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Wednesday, June 7, 2006

CHAC’s Last Season

Posted by on June 7 at 11:31 AM

Matthew Kwatinetz, CEO and producing artistic director of the Captiol Hill Arts Center, announced in the Weekly that CHAC won’t produce any more theater seasons. That’s not so surprising—arts administrators have been worrying about the subscription model for years. It always seemed a little weird for a start-up theater like CHAC to adopt it. But it was this quote that stopped me:

“Everything [we do] is really successful, except the theater season,” says Kwatinetz. “If what we do is so important to the community, they have to come out. If the Seattle audience doesn’t recognize Seattle value, the value will have to migrate elsewhere.

Which sounds like a thinly-veiled sneer at theater audiences for not paying CHAC enough attention. (Dude: Don’t blame your audiences for not showing up; it’s their prerogative to ignore you.) That and a threat to… what? Move to San Francisco? Take your ball and go home?

CHAC will continue to rent space to other companies, which is a good thing. They have a nice theater and shows like King John, by the upstart crow company, look awfully good in there.


CommentsRSS icon

Be snooty, fuck off. Attitudes like Matthew's are the big problem with theatre. The ego does not match the quality of the product. I wish all the ego divas in theatre, male and female, would just die off or go away.

This attitude does not surprise me in the least.

Perhaps Kwatinetz can make a deal with the Sonics and take their collective "Seattle value" (WTF is that?) somewhere where people will appreciate it.

Except that, for the most part "the quality of the product" CHAC has produced in the last three years has been pretty darned good, and frequently of exceptional quality. Shows like "Arturo Ui", "Rhinoceros", "Waiting For Lefty" and "Death Of A Salesman" have received exemplary reviews and been well-attended. Perhaps there have been some notable exceptions to that of late with "God's Country" and the long running "Stones In His Pockets" not pulling in the audiences to the extent that was anticipated, but overall I don't think it's a fair or objective assessment to say that CHAC hasn't delivered on the product side of the equation.

What may be the more pertinent issue is perhaps that they've failed to generate subscription income to the level Matthew had hoped to achieve. Single ticket sales, while probably healthy, still make it difficult to budget over the long-term, which is why most theatres prefer the steadier cash-flow that seasonal pre-sales generate. If so, they've probably had a harder time with budgeting, due to a sporadic revenue stream.

Plus, there have been personnel changes there recently, which no doubt have put even more pressure on Matthew to shoulder the burden of day-to-day operations, and so there may simply be a burn-out factor at work here as well, that needs to be considered.

Maybe CHAC could move into a more multi-diciplinary format. All you have for that is ConWorks and well, I don't think I need to say anymore on them. Seattle really could use a great space to produce large scale arts instalations.

Friends write good reviews for friends. Friends go see friends' productions. Having been in theatre, I can tell you that getting good audiences and reviews is about 50-75% gladhanding, back patting, rep padding and kissing the right ass at the right time. Good reviews and big audiences do not a good show make.

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