Which is more incredible? The Seattle Times reports the embattled Intiman Theatre, against all odds, has raised the first $1 million they will need to reopen. Playwright-gadfly Paul Mullin writes a post titled: “Sincerely, Good Luck.”
Ever since the Intiman’s board announced their selection of Andrew Russell as artistic director, along with a summer-festival slate from Seattle’s most talented, I’ve been biting my tongue. As it happens, I know some of the people involved, personally and professionally, and I have every confidence that they will create a festival of real artistic import. Not to overstate it, but any one or two of them collaborating would be an event–this cavalcade of artists is almost unprecedented and if you aren’t thrilled by the possibilities, you need to check with your doctor about dialing back on the dosage.
On the bill so far, a Russell-staged Hedda Gabler with Marya Sea Kaminsky and choreography from Olivier Wevers, and an Allison-Narver-directed, Israel-Palestine-referencing Romeo and Juliet. Plus, rumors The Stranger, “a certain iconic American play by an old white guy directed by Valerie Curtis-Newton, and something ‘outlandish’ that is ‘conceived by’ […] Dan Savage.”
So far, so good. The “Under New Management” sign is out, and a sustainable (we’re told) budget of $1 million is in play, but I remain torn. Intiman’s board–neither the old nor the reconfigured version–has never publicly explained the multi-year erosion of their $3.6 million endowment, and no one seems eager to investigate.
Given the Intiman’s repeated abuse of its donors’ and subscribers’ trust–someone spent down their endowment, the leadership did announce $500,000 would keep the doors open but then closed once it was raised, and finally subscribers were told they couldn’t have refunds because that money had been spent, too–it felt as if the “new” Intiman was voluntarily placing a stinking albatross around their neck. Why not simply form a new artistic enterprise?
But as Misha Berson reports in the Times, at least half the $1 million raised were major gifts were made by previous Intiman benefactors, who didn’t want to let their theatre go without a fight, and by the Intiman board. Still, a fight is what it will take. As Berson notes:
Intiman intends to now operate on a pay-as-you-go model, with a shorter season, a smaller staff and strict financial accounting. “Our budget used to be five or six million dollars a year,” noted Jones. “Clearly we could not sustain that and needed to dial it back.”
Other challenges lie ahead, both artistic and economic. Intiman has just begun to pay $370,000 in back rent and utilities owed to its landlord, the city-owned Seattle Center. It also must devise a plan to retire more than $500,000 in debt owed to other creditors.
To give you a sense of perspective, keep in mind that the City of Seattle just made this announcement: “Mayor Mike McGinn today announced more than $1.6 million in investments to Seattle-based arts, heritage and cultural organizations through the Seattle Office of Arts & Cultural Affairs’ Civic Partners program. The program will provide funding to 137 organizations in 2012.”