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by Lawrence Henly

You know them. You love them. Yes, you also love to gripe about them. I’m talking about your local resident performing arts organizations. As managers of university performing arts centers, nearly all of us have them, and, dare I say it, we all need them. Before you begin to lose your temper, keep reading. There really is a list of positives to dealing with them.

For many of us, these tenants fill a void by providing bridges to the local arts community. They can also fill in diverse gaps that our programming budgets can’t always satisfy. These organizations also tend to be one of our most valued resources for earned income outside of ticket sales and grant dollars. Their patrons drink at our bars, park in our lots, and buy Tshirts and novelty items on sale in our lobbies. The attractions they bring to our centers help us to fill in gaps in our employment schemes— additional work nights for stage employees, ushers, bartenders, and security staff. Having these groups advertise their seasons and events with the name of your center on them can be a real feather in your organization’s cap.

So why is it that we seem so unhappy with our adjunct arts organizations? If they are, indeed, crucial to our survival, why do we tend to view them as necessary evils? Are they really venomous predators engaged in a vicious competition for our patron bases? Or, conversely, are we the ones who they view as a threat to their own survival? Do they view us with the same parasitic apprehension? Is it possible for us all to co-exist in peace and harmony? They love you when your staff comes through on a regular basis to solve problems for them. But their collective memory tends to be very short-lived once they see something on your presenting calendar that is a little too similar to what they produce, or has been scheduled a little too close for comfort to a similar event of theirs.

It is a bitter byproduct of inherent geographic, demographic, and political forces that entangles us in these situations. Most producers need the use of our venues, due to the usually overwhelming cost of building their own. Many university centers are located in advantageous areas, both in terms of infrastructure and proximity to commerce. Also, shared resources can often ease the burden of producing and presenting performances. We, and they, are compelled by natural human forces such as gamesmanship and jealousy to view our resident companies as opponents in the all-out struggle to obtain and maintain a customer base.

Nearly all universities present entertainment, usually in the format of a series or on multiple series. The events we present draw hundreds of thousands of people from all parts of the communities we represent. Presenting complements and augments the missions our presidents and foundations set for growth and reshaping of our institutions. This can, unfortunately, tick off the artistic and managing directors of those companies that fill half of our calendars. My impression is that oftentimes they see us as providing unfair competition.

Another albatross is that, without trying very hard, we can find ourselves in the crossfire of two or more of these organizations’ squabbles with one another. Often, these groups develop acrimonious relationships that can ultimately invade our universe. They may look to us (the middle man) as an arbiter in the effort to resolve conflicts in their favor. Should we care if these organizations are entangled in a grudge match? Make sure that these squabbles remain their problem—not yours. Impartiality in these situations is a must. If the facility manager is viewed as siding with one group or the other, we lose the ethical safety net of keeping those, and other, non-university entities at “arms-length.”If we are suckered into these fights, we have left ourselves open to accusations of unfairness. Who needs that?

So what are some of the positive features of this “competition” that we can cling to? For one, their patrons are exposed to our events that we advertise at the box office, in theatre lobbies, over the Internet, etc. And, if you and your staff are doing a nice job handling their events, you may get that commendation (pat on the back) from your Dean, V.P., or your President via an influential board member or two. As a bonus, you can develop some good friendships as a result of working with these organizations, even spot some talent for future employment at your center should a prospect decide to change jobs.

The reality is when it comes to the things that you can do to make and keep the peace with the local symphony, ballet, or opera, nothing is ever going to be enough for them. In the dog-eat-dog world of the arts, tunnel vision is a fact of life. Being insular and self-protecting is a normal trait of most arts organizations. Even with constant reminders of the favored-nation status that we give these companies, there is always going to be a lack of appreciation. Indeed, the thanks you do receive is astonishingly fleeting. Whether it is bargain rates or their low number on the pecking order for who gets the dates that they want/need in your facilities, these folks should know that they are loved. Verily, the hands always seem to be out and grabbing for more. Can you imagine how bad things would get if you give up on trying to remind them of these precious perks?

The bottom line is if your paycheck has a header title that begins with a “U,” you need to remember that your ultimate servitude is to that entity. If a situation develops between a local producer in residence and one of your university constituents, you are in a tough situation, especially if the group has a lot of local political clout. The manager in these situations must first assess the political climate, but then ultimately make the decision that best serves his/her employer.

In the long run, we are better off with local arts organizations producing their events on our campuses than if they lease the competitions’ venue. We need to do all we can to satisfy the local companies while still maintaining the best interests of the university. It’s going to be difficult, but view the local arts producer as your partner. If things become intense, keep things in their proper perspective. You can still have that cathartic rant or rave about the way your resident companies are treating you. Just do it within the privacy of your home, office, or staff meeting! As with just about everything else I advocate, achieving balance will usually be the strongest course of action you can take.

Lawrence Henley is the director of artistic programming and production for the University of Nevada, Las Vegas Performing Arts Center. He can be contacted at Henley@ccmail.nevada.edu.