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?
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.)
* * * * * * * * * *
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
|
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