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Wicked Economics
For
Becker’s downtown vision to take hold, he must first convince the local
arts community his grand idea won’t put them out of business.
“I
have been sensitive from the very beginning that we need to do this in
a way that serves the existing performing arts community and does not
detract from their ability to function,” Becker says.
But John Caywood, Kingsbury Hall operations manager, begs to differ, arguing if Becker’s performing arts center is built, and touring Broadway shows end up there rather than at Kingsbury, his facility could lose about $400,000 per year.
“For us, that’s the difference between operating in the black and operating in the red,” he says.
Furthermore,
some in the existing arts community wonder why there’s any need to
improve on what has come about organically. “I take exception to the
term ‘cultural district,’” says Jerry Rapier, producing director of
Plan-B Theater Company. “One already exists. The Rose Wagner, Capitol
Theatre and Abravanel Hall are all within a block of each other.”
Even
in terms of distance, some question if a downtown arts district needs
to be confined to a few city blocks. Chris Lino, managing director of
Pioneer Theatre Company at the University of Utah, notes that the
distance between Temple Square and Pioneer Theatre is less than the
distance between the northernmost and southernmost theaters on Broadway
in New York City, and is easily accessible by TRAX. “It’s 13 blocks,”
he says. “We’re not talking 20 miles away.”
The
question of the performing-arts center, in particular, and having the
government try to help push along a downtown arts scene in general,
seems to come down to economic philosophy. Some existing organizations
see the battle for arts dollars as a zero-sum game, with Becker’s
proposals merely creating more entities trying to get a share of the
same pie. Becker and other proponents of the center say the new
facility would help to grow the overall size of the arts pie, with
everyone still getting their share and the audience getting more
offerings.
Becker says he is “committed to not tapping existing arts revenue sources,” but also notes, “public arts facilities will always need to be subsidized by public funds.”
Charles
Morey, Pioneer Theatre Company artistic director, contends a downtown
performing arts center would end up “robbing from one to fill another.
Will there be more product? Yeah. Will the market sustain more product?
You already have major arts organizations teetering on the brink.”
Lino
notes the Wasatch Front has recently added facilities such as Rio Tinto
Stadium, where a recent concert by the Eagles failed to sell out. He
worries that projections about who will pay for entertainment can be
overblown. “The mania for building is already playing out, and it’s not
playing out the way the proponents said it would,” he says. Becker
thinks the center will help grow the overall arts market because it
will attract new folks to downtown Salt Lake City, people who normally
don’t have a reason to go there. It will also open up the entire arts
marketplace for people who might otherwise only seek out one aspect of
it. “There are people who go to Wicked, but not to the ballet,”
he says. “We need to draw those people into the performing arts.” He
also stresses that the center is more than just Broadway shows; it
would also include a variety of entertainment forms.