Performing Revolution - Arts Under Communism

"A performing arts festival marking the 20th anniversary of the fall of communism in Central and Eastern Europe, presented by The New York Public Library for the Performing Arts in partnership with key New York City cultural organizations and academic institutions, November 2009–March 2010." Read about it here.

US Artists Call for Change in Policy towards Cuba

A call has been made to the Obama administration by a network of US artists and presenters to renew cultural ties with Cuba. In a March 3rd letter, signed by over 1100 Americans in the arts including Carlos Santana, Herbie Hancock, Harry Belafonte, Bonnie Raitt and Danny Glover, the US-Cuba Cultural Exchange called for Cuban artists to be permitted entry into the United States and for the elimination of restrictions that prevent Americans from traveling to Cuba. The call comes as the Administration reviews Cuba policy and Congress prepares to consider legislation that could eliminate restrictions on travel to Cuba. Organizers say that the campaign will remain in effect until changes are implemented to allow for the free flow of expression between the United States and Cuba. The letter may be viewed online here.

US Nonprofits Prepare for a Long Recession

TCG has released their "Taking Your Fiscal Pulse: January 2009" survey. "It highlights fiscal data from members during the period of fall 2008-winter 2009, as well as budget projections and re-projections for participants’ fiscal year end." It surveyed 210 member theaters and found that more than half of them expect year-end deficits and "cash flow problems". 69% of theaters said they are freezing or reducing saleries and almost half will reduce administrative staff. Click here for the full survey results.

Broadway Stats '08

-International ticket sales for Broadway shows were down (1.88 million).
-Advanced sales were up (39% purchased tickets more than one month in advance).
-Same day sales fell from 27% to 20%.
-Average theatergoer was 41.5 years old.
-Highest percentage of children/teens in 30 years (12.4%)
-Audiences paid an average of $27 more than face value for tickets.
-Total attendance was 12.27 million.
-Internet is the most popular way to buy tickets (40% sold online as opposed to 22% at box office and 10% by phone)
-Women made up 65.9% of the audiences.
-75% of audience were white.
-74% had college degrees.
-Median annual income was $148,000.

The data was compiled from surveys handed out at show. 14,000 were distributed and 7600 were returned.

Will Arts Play a Part in the Economic Recovery?

Arts leaders in the U.S. are urging Obama not to overlook the role the arts should play in the economic recovery. With the departure of Dana Gioia, Bush's chairman of the NEA, Obama has yet to name a successor. Funds for the N.E.A. have declined to $145 million in FY09 from $176 million in '92. Read the full NYTimes article here.

Advice for the Arts Council England

Since the U.S. doesn’t have anything like a Ministry of Culture or an Arts Council (and let’s not pretend the NEA comes even remotely close), I was curious to hear what advice professionals had for Liz Forgan, the incoming head of the Arts Council England. What agenda should be set forth for the coming year in arts policy, especially in the wake of the announcement that the U.K., like the U.S., is also in a recession? That’s the question Imogen Carter in the ‘Guardian’ to people like Phil Redmond, Penny Woolcock, Alex Poots, Josie Rourke, Steven Parissien, Nicholas Hytner, Michael Boyd, Ekow Eshun and Vicky Featherstone. Read what they had to say here.

‘Exit the King’ Enters Broadway Line-up

Geoffrey Rush will star in a Americanized version of
Eugene Ionesco's Exit the King along with Susan Sarandon, Lauren Ambrose and Andrea Martin. Rush starred in the play at the Belvoir St. Theatre in Sydney last year. Australian director Neil Armfield will helm the production which he also translated along with Rush. Performances will begin March 7 at the Barrymore Theatre with an official opening March 26; the limited engagement will run through June 14.

According to the press release, Exit the King "is a hilarious and poignant comedy about a megalomaniacal ruler, King Berenger (Rush) whose incompetence has left his country in near ruin. Despite the efforts of Queen Marguerite (Sarandon) and the other members of the court to convince the King he has only 90 minutes left to live, he refuses to relinquish any control."

U.S. Increases Regulations for Visa Waiver Nations

Effective today, Monday, January 12th, citizens and nationals from all Visa Waiver eligible countries must have approval through the ESTA system before traveling to the United States on a Visa Waiver. Visit ESTA for more information. The Visa Waiver program allows persons from certain countries to travel here for purposes of business or tourism for a period of 90 days or less without a visa. Last year, 7 new countries were added to the list: the Czech Republic, Estonia, Hungary, the Republic of Korea, Latvia, Lithuania, Slovakia, and Malta. The other eligible countries are: Andorra, Australia, Austria, Belgium, Brunei, Denmark, Finland, France, Germany, Iceland, Ireland, Italy, Japan, Liechtenstein, Luxembourg, Monaco, the Netherlands, New Zealand, Norway, Portugal, San Marino, Singapore, Slovenia, Spain, Sweden, Switzerland, and the United Kingdom.

Sec. of the Arts and Arts Stimulus Plan Petitions

Here are two petitions for U.S. citizens to our soon-to-be-president and new Congress to help them make the arts a vital and necessary part of American life. As of this posting, over 16,000 people have signed this first petition encouraging President-elect Obama, upon the recommendation of Quincy Jones, to create a Secretary of the Arts cabinet position. The second petition encourages the new Congress to dedicate 1% of the upcoming economic stimulus package for funding for the arts. Visit both sites and sign today.

Where's the Arts Bailout?

Michael Kaiser, president of the John F. Kennedy Center for the Performing Arts, has written an article for the 'Washington Post' about the current U.S. government bailouts of the financial markets, and asks where the ones are for the arts. He comments on what many of us in the arts community already knew, that “in the past few months, dozens of opera companies, theater companies, dance organizations, museums and symphonies have either closed or suffered major cash crises.” Kaiser suggests that “we need an emergency grant for arts organizations in America, and we need legislation that allows unusual access to endowments. Washington must encourage foundations to increase their spending rates during this crisis, and we need immediate tax breaks for corporate giving.” Read the full article here.

Seasons Greetings

Happy Holidays from New York!!!

Brantley says 'year of trans-Atlantic theatre in NY'

Ben Brantley, chief theatre critic of the 'New York Times', summed up the 2008 theatre season with this opening:

"According to all current maps the theater district known as Broadway is still in Manhattan, while its British counterpart, the West End, is firmly based in London. Yet a majority of the items in the list below might have been culled from either place. This was the year of trans-Atlantic theater in New York, when Anglo-American cooperation (a subject wittily excoriated this season in Caryl Churchill 's Drunk Enough to Say I Love You? at the Public Theater) produced a hearty crop of expertly mounted — and in some cases transcendent — productions. The year’s best new musical (Billy Elliot) originated in the West End, and the most important New York premiere (Blasted) was a production of a show first seen in London more than a decade ago."

He's right and he's wrong. Sure, it was a great year for English language UK imports, but that really doesn't encompass 'trans-Atlantic'. Brantley does follows it up by saying 'Anglo-American cooperation' which is much closer to the truth, so let's not kid ourselves. The Brits have, on average, have had better large scale productions, both dramatic and musical on Broadway for years (I mean, when will f*#king Phantom close?). But saying it's the 'Year of Trans-Atlantic theatre' is like Sarah Palin saying 'Africa is a country'. If London is all Brantley thinks is 'trans-Atlantic', then I encourage him to seek out productions from places like Reykjavik, Oslo, Madrid, Lisbon, Algiers, Casablanca, Dakar or Capetown. All of those are right across the Atlantic too.

Yes, Billy Elliot is another example of how a successful movie has made it to the West End/Broadway. Big deal. Shouldn't Lord of the Rings be coming soon? And Blasted was fantastic, as it was 10 years ago. So why has it taken so long for it to finally get here? New York likes to think it's the center of the universe, but in the 21st century, the center is everywhere. Instead, the city is quickly becoming a museum town like Rome or Paris. It's not the cutting edge anymore, just a theme-park replica of a place where things once happened. Americans can easily mass produce, package and promote a product in order to make money, but the art often gets lost in the shuffle. The Brits play the same game, but they haven't completely lost their sense of quality yet. They will, but not yet.

And it's far from over. 2009 begins with the biggest Anglophile f*#kfest imaginable with The Bridge Project at BAM. The radical concept of having Yanks and Red Coats work together on the same stage at the same time. This isn't a comment on the productions (I actually think they'll probably be pretty good compared to what else is out there). This is a comment on what is supposed to be radical. New York didn't experience a British Invasion as Brantley seems to suggest. The Brits have been here forever and don't seem to have any plans of leaving. We get our revenge in London by making them watch Josh Hartnett in Rain Man.

NEA Announces Report on Nonprofit Theaters

Washington, D.C. -- Nonprofit theaters in the United States have seen unprecedented expansion across the United States, according to new research from the National Endowment for the Arts. All America's a Stage examines developments in the growth, distribution, and finances of America's nonprofit theater system since 1990. While the research indicates broad growth and generally positive fiscal health, it also reveals decreasing attendance rates and vulnerability during economic downturns.

"America has created a magnificent national network of nonprofit theaters," said NEA Chairman Dana Gioia. "Our challenge now is to use them ambitiously to bring the power of theater to our citizens, students, and communities."

Nearly 2,000 nonprofit theaters were analyzed for the study, which draws from several data sources such as the Internal Revenue Service, Theater Communications Group member survey data, the U.S. Census Bureau's Economic Census Data, and data from the NEA's Survey of Public Participation in the Arts. The investigation revealed that NEA funding is a likely catalyst in drawing sizeable contributions from other sources. Each dollar in NEA grant support is associated with an additional $12 from individual donors, $1.88 from businesses, and $3.55 from foundations. Among the key findings:

Broad and rapid expansion across the country
The number of nonprofit theaters in the United States has doubled over a 15-year period. In 2005, there were 1,982 nonprofit theaters with annual budgets of at least $75,000, up 100 percent from 991 in 1990.
Among the top ten states with the highest per capita concentration of theaters are Vermont, Alaska, Montana, Oregon, Connecticut, and Minnesota.
Although theaters continue to cluster in high-population states, the number of theaters in small and mid-sized population states has grown substantially. From 1990 to 2005, the sharpest growth rate occurred in Nevada, Arkansas, Utah, Colorado, Idaho, and Mississippi.

Theater finances – generally good news
Nonprofit theaters generally have maintained a healthy balance sheet. Between 1990 and 2005, real assets (such as land, buildings, and equipment) grew by nearly 60 percent, while liabilities remained flat.
Nonprofit theaters have achieved a more equitable balance between earned and contributed income. Earned income made up 52 percent of all nonprofit theater revenue in 2005, the remainder was mostly contributed. Individuals and foundations remain the biggest contributors to nonprofit theater.
In 2002, individuals donated 40 percent of all contributed revenue, and foundation giving made up 22 percent.
Between 1990 and 2005, nonprofit theater revenues fluctuated sharply with business cycles in the U.S. economy. After the 2001 recession, nonprofit theater revenue (including both ticket sales and contributions) dropped nearly 12 percent in 2002. Revenue continued to decrease slowly from 2002 to 2005.

Flat or shrinking attendance rates
Audience trends are flat or in decline. The percentage of the U.S. adult population attending non-musical theater has declined from 13.5 percent (25 million people) in 1992 to 9.4 percent (21 million people) in 2008. The absolute size of the audience has declined by 16 percent since 1992.
The number of adults who have attended musical theater has grown since 1992, but remains largely constant as a percentage of the population.
Attendance trends do not seem primarily related to ticket prices. Statistical models predict that a 20 percent price hike in low-end subscription or single tickets will reduce total attendance by only 2 percent. These data suggest that other facts are likely affecting the demand for theater.

Press Release from NEA

US Invades UK or UK Invades US?

The London critic, Michael Billington, recently ruffled some feathers with his article entitled ‘United Stages of America’. In it, he laments that there is an American takeover of British stages, singling out the Royal Court who has had 24 of its 36 playing weeks this season dominated by work from U.S. playwrights.

Later, Dominic Cook, the RC’s artistic director, concluded in a letter by saying, “You might even argue that the considerable American talent that exists is underrepresented - this year only 16 out of 44 playing weeks saw American plays in our main auditorium. In our second house, none of the seven plays was American. According to its founding mission statement, the Royal Court exists to ‘create the conditions for writers, nationally and internationally, to flourish’. To stage plays from beyond our own borders is our obligation and I am proud to do so.”

To complete the triumvirate, Karen Fricker, an American lecturer in contemporary theatre at Royal Holloway, University of London and deputy London theatre critic for Variety, posits on the Guardian blog that “What makes London one of the world's great cultural centres is the multiplicity of art forms available from every corner of the globe… Few would disagree that if London's arts scene were less international then the city's liveliness would start to wither.”, and then asks, “Is there a pressing need for London-based theatres in particular to prioritise plays that interrogate the state of the English nation? Are issues of national identity still of paramount importance in a 21st-century global city?"

What’s so wonderful about this discussion is that it’s nearly identical to the one being had in New York, except it is the complaint that the British have staged a takeover of American theatres, with Billy Elliot being the most recent invasion. Of course, this debate is rather moot, because it’s just re-enforcing the entire Anglo-American worldview. The upcoming Bridge Project at BAM is the prime example. Cross-cultural exchange and collaboration is incredibly important, and The Bridge Project is an important first step, but it is still the safest choice on the block. Sure, they are taking a victory lap around Europe between NY and London, but that doesn’t really amount to real engagement; only spectacular star-worship.

The real question that needs to be asked is, ‘Where are all the plays that weren’t written in English?’ (and staging Chekhov or Ibsen doesn’t count). There are clearly dozens of remarkable playwrights out there from every country offering unique stories that transcend national and linguistic boundaries. No doubt translation is an issue, but it is too often used as an excuse. How about the U.S. and U.K. settle their arguments by agreeing, for a season, to stage works by writers who aren’t from English-speaking countries? You want to talk about a true global explosion of stories and ideas? Let's try it.

U.S. Dept. of State Launches Online Video Contest

The U.S. State Dept., in conjunction with the Adobe Foundation, have launched an online video contest to amplify U.S. public diplomacy using web-based outreach campaigns and social media platforms. The “My Culture + Your Culture = ? Share Your Story” video contest is part of a Bureau of Educational and Cultural Affairs (ECA) initiative to encourage cross-cultural community building and mutual understanding via the web and social media platforms. The contest also highlights the newly designed website, exchanges.state.gov, which is a portal to ECA’s Facebook page and its ExchangesConnect social network (connect.state.gov).

The Department of State invite members of the ExchangesConnect online community to submit a short video (up to 3 minutes) on the contest’s theme. Video submissions will be accepted December 1, 2008 to January 26, 2009. The ExchangesConnect community will vote on video entries and an expert panel of judges, all ECA exchange alumni, will rank the “top 40” videos. Two foreign and two American winners will be selected by ECA. International winners will be eligible for a two-week all-expenses paid exchange trip to the United States; the American winners will receive the same to an overseas destination.

Foreman To Stream Wednesday Rehearsals

Looks like Richard Foreman at the Ontological-Hysteric Theatre has followed The Internationalists streaming lead and will begin broadcasting Wednesday rehearsals of his new show, Astronome – A Night at the Opera. Theatre bloggers have been abuzz, being given the change to witness this downtown director’s collaboration with musician John Zorn. We’ll see how the experiment goes, and if influences the show or is just a clever marketing devise.

Philanthropy Phalters

Given the shit-storm of the global financial meltdown, what will happen to charitable giving? Over $300 billion was donated last year in the United States, and individual donors account for 88% of that giving. It’s not really a question of ‘if’ things will be bad, it’s only a question of ‘when’. Check out this article from the NYTimes called ‘Bracing for Lean Times Ahead’.

Obama to the World

"And to all those watching tonight from beyond our shores, from parliaments and palaces to those who are huddled around radios in the forgotten corners of our world – our stories are singular, but our destiny is shared, and a new dawn of American leadership is at hand. To those who would tear this world down – we will defeat you. To those who seek peace and security – we support you. And to all those who have wondered if America's beacon still burns as bright – tonight we proved once more that the true strength of our nation comes not from our the might of our arms or the scale of our wealth, but from the enduring power of our ideals: democracy, liberty, opportunity, and unyielding hope. For that is the true genius of America – that America can change. Our union can be perfected. And what we have already achieved gives us hope for what we can and must achieve tomorrow."

- President-elect Barack Hussein Obama

Obama and McCain on the Arts

Not surprising, both U.S. candidates have differing view on the arts and government’s role in funding it. Obama is calling for more federal support, while McCain is calling for less. The McCain campaign has released very little language on the subject, but two weeks ago issued this four-sentence statement basically saying it’s up to local entities.

“John McCain believes that arts education can play a vital role fostering creativity and expression. He is a strong believer in empowering local school districts to establish priorities based on the needs of local schools and school districts. Schools receiving federal funds for education must be held accountable for providing a quality education in basic subjects critical to ensuring students are prepared to compete and succeed in the global economy. Where these local priorities allow, he believes investing in arts education can play a role in nurturing the creativity of expression so vital to the health of our cultural life and providing a means of creative expression for young people.”

Obama, on the other hand, has made arts proposals a part of his official party platform. His key points are: Expand Public/Private Partnerships Between Schools and Arts Organizations; Create an Artist Corps; Publicly Champion the Importance of Arts Education; Support Increased Funding for the NEA; Attract Foreign Talent; Provide Health Care to Artists and Ensure Tax Fairness for Artists. You can find his arts policy statement here.

Feinstein Wants to Tighten Visa Waiver Program

Senator Dianne Feinstein (D-Calif.) said that U.S. Homeland Security officals should adopt a more restrictive approach to the visa waiver program rather than expand it. During a recent hearing on Capital Hill, she stated a fear that terrorists are are looking for any loopholes in the system to enter the United States. Below is an excerpt. Click here for the full article.

"Feinstein is chairman of the Senate Judiciary Subcommittee on Terrorism, Technology and Homeland Security, which heard testimony in September on the “Visa Waiver Program: Mitigating Risks to Ensure Safety of All Americans.” The visa waiver program (VWP) allows citizens in participating countries to enter the United States without obtaining a visa or being interviewed or screened in U.S. embassies and consulates. Bush administration officials are “moving aggressively” to expand the program to include 13 new countries before the end of the year, according to a General Accounting Office (GAO) report released in late September. Those prospective new members include Bulgaria, Cyprus, Czech Republic, Estonia, Greece, Hungary, Latvia, Lithuania, Malta, Poland, Romania, Slovakia, and South Korea. At present, the VWP allows citizens of 27 nations to enter the United States for business or travel for up to 90 days. Some 13 million foreign citizens took advantage of the program last year, the GAO report states. Expanding the program is warranted in part because the new nations under consideration have had strong economic, political, and military ties with the U.S., say officials with the Department of Homeland Security (DHS)."