Is the Curtain Falling on Nonprofit Theatre—Or Is This a Radical Reset?
The nonprofit theatre world is facing an existential crisis. A recent wave of interviews with leaders in the field reveals a growing unease, not just about funding and audiences, but about the very purpose of the institutions that have defined American theatre for decades. But what if the anxiety isn’t about saving a dying model, but recognizing the need for a fundamental shift – a dismantling of the ‘nonprofit theatre industrial complex’ as some are calling it – to allow something new to emerge?
The Ford Foundation’s Unintended Legacy
For years, the narrative has been one of grateful partnership: the Ford Foundation and the National Endowment for the Arts stepping in to nurture a burgeoning movement. However, a contrarian perspective, championed by figures like Todd London, suggests a more complex history. London argues that the nonprofit structure wasn’t an organic development, but a requirement imposed by funders like Ford, effectively shaping artistic companies to fit a financial mold that may have ultimately hindered their creative potential. This raises a critical question: did the pursuit of sustainability inadvertently stifle the very innovation these theatres sought to foster?
Beyond Sustainability: A Return to Core Values?
The debate isn’t simply about money; it’s about mission. Many leaders interviewed express a longing for the original impulse of the nonprofit theatre movement – a commitment to civic engagement and social justice. Stephanie Ybarra advocates for artistic leadership deeply rooted in community impact. Yet, the day-to-day realities of running a theatre often prioritize fundraising and operational costs over these core values. As one leader pointed out, the constant need to “keep the doors open” often overshadows the desire to truly serve the public good.
The Rise of the “Patron” and the Loss of “Community”
A subtle but significant shift has occurred in how theatres view their audiences. Douglas Clayton highlights a move from prioritizing a relationship with the “community” to focusing on the “patron.” This change, he argues, is a symptom of the larger systemic issues plaguing the field. The emphasis on attracting donors and securing funding can inadvertently create a disconnect from the local communities these theatres were originally intended to serve. This echoes concerns about the increasing homogenization of regional theatres, losing the unique character that once defined them. The original intent of LORT (League of Resident Theatres) – emphasizing “resident” companies – has been largely lost.
The Artist Exodus and the Infrastructure Trap
Perhaps the most alarming trend is the decline of resident acting companies. The financial pressures of the nonprofit model led to a shift away from full-time artistic ensembles, favoring a gig-economy approach where artists are hired on a show-by-show basis. This has had a devastating impact on the artistic community, making it increasingly difficult for theatre artists to build sustainable careers. Theatres now prioritize maintaining infrastructure – buildings, offices, administrative staff – often at the expense of investing in the artists who bring the work to life. This imbalance is starkly illustrated by the correlation between declining subscriptions and the growth of administrative overhead.
Is the Nonprofit Model Itself the Problem?
Seema Sueko offers a provocative thought: perhaps the nonprofit designation isn’t a solution, but a constraint. She points out that vibrant theatre communities thrive even in the absence of the nonprofit structure, as evidenced by the scene in Hawaii. This raises a fundamental question: is the pursuit of financial stability through the nonprofit model hindering innovation and preventing theatres from truly connecting with their communities? The current system, as many point out, disproportionately allocates funding to administrative costs, leaving less for artistic endeavors.
Reimagining Theatre: Local Focus and Radical Flexibility
The path forward isn’t necessarily about replicating the past, but about learning from it. A renewed focus on local engagement, as advocated by Ybarra, could be a crucial step. This means prioritizing relationships with community organizations, addressing local issues through artistic programming, and fostering a sense of belonging. Furthermore, a willingness to embrace radical flexibility – to let go of the “preciousness of sustainability” – may be necessary to adapt to a rapidly changing landscape. This could involve exploring alternative funding models, experimenting with new performance spaces, and prioritizing artistic risk-taking.
The future of theatre isn’t predetermined. It’s a space for experimentation, for reimagining, and for a renewed commitment to the art form’s power to connect, challenge, and inspire. Perhaps the current disruption isn’t a sign of decline, but an opportunity for a transformative rebirth. What innovative approaches will you champion to ensure theatre continues to thrive in the years to come? Share your thoughts in the comments below!
