1979 Study: Theatre Jacksonville

JACKSONVILLE COMMUNITY COUNCIL, INC. 1045 Riverside Avenue - Suite 180 Jacksonville, Florida

32204

(904) 356-4136

A Report

Prepared

THE ROLE OF THEATRE

by the Study Committee

JACKSONVILLE

Dr. Richard

Bizot,

THE ROLE OF THEATRE

IN THE COMMUNITY

Chairman

August, 1979

JACKSONVILLE

IN THE COMMUNITY

/'

on

THE ROLE OF THEATRE JACKSONVILLE

IN

THE COMMUNITY

INTRODUCTION: The trustees of Theatre Jacksonville commissIoned the Jacksonville Community Council, Inc. (JCCI) and the Arts Assembly of Jacksonville to study Theatre Jacksonville and its role in the community.

This study is a departure for partially financed the study,

JCCI: Theatre and the final

Jacksonville report is for

requested and the use of its

Boards.

The Theatre Jacksonville Study Committee was chaired

by Richard Bizot, Professor of English, Department of Language and Literature, University of North Florida. ~n the course of organizing the study committee, Dr. Bizot met informally with JCCI Executive Director Dick Bowers, Arts Assembly Executive Director Trinita Petersen, and Theatre Jacksonville Board of Trustees Chairman Bud Smith.

The management

consist'ed of:

team

Dick Bizot, Bill Adam Dale Clifford

Staff:

Chairman

Richard Bowers

Marilyn Jacobs Stan Murphy

Carol S.

JCCI

Miner ..0

JCCI

Jo Rumrel.!

Trinita Petersen

Additional

members

of the committee

were:

John Alexander

Harriet

Judy Ba"tchelder

Dale Edelberg Ginger Frailey Norman A. Howard Lillian Johann

Joyce Bizot Rebecca Cairns Margaret D' Ange1is Connie Davis "Richard Davis Charles Dixon

The study committee

held

Arts Assembly

Dodson

Kathleen

Linehan

Joseph Mikulas Miller

Bobbie-Sue

Elizabeth ~brrow Ro bert Richard

Mary Jones

Frances

Julian

Elizabeth

Kozicki

Simmons

Taylor

Mary Kozicki

its first meeting

on December

3, 1978 at Theatre

Jacksonville, where Executive Director Bob KnQwles briefed co~~ittee members and guided them on a tour of the facilities. Except for a break at Christmas, the committee

met almost weekly

meetings were held

in

May

and

through" April

June

to

discuss

1979 and

to gather

facts.

Weekly

agree on the final report.

The committee decided on three major directions for study: consultation with resource persons, documentary research, and a computer-assisted survey of Theatre Jacksonville members.

-3-

Three hundred sixteen (316) questionnaires were completed and returned.

The responses to two questions, which asked. for open comment on why a member supported Theatre Jacksopville and (in the few cases where appropriate) why a member did not plan to renew, were tabulated by hand.

The responses to the other questions were coded and processed 'by computer.

Various forms of cross-referencing were made possible by the use of the computer, enabling the committee to determine if opinion could be correlated with demographic information.

For example, the committee wished to know if openness to ideas of change was a function of age or length of membership; and was able to check for such possible correlation on all questions asking for opinion or preference.

A copy of the questionnaire, and summaries of the data .

derived from computer printouts and from the hand tabulations, are appended

to this report.

Community

Theatre:

In Jacksonville

and Nationally

Theatre Jacksonville's name changes have reflected the theatre's changing view of itself and its role.

With its incorporation as the The Little Theatre, the loosely organized Community Players joined the national'Little Theatre movement at its interwar height.

By 1972 that movement was largely moribund, and representatives of various theatre organizations congratulated the group on the decision to change names.

David Weiss, President of the Southeastern Theatre Conference wrote: "'Theatre Jacksonville' indicates that your theatre is a theatre serving the entire community and reflects the changes that are occuring throughout the American scene".

Theatre Jacksonville was first organized at a historical turning-point in local amateur theatre in the United States.

The Little Theatre movement, begun at the turno~ the century by idealists who hoped to provide a culturally and socially responsible alternative to the "low-brow" profess~ ional theatre of the day, altered its character and broadened its base after World War T. Rather than from the prewar cultural and intellectual elite, leadership and participation began to come from the middle classes; and with that change came some dilution of the "high culture" and educational focus. of the original movement.

Since then, but increasingly since another explosive period of growth after World War II, controversy over the "proper" role of community theatre has continued.

Critics of the contemporary situation argue, as does Edward L. Kamarck in an article in Arts and Society (fall-winter 1971), that community theatre now bears a "distinctive stamp of mediocrity" imposed by "hobbyist" participants, and characterized by "inadequate leadership; a constant diet of trivial plays; a lack of discipline and dedication; untrained performers and technicians; and lack of conbict with the mainstreams of theatre art."

Its defenders argue that !good community theatre adds "zest and vigor to the American theatre."

Part of the continuing controversy theatre comes from the differences

over the role and nature of community between the aims and values of amateur

and professional theatres.

But it also reflects a concern for the element of "community", which is difficult to define.

Critics of Theatre Jacksonville, like critics of community theatre nationally, charge that too often "community" is defined as a narrow group of white middle-class theatre goers whose resistance to change stifles attempts to experiment with plays and to reach out to other groups in the community who do not normally attend or participate in theatre.

Since the cost of theatre, like everything else, is increasing, community thea-tres have increasingly asked for aid from various federal, state and local governmental agencies.

The role of public monies adds to the pressure to define "community" as expa-nsively as possible.

Jacksonville has three academic theatres: Jacksonville University has a theatre department which produces a'regular season; Florida Junior College and the University of North Florida do not have a full-fledged department, and produce irregularly.

Artistic Director Andrew Arnold of Open Theatre informed the committee about that group as part of a panel discussion on theatre in Jacksonville.

He explained that Open Theatre's facilities, also located in San Marco, are in an old building with makeshift facilities that seat only 100 people.

After about a year of operating in the red, Open Theatre has been marginally in the black since the success of "Bluebird" in December 1978 and "Boys in the Band" in 1979.

Open Theatre has recently applied for grants, but has been operating "on gate receiPts and contributions to date.

Only the musicians are paid, although the group hopes to be able to pay some staff as income increases.

Open Theatre produced eleven adult plays last year, did several children's productions, and also offers its facilities to other artists (representational as well as performing) in a series of' "Evenings with the Arts".

It has sponsored a variety of theatre classes"as well.

Its repertory is uncensored, and Arnold feels that Open Theatre, as an "alternative theatre", does not compete with other theatres for its audience.

A Company of Players, a non-profit professional theatre organization, began in 1976. .Its aim, according to Managing Director Rebecca Cairns, "is to provide quality children's theatre and workshops in theatre for all ages."

The company serves Duval, Clay, St. Johns, Baker and Nassau counties.

In 1979 A Company of Players will inaugurate a summer repertory season.

Most performances are followed by an audience-participation workshop.

The regular workshop program offers classes on a variety of theatre subjects, including the recently-developed ACOP'S Kids, for 8-14 year olds.

Its funding comes from corporate contributions, foundation grants, the Fine Arts Council of Florida, and the City of Jacksonville.

A Company of Players has three professional staff members: managing director, artistic director, and business manager.

Actors are contracted on a part-time basis.

Jacksonville has one profit-making professional theatre, the Alhambra Dinner Theatre (other dinner theatres have opened and closed in the past).

The Alhambra presents traditional dinner theatre repertory, using "name" stars and a paid cast, both equity and the lower paid non-equity local actors.

Most Jacksonville "theatre people" do not feel that the Alhambra competes directly with the amateur theatres.

However, there was some indication that there may be an unwitting "competition" with Theatre Jacksonville for repertory given the constraints on choice of plays expressed by Theatre Jacksonville members?

Theatre Jacksonville members have indicated their interest in continuing and improving (See section. on Repertory -for fuller discussion).

as a community

theatre.

Assessing Theatre Jacksonville's role in the "educational, literary, intellectual and cultural advancement of the members of the organization and of the community in general" is difficult because it begs such important questions as definition of the community and of a satisfactory repertory.

With 2400 subscribers, Theatre Jacksonville regularly reaches only a small percentage of the population of Jacksonville.

The computer-assisted survey of Theatre Jacksonville members produced a demographic profile.

The most striking fact about members is their age: 56.2% are over 55 years of age; a little over 81% are over 40.

Members tend to be long-time Jacksonville residents (61.5% have lived in Jacksonville for 20 or more years).

As might be expected, the membership is largely middle-class, college educated.

(For further details of the survey, see appendices A, B, and C).

Structure

1.

of Theatre

Jacksonville:

Board of Trustees This five member Board (one member replaced annually by vote of the theatre membership) must assent to any action on the theatre's property and to the annual budget; it holds and controls the use of two Trustee Funds.

The first is the Building Fund, into which the corporation is to pay "an amount equal to the annual depreciation reserve on the fixed assets of the corporation, but not less than $2300 each fiscal year."

(Bylaws, Art. IV, Section 7a).

For some years, with the Trustees' agreement, these monies were not paid in as specified, but were used for operating expenses and for maintenance and repairs.

Theatre Jacksonville now.owes some $60,000 to its Trustees, although the Trustees is currently the Building

have re~ently forgiven this debt.

The Theatre building in need of remodeling, according to its officers, but Fund lacks the necessary capital.

The second, Reserve Fund, comes from '!an amount as may from time to time be determined by the Board of Trustees not to exceed $2.00 for each Adult membership." (article IV, sec. 7b)

In many other theatres and art organizations, the Trustees not only control certain funds, but, most important, are influential persons who are expected to lend their prestige to efforts to secure large private donations and increase membership.

According to its members, Theatre Jacksonville's Board of Trustees does" hit its own pocketbook" and pull influence strings in a crisis, but is not rea'lly or regularly a fund-raising body.

In addition to its financial role, the Board of Trustees has on occasion ventured to offer advice on theatre policy.

At a meeting on 18 November 1969, the Board made a list of 14 "observationst ideas, and thoughts" which it sent to the entire membership.

Tom Nehl suggested that members of the Board of Directors ought not to be directly involved in the theatrical end of its activities, because of con-' flict-of-interest problems.

Yet- Sherwood Lohrey stated that halÂŁ of Theatre Memphis' 30-member board is active in production.

3.

Executive

Director

The current Executive Director, Bob Knowles, has a nine-month contract with the Board of Directors.

He is salaried, and also receives as compensation a small percentage of theatre receipts.

In a telephone conversation with committee chairman Richard Bizot, he stated that his contract describes his job as follows: "The Director's responsibilities shall be artistic control of the theatre and day-to-day management of financial responsibilities of the Theatre."

He noted that his contract also says: "Selection of plays and date to be mutually agreed upon by the Board of Directors and the Executive Director."

However, in the matter of repertory and casting, the current bylaws give Theatre Jacksonville committees the initial decision power, with artistic advice from the director.

The Executive Director does not meet regularly with the Board of Directors, although he may address the directors on his request.

He does meet regularly with the Executive Committee of the Board of Directors.

The Executive Director, with the Technical Director and volunteers, handles all of the details of mounting the nine-month season's productions.(Any summer programs must be implemented without him, as his contract does not cover the summer months.)

The members of Theatre Jacksonville consulted as resource persons agree that the Director's control of repertory reflects his contract language, not the bylaws.

On casting, the other area of artistic control, a committee makes the decisions although the Director has a veto.

The other directors who served as resource per.sons for this study stressed that a directo~'s artistic c?ntrol must be total, and noted that it might include the formulation of special projects and programs as well as the regular season.

Several added that a resident Executive Director might work with a guest director for some productions or projects.

They ~bjected to tying a part of the director's salary to receipts because they thought it would tend to hinder his sense of freedom to make a creative artistic statement with productions.

If the Board wished to reward the Director for a good seasons they said, it should give him a raise or a bonus.

In addition to artistic direction, Theatre Jacksonville's Executive Director is responsible for day-to-day financial management and administrative details.

Both he and participants in the open mee~ing pointed out that his duties include everything from artistic conceptions to taking program copy to the printer, and answering the telephone on occasion.

-J..J-

Theatre

Jacksonville

willing to and Andrew selves for four weeks

members

said that volunteer

actors

would

not be as

commit their time for a longer run.

However, Sherwood Lohrey Arnold said' they had no trouble. getting actors to commit themlonger runs, and added that a play could be well-prepared with of rehearsal.

The casting committee is charged with selecting the cast for each play, subject to the Director's veto.

Without exception, the resource persons outside Theatre Jacksonville stated that a casting committee should handle administrative details of auditions, but the artistic director should be a "hopefully benevolent dictator" (according to Sherwood Lohrey) over the creative aspects of a production, including casting.

6.

Repertory The repertory committee selects the plays to be produced each season, in consultation with the Director and subject to the approval of the Board of Directors~ Among the issues brought to the study committee's attention were the role of the director in this process, and the role of self-censorship in choosing and revising scripts.

The Directors who served as resource persons maintained that the Director must also be a dictator (subject to his Board of course) on repertorySherwood Lohrey and Howard Milman suggested a guest director for plays the resident director chose not to direct.

Repertory committee chairperson Ernie Mastroianni says that in actuality, Theatre Jacksonville's Executive Director does have a veto, but his role in the process as .

described in the bylaws is not consistent with that description.

Theatre Jacksonvitle practices self-censorship, both in the choice of repertory and in the use of "expurgated" scripts for some plays that are produced.

Open meeting participants stated that their audience will not tolerate certain language, and pointed to a drop in membership after presentation of Neil Simon's "The Gingerbread Lady" in 1974.

Their audience, participants say, want to be entertained, not to be shocked or made to reflect.

Resource persons agree that traditional audiences are sometimes shocked by the "new freedom", and that some members do drop out as a result.

However, they add, well-done experimentation can usually attract more members than it loses.

None of the directors who served as resource persons, from Jacksonville or elsewhere, utilize expurgated texts.

Sherwood Lohrey said that Theatre Memphis' production of "Equus" this year, which includes nude 'scenes and w~s presented separately from the subscription series because of that, made a $25,000 profit and attracted a new, younger audience to the theatre. .

Consultants from other theatres stressed that repertory changes can be made gradually, but agree that a.theatre must take risks in order to remain alive.

Theatre Memphis presents bo.th a regular subscription series of seven plays, including musicals, comedies, drama, and classics, and a separate selection of experimental or more modern plays under volunteer guest directors approved by the management, and sold by individual tickets.

Sherwood Lohrey said this approach worked well.

Some Theatre Jacksonville members indicated interest in "storefront" productions

which might

serve the same purpose.

The survey data indicates that while Theatre Jacksonville members are satisfied with the kind and quality of plays produced, they are significantly more satisfied with the quality'than the kind of plays.

Well over half of those surveyed thought the theatre should consider presenting a more varied repertory.

Favorable responses were especially strong among the youngest and oldest members and from those who had lived in Jacksonville less than two years or more than 20.

7.

Membership and Publicity Season subscription rates have been $20 for the past seven years, but members' res~onses to the survey indicate willingness to accept increased prices (see question #16). Resource persons from other theatres have observed no problems with gradually increasing subscription rates.

Resource persons from other theatres cited energetic (and frequently professional) organization as the key to such efforts, and emphasized that a subscription-based theatre should "sell out", rather than re-, serving seats for the gate. "No-shows" will always leave some seats for guests, and the publicity of a sold-out season enhances interest in the theatre. This view is strongly supported by Danny Newman in his book, Subscribe Now.

Lack of publicity has consistently been a problem for Theatre Jacksonville, according to members at all levels.

Community theatres else~here report that cooperation from local media is invaluable.

8.

Physical

Plant

The Theatre building, located on San Marco Boulvard, is owned outright

by Theatre Jacksonville, Inc. All resource persons connected with Theatre Jacksonville said that it is structurally sound, but needs renovation.

Production-related changes, such as bigger space for building sets, new facilities, and more rehearsal space, seemed to be less important to members and officers that remodeling fot audience.

The lobby should be expanded and should include a women's restroom, they note.

The present women's restroom is upstairs adjoining the green room, and since there is no elevator, elderly or incapacitated female playgoers have difficulities.

If ,the Theatre receives federal funds directly or indirectly, Federal 504 regulations will require physical and program access for handicapped persons by May of 1982.

TOTAL RESPONSES THEATRE JACKSONVILLE SURVEY

Thank you for your help.

This survey will enable the study group to make recommendations regarding the future role and scope of Theatre Jacksonville.

Please disregard the numbe~s in the left-hand margin.

They are for computer use only.

1.

IT! fewer

2.8%

3-1

-2 -3

How long have you lived

.

-4 -5

15.2

@] 10-20 years more than 20 years

How many t~tal Jacksonville?

27.6

rnJ

2-5 years

-3

23.2

[J]

5-10 years

-4.

17.3

~

10-20 years

3.

5-1

.

than

[1QJ more than

2 years

20 years

For the present season, what is the total number of Theatre member~hips in your household? (check one)

-2 -3

64.2

~ofJ two

3.1

-4

1.6

~ W

-5

0.3

CiJ more than four

6

of Theatre

Jacksonville

30.8 %[22] one

4.

three four

Please check all of the following organizations currently a member or active supporter.

29.9%

m

Jacksonville Cummer Gallery

7

7.4

~

8

10.2

i

9

6.8

~

10 11

37.3 16.0

12

3.1

~ ~

13

3.1

I.

seasons have you been a member (subscriber) (check one)

-2

9.3

check one.)

5-10 years

lliI fewer

-5

(Please

2 years

[1!J 2-5 years

22.6%

4-1

.

than

7.5 13.0

61.5

2.

in Jacksonville?

17.'

331Jacksonville

,10

..Museum of Arts

Channel Stereo

! Opera

Symphony of "Art Art Huseum and Sciences

7 90

Company of Jacksonville

110 I Jacksonvi11~ ~..1

Zoo 1 ....

of which you are

324

9.

Do you think that Theatre schedule

Jacksonville's facilities for musical performances?

permitting,

should be used,

11. 5%

6§JNo

-2

26.5

[§]]

-3

62.0

11941Yes (If yes, please answer question 9A.)

40-1

9A.

Unsure

If your previous answer was "yes," please check all of the categories of musical performance which you would like at Theatre Jacksonville.

Like

Not Sure

Dislike

41

Chamber music

l§]

m

Ill]

42

Recitals

[§

[R]

MJ

43

Jazz

11071

[ill

W

44

Choral

11351

!RJ

riD

45,46

Other (please

10.

47-1

(voice or .instrumental)

music

specify):

_H.

m

Do you think that other kinds of live performances (i.e., other than music) should be presented at Theatre Jacksonville, schedule permitting? (check one)

[TI] No

. 13.3%

-2

31.2

[2]] Unsure

-3

55.5

U1] Yes (If yes, please answer question IDA.)

lOA.

JXJ

If your previous answer. ~vas "yes," please check all of the following categories of live performance which you would like at Theatre Jacksonville.

Like

Not Sure

Dislike

48

Dance

M§I

Ii§]

W

49

Mime

m

6JJ

W

50

Poetry readings

m

Lec tures

.1iillI

ElliJ

W

52

Puppets or marionettes

[W

Iii]

W

53

One-person

11131

lIT]

W

54,55

Other

51

.

shows

(please specify):

m

.W

[l8]

fURVEY Summary

OF THEATRE

JACKSONVILLE

MEMBERS

of Findings

The survey was designed to provide two general kinds of data: 1. Information about the members of Theatre Jacksonville, and 2. Opinion about a variety of questions related to the Theatre.

A composite of the first kind of data provided a demographic profile of the current membership.

The second kind of data indicates degrees of satisfaction which members feel toward Theatre Jacksonville's current activities, as well as feelings, pro, and con, with regard to a wide range of additional or alternative Theatre might wish to consider in the future.

activities

which

the

The following is a highly selective summary of the most important findings produced by the study.

A copy of the 1434 page computer printout, containing the complete results of the study, accompanies the original of this report as Appendix C. Demographic

Information

The fact about Theatre Jacksonville's members attention to itself is age.

A clear majority years of age.

Fully

81% are over:40.

A majority of members (61.5%) See question 1 (code C3).

which most of members

See survey

are long-time

insistently calls (56.2%) are over 55

question

residents

21 (code D16)

of Jacksonville

(20+ years).

A majority of members have never been involved with the Theatre in any way as a member of the audience.

See questions 5 and 6 (codes C15-C26).

Presently

88% of the current

question 18 (code DIl).

members

plan to renew

for next

except

See

season.

.

However, half (50.2%) of the current members have been members for five years or less - not necessarily continuously.

See question 2 (code C4).

Almost 65% of the respondents to the survey are female.

Whether 65% of all members are female is uncertain.

It is possible that, among married couples, wives responded to the survey more frequently than husbands.

See question 19 (code D14).

Over 67%of the respondents are married. since some widows and widowers identified Married".

See question 20 (code D15).

Over 80% of the members

have

attended

This figure is not very themselves as "Married"

college;

nearly

degree; and better than one in five (22.4%) have baccalaureate w~rk.

See question 22 (code D17).

More

than two-thirds

(67.1%)

of the respondents

done

half

(41.1%)

1 or more

live South

San Marco and near Souths ide ......

San Jose/Mandarin area ............

Arlington .........................

Riverside/Avondale ................

Southside .........................

Ortega

Area

.......................

17.8% 15.6 13.1 12.7 10.8 7.2

have

years

and East

St~ Johns River: Souths ide to Mandarin, Arlington to the Beaches.

Avondale, and Ortega.

The ZIP Codes with the most .members are:

32207 32217 32211 32205 32216 . 32210

reliable, some as "Not

a college

of post-

of the Riverside,

Survey

- 3

Overall, Theatre members are open to expanded use of its facilities.

Questions related to expanded use were of three kinds: the staging of theatrical performances, the staging of non-theatrical performances, and additional activities not primarily performance oriented.

Seven questions related to expanded use for theatrical performances.

Three of these related in one way or another to a summer season.

Three related to the use of the theatre by other theatre groups (including one of the summer season questions).

One question asked about matinees, another about a longer regular season.

There

is distinct

they would .

attend

enthusiasm summer

said they would not.

for a su~mer

performances

season:

74.9%

of the members

at Thea,tre Jacksonville;

only

See question 11, first category (code C6l).

said

10.3%

With the

proposition that Theatre Jacksonville should have its own sumner season, nearly half (49.6%) of the respondents AGREED or STRONGLY AGREED, and another 22.6% said it was WORTH CONSIDERING. See question 15, eight proposition (code D4).

With the proposition that the Theatre should allow another company to present a summer season at Theatre Jacksonville, 37.2% AGREED or STRONGLY AGREED, and 38.9% said it was WORTH CONSIDERING. See question 15, ninth proposition (code D5).

The favorable responses to all three questions related to a summer season ranged between 72% and 76%.

Unfavorable responses were equally consistent, at 10% to 15%.

The consistency of responses cited in paragraph above lends support to the committee's inclination to include WORTH CONSIDERING responses in a "favorable" category, along with AGREED and STRONGLY AGREED. There is surprisingly strong support for the idea of other presenting plays at Theatre Jacksonville.

theatre

groups

The favorable responses Fanged from 70.5% (q~estion 15, fourth proposition: code C78), to 74.1% (que~tion 11, first categpry; code C56), and to.76.l% (question l5~ ninth category; code D5).

The range of unfavorable responses to these three questions was 19.4%, 7.5% and 14.8% respectively.

There is some support for lengthening the regular season: 41.1% AGREED or STRONGLY AGREED that it should be lengthened, and 24.1% said it is WORTH CONSIDERING - for a combined favorable rating of 65.2%. Only 24.8% DISAGREED or STRONGLY DISAGREED. See question 15, sixth proposition (code C80).

There is less support said they would not.

for matinees: 42.7% said they would attend See question 11 fifth category (Code C60).

them,

34.0%

Five questions related to expanded use for non-theatrical performances.

Two of these related to musical performances; two related to live, non-musical performances; one related to films.

In all five categories, ,there was a significant degree of indecision: "Not Sure" received anywhere from 26% to 37% of the responses.

62% of the members said the facilities should be used, schedule permitting, musical performances"; 11.5% said .they should not.

60.3% said they would attend concerts at the Theatre; 13.0% said they would not.

See question 9 (code C40) and question 11, third category (code C58). '

for

~

Survey \ .K significant fact is that 48.3% of the members would be willing to pay an increased membership fee to support those increased activities at the Theatre of which they are in favor.

15.3% ~aid they would not; 36.5% were unsure whether they would or not.

Two questions

Jacksonville.

Marco

.

elicited

opinion

about

the San Marco

location

of Theatre upon its San But when asked to

When asked, "Is your attendance ... dependent

location?"

70.1% said "No",

29.9%

said "Yes".

respond to the proposition that the in locations other than San Marco", whereas 37.0% DISAGREED or STRONGLY WORTH CONSIDERING - so the combined

Theatre should "present productions only 18.5% AGREED or STRONGLY AGREED, DISAGREED. 26.6% thought the idea favorable rating was 45.1%.

See

question

15, seventh

13 (code C63) and question

proposition

(code

D3).

Cross-tabulating for sex, far more women (38%) than men (14%) are dependent upon the San Marco location. Cross-tabulating for age, 40% of members over 55 are dependent on San Marco, whereas fewer than 20% of those in all other age categories are so dependent.

Of those dependent on San Marco, 75% are over 55.

Cross tabulating for length of Jacksonville residence and length of Theatre membership, dependency is directly proportional to longevity.

- 5

THE ROLE OF THEATRE

R E COM

JACKSONVILLE

MEN

IN THE COMMUNITY

D A T ION

S

This committee's findings and conclusions all point to the fact that Theatre Jacksonville's current situation is static, and that the organization as a whole lacks a clear vision of its role and direction in the community.

Yet without a vision, a set of goals that transcends a production season, any changes in the current structure and practices would merely be "tinkering," and might even work at cross purposes.

Thus, the committee's specific recommendations must be considred in light of Theatre Jacksonville's response to one crucial recommendation: Theatre Jacksonville's Bo~rd of Trustees, Board of Directors, and other individuals who are important to the organization should discuss and arrive at a statement of Theatre Jacksonville's philosophy and long range goals.

Those goals should then be formulated into a long range plan, which should include

the specific short term goals and policies that will help Theatre Jacksonville require hard (1) (2) (3) (4) (5) (6) (7) (8)

achieve choices

its long range goals. regarding:

These

structure and lines of authority within financial planning fund raising length of season repertory membership strategy utilization of facilities, and the Theatre's role in the community

objectives

-

will

the Theatre

These choices should be based on the most effective way of fulfilling the philosophy and long range goals of the Theatre, with careful assessment of the costs and risks of each step.

If the philosophy and long range goals reflect a desire for growth, then the committee recommends consideration of the specific policies, steps and objectives outlined in the following paragraphs.

The roles of the two boards

must be clarified.

The committee

was not persuaded

that there was a need for both trustees and directors.

Merging the two as a single Board of Trustees, whose executive committee could act for the entire Board between meetings, would make the structure more efficient and clarify responsibility.

The combined Board should be a working Board, with each member assuming responsibility for areas such as committee work, fund raising and public relation~.

The Board must exercise its- policy-making role carefully and conscientiously.

In order to plan for implementation of the Theatre's long range goals, it should meet regularly with the professional staff who wil~ assist in implementation.

Annually, the Board should carefu~ly evaluate the Theatre's progress towards its long range goals and reevaluate short term goals and plans.

Recommendations - Page

Because it is the oldest and financially strongest community theatre, Theatre Jacksonville is also well-equipped to serve as the convenor and facilitator for furthering the cornmon goals-of area theatre groups.

Theatre Jacksonville might host monthly meetings for representatives of all the groups.

It might also consider increased cooperation with the. academic theatres, both through artistic internships and through internships for arts management and public administration students from area colleges and universities.

~

The .committee suggests that the va lueof the investment in the theatre property itself warrants a more intensive utilization of the facilities is currently ongoing.

than

The Study Committee also recommends that the Board's policies on the use of the building be re-examined in order that the th~atre could become a center of performing arts activity, even if several weeks of rehearsal for each play have to take place in another location.

Such a change could increase the earned income of Theatre Jacksonville and improve its image.

The Study Committee recommends that Theatre Jacksonville, in its discussions about long term goals, address the issue of the size of the present location.

The population of Duval County has increased from approximately 200,000 in 1938 to 600,000 in 1979.

If Theatre Jacksonville is to keep up with community growth, and the Study Committee believes it should, the idea of an expanded or completely. new facility must be addressed.

The Committee recommends exploration of every alternative in discussing this issue, and would like to put forward the following possibilities.

The existing facility could be expanded .

by adding a balcony.

A new facility could be built or purchased and renovated,

and the existing facility could then be sold, used as an adjunct facility for Theatre Jackso~ville programs, leased on a long term basis to another theatre company or companies or managed by Theatre Jacksonville as a community facility

for the performing arts.

.

Finally, the committee recomm~nds that the Board, officers, professional staff and volunteers recognize that the Theatre will advance or decline based solely on the efforts, support and decisions of its leadership and volunteers and not on this report, which is a catalyst for ideas.

THE ROLE OF THEATRE

CON

JACKSONVILLE

C L U S ION

IN THE COMNUNITY

S

Over the past five years theatre in Jacksonville has experienced tremendous growth, but Theatre Jacksonville, the oldest and best endowed of the area's amateur theatres, has not shared in that growth.

Its overall programs have diminished to the point where the Theatre is no longer fulfilling its corporate statement of purpose, and has no alternative vision or goals.

Its membership has stabilized around the 2400 level, and the survey data indicate that it is failing to reach younger people and those new to Jacksonville.

Theatre Jacksonville's Board of Trustees has tended to confine itself to its narrowly defined financial role. The Board has not used its financial trusteeship to affect policy or take a continuing fund-raising role. Neither its role, por that of the Board of Directors, is well-defined. This structural confusion has left Theatre Jacksonville without a clear sense of goals and priorities, either artistically or financially.

Theatre Jacksonville is understaffed.

The current workload, in quantity and in the skills demanded, justifies additional staff.

The Executive Director's contract and Theatre Jacksonville's bylaws do not agree on the definition of his artistic control.

The multitude of non-artistic administrative details with which the Executive Director is charged demand very different skills from those of an artistic director, such as the planning and execution of fundraising and membership drives, grant-writing, and handling publicity.

Theatre Jacksonville, like other theatres, and those who do volunteer feel "stretched The lack of volunteers

in part reflects

suffers thin."

a failure

from a lack of volunteers

to conduct

energetic

cam-

paigns for broader membership and participation.

It may also derive from the impression that Theatre Jacksonville is a "closed group", which has not been dispelled in the community-at-large.

A majority of theatre members agree that Theatre Jacksonville should try to reach a broader community audience.

An analysis of Theatre Jacksonville's repertory since 1961 indicated that it has changed little, except for the reduction by one play, usually a classic or drama.

Thus, it has become increasingly less representative of contemporary theatre.

The survey data indicates that members favor considering a more varied repertory.

Theatre Jacksonville's survey data indicates theatre programs.

other programs have been reduced in the past years.

The that members especially favor educational and children's

Theatre Jacksonville's facilities are underutilized, especially during the summer when the building is. closed.

Insurance costs need not be an obstacle to the use of the facilities by other groups.

Shorter rehearsal periods or holding some rehearsals elsewhere would permit greater utilization of the facilities.

The membership survey indicates support for a summer season and for a variety of other kinds of performances at Theatre Jacksonville.

Theatre

Jacksonville's

facilities

need renovation

neither of which can be accomplished set of ~oals and priorities.

without

and possibly

increased

funding

expansion, and a clear