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Corporate takeovers of ballet companies?

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18 replies to this topic

#16 mussel


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Posted 27 February 2002 - 01:33 AM

I wasn't too clear earlier. The theater tries to accommodate plays they think wouldn't have too much commercial appeal or wouldn't have much chance in other theaters. Many plays in that theater are fantastic and of high-quality of course. The theater just want to give plays that are not too commerical a chance. If the plays turn out to be a commerical success, that'd be wonderful too.

#17 Hal



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Posted 08 March 2002 - 03:12 AM

Mussel said: "The possibility of seeing a corporate logo attached to State Theater is very remote. State Theater is owned by the City of New York, nothing can be done to the building without the City's permission. Selling naming rights may be an entirely different matter."

Well NY State Theater was named for the state who I believe funded it, and might not be too happy to lose the designation. But lets not forget the granddaddy naming rights of them all Avery Fisher Hall. Avery Fisher, founder of Fisher Electronics donated huge sums of money for the re-doing of what was Philharmonic Hall.

Cant wait to go to the Philip Morris Opera House where one can hear the Metropolitan Opera perform. eek.gif

[ March 08, 2002, 03:14 AM: Message edited by: hal ]

#18 cerky


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Posted 08 March 2002 - 06:10 AM

A very popular international event in Louisville has been sponsored by Humana for 20 years. The "Humana Festival of Plays" presented at Actors Theatre gives the theatre incredible exposure. Doesn't Texaco sponsor an opera program? Billion dollar industries can look good when they spend a few thousand on community projects, even if they lose money. Stadiums depend on corporate suites to insure their success. Corporate boxes at the ballet may be a great way to raise income.

Unfortunatly, artistic boards are increasingly composed of business types and are looking ONLY at the bottom line. The Executive Director title being replaced by CEO is a testament to that.

Commercialism may be the wave of the future but the problem would come down to who controls the artistic content. Do we sell our integrity, and at what price?

#19 Leigh Witchel

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Posted 08 March 2002 - 12:00 PM

I think it's up to the Artistic Director and donor to chart the waters between Scylla and Charybdis very carefully.

What does the donor want for his or her money? He or she needs to understand that name recognition and profound thanks is not artistic say.

The artistic director needs to look at the size of the donation. Is it so large that he or she is in fact handing some artistic control to the donor in the same way that when a business has one client, the client starts to call the shots?

If someone wanted serious naming rights like "The X Festival of New Works", that begins with a multi-year committment of support from them, come rain or come shine. You want your name on it, you're in for five years, whether you like what's being made or not.

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