Booking is the key for a performing arts center

This article has some useful info on how to run a successful performing arts center.

MyWestTexas.com, 12/31/06 - Right manager crucial to performing arts center success: "Between the four resident companies,[Paul Beard, managing director of the Nancy Lee and Perry R. Bass Performance Hall in Fort Worth] said the hall has 10 weeks of Broadway shows and the hall itself presents about 40 concerts that tend to be more commercial. Space is rented to the four resident companies and outside groups, plus the hall hosts music education for children.

"'For all that, the key concept is high occupancy. Our belief is a busy building is a happy building. That enhances our financial situation and gives us a viable base of amortization. Most costs are recovered by earned income,' Beard said....

"'What you quickly learn in this business is it's not the gross that matters, it's the net. It's not what the show costs, it's the return you get on the show that matters. You could conceivably make more money by spending more money,' Beard said....

"Mesa (Ariz.) Arts Center, which opened in 2005-06, hosted more than 600 shows from September through May with a couple of rentals in June, Executive Director Gerry Fathauer said. Some of the performers included Michael Crawford, Olivia Newton-John and Trisha Yearwood, along with plays and other events....

"The Mesa facility serves the Phoenix metro area with four theaters -- a 99-seat black box, and venues with 200, 550 and 1,600 seats. The set-up gives the center 'a lot of flexibility.'"

Concert halls as an economic driver

The New York Times reports that five North American cities have unveiled new concert halls this fall, including Costa Mesa, CA; Nashville; Toronto; and Miami. In recent years Philadelphia; North Bethesda, Md.; Fort Worth; and Omaha have already done so. Altanta hopes to do so.
In Cities Across the United States, It's Raining Concert Halls, 9/3/06: "As concert halls have evolved into multipurpose destinations — complete with chic restaurants, bars and the inevitable education centers — local officials and business leaders have come to view them as a chance to revive a downtown or add luster to their city. Orchestra administrators see a draw for new audiences and a means of raising their group’s profile. Music directors envision a platform to artistic greatness. Orchestra members hear wonderful new acoustics. The music-loving public looks forward to more and better concerts.

“'There’s a sense that a concert hall can truly enrich a community,' said Deborah Borda, the president of the Los Angeles Philharmonic. ...

"A look at how the new halls came into being reveals a pattern.

"An orchestra outgrows its old multipurpose hall. A powerful person steps up with drive and money. The planners woo local officials and donors. A celebrity architect is engaged. A large public relations firm begins an expensive campaign trumpeting the architectural and acoustic glories of the new hall."