purpose of the Play Ground is to support independent artists by giving them the tools to present their work and the opportunity to build their audience. Last season, the Play Ground presented 36 weekends of activities throughout the 52-week year. It’s a phenomenal success story. There is no other venue like this in Duluth designed to house artists of all disciplines and all levels of experience. Professional artists from the Twin Cities to local documentary filmmakers have produced at the Play Ground. The Play Ground is having tremendous impact by broadening creative and culturally rich experiences.

Finally, Skip Rogers, draws our attention to a cluster of theaters three and half hours North, near Bemidji, that you may not know about. He writes:

Great article's about theater in the state but you’re missing The Park Rapids area — with 3 theater events and venues. Minnesota Folklore Theater in Akeley, Long Lake Theater in Hubbard, and Northern Lights Opera in Park Rapids. All of these theaters are within 17 miles of each other.

Also, scroll down to the comments section in Anna Sundberg’s article Bike, hike, swim, theater for a few more performing arts venues around the state that make for good summer trips. Feel free to add some yourself!❦