'I Have to Hang Up Now' (Tying Up Loose Ends, Pt. 1)

It was pretty easy to read the mind of Megan Buckley-Ball moments into her curtain speech at the final performance of "The Velocity of Autumn" at Matrix Theatre in Southwest Detroit.

Buckley-Ball, the theater's artistic director, had just walked onto the stage to welcome the sold-out crowd to Matrix. After she greeted the audience, she did what has now become standard operating procedure at every theater I attend: She asked people to take out their cell phones and turn them off. Not silent them, but turn them off.

Before she could continue her speech, however, I heard a very loud stage whisper coming from somewhere to my left. (I was seated in the second row on the far right side of the theater.) "I have to hang up now," the voice said. "They're telling us to turn off our cellphones."

I quickly zeroed in on the culprit. And surprisingly enough, it was an older woman sitting directly in front of Buckley-Ball - so close, in fact, that Megan could have reached out and snatched the phone away from the woman if she wanted to. But she didn't.

Buckley-Ball stared at the woman for a few seconds with an expression that said, "Really? You're having a conversation now?"

With the entire house now focused on her, wouldn't you think the woman would be embarrassed enough that she'd quickly end the conversation? Well, she didn't. Apparently, she'd rather be rude to several dozen people waiting for the show to begin than whomever it was she was talking to on the phone, because the conversation continued for what seemed to be an eternity. (In actuality, it probably lasted less than another 30 seconds, but it seemed longer.)

If my phone wasn't turned off, I would have shot some video or snapped a few photos to capture the expression on Buckley-Ball's face. It was priceless, as her smile slid from bemusement to "I can't believe she's still talking on the %$^&*$# phone!" And for a second, I though I saw a flash of "If I could kill the %#$@ and get away with it I would; we have a show to get moving here!"

But Buckley-Ball - who's doing a great job re-invigorating Matrix since the retirement of founder Shaun S. Nethercott, by the way - gracefully smiled and looked at the audience as if to say, "Can you believe this?" until the call ended. Which it finally did, and the phone was stored away. (Notice what I didn't say; stay tuned!)

Shortly thereafter, the show began.

"The Velocity of Autumn" by Eric Coble is a story many of us with aging parents can relate to - that of an aging woman whose children believe she can no longer care for herself. After living for decades in her Brooklyn apartment, Alexandra's children want to uproot her and force her into an assisted living type of arrangement. Fiercely independent, Alexandra wants to remain in her own home - and to prove her point, threatens to burn the place down should they forcibly try to evict her.

At their wits' end, two of her children call in the reserves for help - meaning her long-estranged son, Chris, to talk some sense into her.

The result was quite an amazing afternoon of live theater - so much so, that nary a peep was heard from the audience throughout its 90-minute, intermission-free running time.

Until, that is, during one of the most critical moments of the show, a muffled buzzing could be heard. Not once. Not twice. Rather, someone's phone buzzed for upwards of a minute - and based upon the reactions from around the audience, I suspect I know where it was coming from. And no, no attempt was made to turn it off.

Surprisingly - given the fact that the buzzing was mere inches away from them - actors Jane MacFarlane and Chris Korte didn't miss a beat; if it impacted their focus, they didn't let it show.

But that didn't surprise me, as the pair (and director David Wolber) had an earlier crisis to overcome, which they also accomplished quite well. A week or so before the show opened, MacFarlane broke a kneecap. But since the show must go on, it was decided to put Alexandra in a wheelchair, which would add new depth to the character (and which made sense, given the plot of the story). And so the staging was reblocked, and few - including critics - gave it a second thought.

All three should be proud of their work.

And Matrix Theatre's 25th anniversary season is certainly one to remember!

A lesson to be learned: Gone, but not forgotten

By now, it's likely word has spread far and wide that Michigan's most honored non-profit professional theater has closed its doors - for good this time.

Yes, despite the shedding of much blood, sweat and tears these past 17 months, Ann Arbor's Performance Network Theatre metaphorically lowered its curtain for the last time yesterday afternoon following a bittersweet performance of "Dickens: An A Capella Carol," never to be raised again. And no, a third act - yet another chance at revival - is not likely waiting in the wings.

And that's a damn shame. A closure such as this is a major loss - not just to the community of artists who depended on the Network for work, but also to the broader community who attended their shows, sold them products used to create their art and manage their business, and to the area parking lots, restaurants and shops that were visited by the Network's patrons. The impact is significant and will be felt for weeks, months and years to come.

Reactions to the closing have been mostly ones of sadness and regret. Facebook has been filled with many recollections from appreciative patrons and artists who worked there over its 34-year history, recalling highlights of favorite shows, careers that were launched there, and relationships that were forged while creating memorable art. And it was those tight bonds that drew a sold-out crowd of past patrons and artists to the final performance who wanted to be there to console one another and celebrate the past.

(It must also be noted that unlike the Network's shocking closure in 2014, there's been little snark, vitriol and glee expressed in public forums this time around, which are often a by-product of controversial and hotly debated events such as this. If there's a high point with this closure, I think that's it!)

With a strong and loyal fan base, a quality product, and significant recognition for its accomplishments, Performance Network was envied by many of its peers for much of its existence. It was also the place where artists both new and experienced wanted to work, as the environment there fostered creativity far more often than not - and having a credit from the Network on your resume seemed to have cache in the outside world.

But that's over now; all that's left are the memories. Performance Network has now been added to the ever-increasing list of once-important theaters that have been swept into the dustbin of history. The Attic Theatre? Gone! Actor's Alliance Theatre Company? Gone! Actors' Renaissance? Gone. Fourth Street Playhouse? Gone. BoarsHead Theater? Likewise. The list goes on and on.

So what went wrong - and what can we learn from it?

To lose a major institution such as this after more than three decades of quality programming is truly sad - especially when much of the cause was seemingly self inflicted. (For complete details regarding the closure, read Jenn McKee's story for MLive.)

I don't pretend to know all of the details, of course; I never worked there. But numerous off-the-record conversations I've had and media interviews make it pretty clear that the death march of Performance Network Theatre began long before the most recent management team took control, and was primarily the result of two things: (a) a board of directors that was asleep at the wheel and failed in its responsibilities to keep the Network financially healthy and stable; and (b) the initially believed debt of $250,000 (which grew to be nearly double that thanks in part to the May 2014 closure) leads one to believe one or more administrators over the years were one or more of the following: incompetent, malfeasant or misguided. (It's safe to assume that one neither accumulates nor hides such a mountain of debt, fails to file required annual reports, and doesn't bring such matters to the immediate attention of the board by accident. But I could be wrong.) *

The devil is in the details, of course, and proving one way or the other who to blame is neither my intent nor desire. Rather, it's to use what happened at Performance Network as an important lesson to both those currently running a professional theater company and those planning to open one of their own sometime in the future. To forget the past dooms one to repeat it, and there's much to learn from the Network's closure.

So - as one former non-profit theater executive to another - here's what you may want to consider as you dive into the wonderful world of theater management:

• When putting together a board of directors - especially if it's your initial board - make sure you include a CPA and an attorney familiar with corporate or business law (not a divorce attorney, a family attorney, an estate lawyer, a personal injury lawyer - you get the point; you want a specialist familiar with the minutia of running a business). These two roles are very important in keeping your company out of legal and financial trouble - especially since they'll have a vested interest in it!
• When choosing board members, make sure they are fully aware that their primary role and responsibility is financial - that they are required to raise the funds required to keep the organization running (or donate it themselves; it's their choice).
• While it's tempting to do so, a board made up of your friends will likely cause you more problems and troubles than they're worth. Your goal is to have a diverse group of people with a diversity of skills and assets - and you want at least one or two (or more) who aren't afraid to ask you the tough questions when they are needed.
• And it should be made quite clear that the board is not responsible for the day-to-day operations of the organization. Instead, they are the goal setters, and they hire the management team to implement those goals. Then, they hold that team's feet to the fire to make sure those goals are met! (In other words, they shouldn't be picking your shows or poking their noses into the artistic areas of the business.)
• For the day-to-day administrators, one law supersedes all others: Federal, state and local taxes are to be paid first; everything and everyone else comes next. Why? Because Uncle Sam and his cohorts expect and demand to be paid first, no matter how big or small your organization may be - and they have the power to shut you down and fine the hell out of you should the mood strike them! Trust me: The doom clock begins ticking with your first missed payment!
• Also not to be missed are the various federal and state filings that are required of your organization. Remember: Theater may be fun, but running a business is complicated and full of necessary evils. Forget one of these, and you may find your organization unintentionally dissolved!
• Hire the right people for the right jobs. People who don't like working with numbers - or don't like spreadsheets - shouldn't be in charge of the books. (I've often said - based on what I've observed over the past 40+ years in the business - that artists should never be given the keys to the checkbook. In such cases, when it comes to deciding which to pay when money is tight - the IRS or Home Depot for the paintbrush needed to complete the set - Home Depot almost always wins. And therein begins the slippery slope to extinction!)
• Always use standard accounting practices for keeping your books; everything you do should be above board and audit proof (meaning that every expense should be track-able and explainable so that audits can be passed with little fuss).
• Should your company find itself in trouble, don't cover it up, lie about it, or hide (and hope it goes away). Instead, communicate with your various constituencies - and communicate often and in as much detail as you possibly (and legally) can. It's best to stay in front of the story instead of reacting to the narrative someone else puts out first!
• Finally: Issue and analyze financial reports monthly. Yes, that's a royal pain, but it's well worth the effort - especially when money is tight. This allows you to quickly identify and track potential problems, which can then be discussed with the board president so that a joint plan can be put into place to ensure the long-term survival of the organization. (It pays to have a good working relationship with the board president!)

A toast to the artists who made the Network great

No matter who or what is responsible for the Network's downfall, one thought should always be first and foremost in any future discussion: The level of work produced by its many artists was of the highest quality. Sure, the theater produced a handful of shows throughout its 34 years that everyone would rather forget - which happens at every theater, of course - but the overall success rate cannot be disputed. Nor can the long list of awards that were bestowed upon it.

And so I want to acknowledge the hard work put forth by artistic directors Johanna Broughton-Walker, Carla Milarch and David Wolber, whose passions ignited the flame that burned so brightly on stage for much of the theater's existence. The many memories they shepherded will long be remembered.

Not many people would gladly walk into a situation as dire as it was at Performance Network in July 2014, but that's what John Manfredi and Suzi Regan did. Little did they know, however, the situation would be far worse than anyone realized at the time. Yet work hard they did - their recent "Who's Afraid of Virginia Woolf" was a masterpiece - but the listing ship was too deep under water to be rescued. Kudos to them (and the board) for knowing when to pull the plug for the final time.

And I salute the hundreds of actors, directors, designers, technicians and others who pulled together to create magic night after night, season after season. Your hard work and dedication is duly noted, and the results of your fine efforts are now a major part of our industry's collective memory and heritage.

In short, then, everyone involved in the creation and execution of work that appeared on the Performance Network stage should be proud of their accomplishments. It was a job well done!

So what happens now?

Will John and Suzi move on to other projects and endeavors now that Performance Network is reduced to nothing more than a mark on their resumes? Of course they will; their resumes speak for themselves.

Will area actors, designers, technicians and directors be able to find work elsewhere? Yes, but the number of opportunities long term is now reduced. And many who committed themselves to projects now canceled may have limited or no opportunities till next summer or fall.

Will someone else - another producer, troupe or young thespian with an itch to create his or her own work - appear and fill the void left by the Network's closure? Maybe; new companies pop up all the time.

And if that happens, will the Ann Arbor community - patrons, donors and funders alike - be willing to step up and support such a venture when the city already is home to Theatre Nova, Pointless Brewery & Theatre, Kickshaw Theatre, UMS, the University of Michigan's graduate and undergraduate theater programs, Ann Arbor Civic Theatre, Arbor Opera Company, The Penny Seats Theatre Company and Wild Swan Theater - and with The Purple Rose Theatre, The Encore Musical Theatre and The Dio - Dining & Entertainment all within spitting distance? It's doubtful, I think. But only time will tell.

If nothing else, change is constant. And that's what keeps life interesting.

(* paragraph updated for clarification purposes Dec. 22 at 6:56 a.m.)

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The Wilde Awards

Since its inception in 2002, the theater with the most Wilde Awards is Performance Network. Here is a complete list of winners through 2015:

	Year	Category	Winner	Production
1	2002	Best Local Professional Production – COMEDY	Carla Milarch, director	Special Relativity
2	2002	Best Performer in a Local Professional Production – DRAMA	Michelle Murphy	Stop Kiss
3	2003	Favorite Local Professional Production – MUSICAL / MUSICAL REVUE	Malcolm Tulip, director	Man of La Mancha
4	2003	Favorite Performer in a Local Professional Production – MUSICAL	Robert Grossman	Man of La Mancha
5	2004	Favorite Local Professional Production with LGBT Themes or Characters	James Posante, director	The Home Team
6	2004	Favorite Male Performer in a Local Professional Production – COMEDY	David Wolber	The Home Team
7	2004	Favorite Performer in a Local Professional Production – MUSICAL	Rochelle Rosenthal	The Threepenny Opera
8	2005	Best Female Performer in a Local Professional Production – COMEDY	Gillian Eaton	Humble Boy
9	2005	Best Supporting Female Performer in a Local Professional Production – COMEDY	Laurel Hufano	Boston Marriage
10	2006	Best Lead Actor – DRAMA	Ray Schultz	Take Me Out
11	2006	Best Lead Actress – DRAMA	Carmen Decker	Moonglow
12	2006	Best Supporting Actor – DRAMA	Darrell Glasgow	Take Me Out
13	2006	Favorite Local Professional Production – COMEDY	Tony Caselli, director	Jacob Marley’s Christmas Carol
14	2006	Favorite Local Professional Production with LGBT Themes or Characters	Jim Posante & Tony Caselli, directors	Take Me Out
15	2007	Best Actor – DRAMA	Malcolm Tulip	Amadeus
16	2007	Best Local Professional DRAMA	Malcolm Tulip, director	Amadeus
17	2007	Best Local Professional Production with LGBT Themes or Characters	Gillian Eaton, director	I Am My Own Wife
18	2008	Best Actor – DRAMA	Jon Bennett	Doubt
19	2008	Best Actress – DRAMA	Jan Radcliff	Doubt
20	2008	Best Actress – ORIGINAL / IMPROV / LGBT THEMES	Carla Milarch	Dirty Blonde
21	2008	Best Local Professional DRAMA	John Seibert, director	Doubt
22	2008	Best Local Professional Production with LGBT Themes or Characters	Jim Posante, director	Dirty Blonde
23	2008	Best Technical Design - Set	Monika Essen	The Baker’s Wife
24	2009	Best Actress – Drama	Inga Wilson	A Feminine Ending
25	2009	Best Improv, Cabaret or Original Production	Malcolm Tulip, director	The Day Everything Went Wrong
26	2009	Best Performer – Play with LGBT Themes or Characters	Roxanne Wellington	The Little Dog Laughed
27	2009	Best Production with LGBT Themes or Characters	Ray Schultz	The Little Dog Laughed
28	2010	Best Actor - Comedy	Jacob Hodgson	It Came From Mars
29	2010	Best Actress - Comedy	Suzi Regan	The Blonde, the Brunette and the Vengeful Redhead
30	2010	Best Design - Lights	Andrew Hungerford	K2
31	2010	Best Design - Props	Charles Sutherland	It Came From Mars
32	2010	Best Drama	Tim Edward Rhoze, director	K2
33	2010	Best Musical	Carla Milarch, director	Little Shop of Horrors
34	2010	Best Production of a New Script	Tony Caselli, director	It Came From Mars
35	2010	Best Support - Musical	Aaron T. Moore	Little Shop of Horrors
36	2010	Best Teamwork	James Bowen & John Michael Manfredi	K2
37	2011	Best Comedy	John Seibert, director	Circle Mirror Transformation
38	2011	Best New Script	Kim Carney	The War Since Eve
39	2011	Best Performance, Actor - Musical	Phil Powers	The Drowsy Chaperone
40	2012	Best Design - Sets	Monika Essen	Red
41	2012	Best New Script	Joseph Zettelmaier	Dead Man's Shoes
42	2013	Best Music Direction	R. MacKenzie Lewis	A Little Night Music
43	2013	Best Musical	Phil Simmons, director	A Little Night Music
44	2013	Best Performance, Actor - Comedy	John Seibert	In the Next Room or The Vibrator Play
45	2013	Best Performance, Actor – Musical	John Seibert	A Little Night Music
46	2013	Best Performance, Actress – Musical	Naz Edwards	A Little Night Music
47	2014	Best Performance, Actor - Drama	John Manfredi	An Iliad
48	2014	Best Performance, Actress - Comedy	Maggie Meyer	Venus in Fur