Moonshot Survey 1
UrbanTheater Company
Brian Loevner
Draft Overview of Current Repertoire Selection Process
Thanks for participating in Moonshot!
As you know, UrbanTheater Company (UTC) is participating as a case study in this exciting research. Consultants Nick Rabkin and Kristin Patton have met with “Key Players” (Ivan Vega, Miranda Gonzalez and Tony Bruno) for a deep dive into UTC’s play and season selection process, and have drafted an overview of how UTC makes these complex decisions. Your participation in this survey will broaden input and perspective on this work, help identify past productions for further study, and contribute to documentation of UTC’s approach to play selection and season planning.
GENERAL INSTRUCTIONS:
Please review each section of the overview below and then respond to the corresponding questions.
You may complete the survey in one or multiple sessions. To return to the survey, bookmark this URL or reaccess the link in the email you received. Your responses must be completed no later than:
The survey is designed to take about an hour. After entering your basic information, you may answer those questions you wish to and skip others. Comments are optional. We recognize the value of your time and appreciate your engaging at the level that works best for you.
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In the Survey below, Overview excerpts appear in black.
Survey instructions and questions appear in blue.
Note: this document is being developed through “deep dive” work sessions with the Key Players from the Company and additional input from Survey Respondents to provide a snapshot of context and practices as of 2020-21.
Moonshot Evolving Lexicon (Words we use a lot and what we mean by them.)
Considerations: The complex of themes, values, context and issues that are weighed as the Company makes decisions about plays being reviewed for possible production.
Key Considerations: Those considerations that are central to the Company’s identity, purpose, and current situation.
Success Indicators: The markers of the Company’s artistic and organizational goals for a production.
Artistic and Non-Artistic: We’re interested in considerations and success indicators that are artistic (quality of script, performances, production, etc.) and non-artistic (financial, logistical, organizational, etc.). Some considerations/indicators can be both. Our related queries are not a bucketing exercise, but the casting of two different nets to increase our catch - and overall understanding of the full range of key considerations and success indicators at play. For purpose of this survey, considerations/indicators deemed to fall between have been included under non-artistic.
March 8, 2021
UrbanTheater Company
Section 1: Your Info (Required)
Please input your basic information.
Job title/Association with the Company
Perspective(s) you bring: (Check all that apply)
In a sentence or two, describe your role(s) with the Company
Are you directly involved in play and/or season selection? (As a decision maker, contributor, and/or advisor.)
No
Yes
If yes, briefly explain your role:
Year of first association with the Company
Survey responses will be reported in aggregate. In certain instances attributing an individual response or reporting an unattributed individual response can be useful. Please instruct us regarding your preference should such instances arise:
Section 2: Draft Overview and Related Questions
Throughout this survey, we’re looking for key ideas only. “Bullet point” ideas/short sentences, not paragraphs. Your perspective.
UrbanTheater Company
Identity and Core Purpose
Here, we’re not looking for existing mission and vision statement language - but rather what you see as the most important elements of this Company’s mission, vision, values and aesthetic (without referencing the website/existing documents).
Where indicated, in your own words, what would you say are the most important elements of:
Mission
Vision
Values
Aesthetic
UrbanTheater Company
Organizational Context and Factors Relevant to Play and Season Selection
(Feel free to skip any questions that cover unfamiliar territory.)
Organization Fundamentals
Please review these organization fundamentals with an eye to clarity and any key elements we might have missed. Note any suggested clarifications/additions where indicated.
Community
Audience
Black and Brown
Predominantly Female
Not typical theater goers/subscribers
Many first timers
“I don’t like theater… Oh!”
Broad age (18-65) and income diversity
Relationship building throughout community
including with schools and other institutions
Audience development – one person at a time
Inspired by Ivan’s reading “Invitation to the Party”
Partnerships
PRCC
Holyoke (MIFA: Mass. Int’l Festival of the Arts)
Community as a Campus
Humboldt Park Schools - daytime performances
Chi Arts
Roberto Clemente HS (daytime performances)
Pedro Albuzo Campos HS
Chicago Park District
Definition Theatre
The Honeycomb Network
Chicago Latino Theatre Alliance (CLATA)
Restaurants (Teatro Thursdays)
Teatros Unidos
Theatre Communications Group
Types of Work
Our own content
Original work
Developing first devised work – “Division”
Commissions
World premieres
Straight narrative
Chicago-centric
Touring
To other communities that reflect own
MIFA, Holyoke every 2 years
Daytime performances (high school groups)
Adaptations to COVID – experimental
New > technology front of lobby
Collective Approach - Community of Artists and Others
Incubator for artists
We’re a sandbox
Widening circles
Opportunities to come back home
Working to re-engage alumns, including those now in LA
Alumni support structure
Non-elitist
Want to encourage experimentation. This is a place of development.
La Tribu - Artist Mentors
Anthony Aicardi
Antonio Bruno
Jasmin Cardenas
Nydia Castillo
Melissa DuPrey
Miranda González
Tamika Lecheé Morales
Andrew Neftalí Perez
Fredy Rocha
Raquel Torre
Ivan Vega
Emeritus Collective Members - continuing role?
Production
Administrative
Season Model
New model: Solo performance, tour, then new large production
3 shows here Fall to Fall
Tour often, but not always, scaled down version of large show from season prior toured to universities
Used to be 2 mainstage shows plus tour
Too much - recognized our capacity limits
Staff
Titles (Artistic Director, Executive Director and Company Manager) are for the “outside world”. Miranda, Ivan and Tony share most responsibilities collectively
Three are not salaried, but paid by project
Bookkeeper (currently open)
New position: Community justice and partnership coordinator – paid part-time by recent grant.
Board
Current board 2+ years old
Working board is 3 outside directors - President Juan Linares (was ED of LUCHA), Lori Berko (started Greenline Arts Ctr), Brian Loevner, Ivan and Miranda
Other board members (friends and family) are not active, but financial supporters.
Working to grow and diversify board
Particularly Black, Indiginous board members
Must remain predominantly BIPOC
Not just monetary contributions
How to make UTC collaborative, sustainable, accessible and influential
By making transformative art
Meets quarterly
Approach economics of theater strategically
Board president was ED for LUCHA.
Small and mission aligned
Advisory Board
Honorary
Decision-Making Authority
Collaborative/consensus approach
Aligned with mission
The three together
Financial
Budget current $197K. Goal is in 5 years to have a budget of $650K
Cash flow – in decent shape, tight fiscal management
Fiscal year is calendar
COVID-19 Impact:
Received some relief funds, can pay the rent. Not fearful of folding, but without producing, budget will be half of what it’s been
Facility
Open to community - Multi-use
Polling place
Donation center
Healing arts
Classes
Meetings
Rent first floor storefront
Year to year lease
Landlord is flexible, and allows use of basement, too, for storage
Upkeep - We keep it clean, useable (Ivan and Tonio)
Flexible seating
Audience capacity – 60ish.
Don’t have a business license for theater, so operated as “cultural center” with suggested donation, rather than box office with ticket prices
Not wheelchair accessible
Goal to move down the street to live-work arts building also on Paseo Boricua to have 99 seat house UTC would take over.
Will need tech
Rent accessibility a potential issue
Current rent is $1300/mo, new space estimates have varied but one quote $2500/mo
Current Challenges/Opportunities/Big Picture Goals (near-term horizon)
Review the following near-term challenges, opportunities and big picture goals, and think about their relevance to play selection and season planning. Note any suggested clarifications/additions where indicated.
Challenges
Pandemic
Lost rental income
Can’t produce typically
Restarting production will be challenging moment
BLM Demands/Groups
Abundance of ideas for what to do as UTC or to support others to do
So many groups
Current space:
Currently classified as a “cultural center”, not a theater or PPA
Cannot charge for tix. Limited to “suggested donation”
Not fully accessible (bathrooms, exits, etc)
City regulations
Hurdles to go through when we reopen with city regulations
Non accessibility obstacle to PPA license
Potential New Space
Need legit building schedule and plan to start fundraising
Development on hold for now - Belmont Bank financing
Eventual capital campaign will challenge capacity
Artistic/programming
Abundance of ideas from which to choose
Division: big devised work on the 1977 riot - Fall 2022 or spring 2023
First devised work
Large undertaking
Volunteer admin staff
Organizing/managing data
Makes time an even more limited resource
Awareness around existence and reach
Limited visibility outside Humboldt Park. Emergent progressive theater movements still often leave UTC (and others) off the map and focus on large institutions & individual artists
Untapped UTC expertise and experience
Opportunities
Address Decolonization
At its systemic roots
Through Policy, Process and Practice and Community Agreements
How can UTC support the movement in ways that are meaningful?
Be innovative/adaptive/expansive in these times
Alter presentation methods
Virtual platforms
Livestream pay per view
Socially distanced - storefront windows, etc
“What does this look like?”
Reallocate resources (such as shift of funding to La Tribu)
Return to live performance when able
Endless artistic opportunities
Encouraging artists, orientation to “how can we support?”, and flexibility opens up possibilities
Mission orientation
Transcending individual egos in service to mission opens pipeline
New live/work artist space development on Paseo Boricua w/99-seat house
Opportunities for increased:
Artist relationships
Mentorship opportunities
Accessibility
Opportunities for use of current space
Be a leader in anti-colonial theater practice
Utilize UTC’s experience
Build on a foundation that exists!
Can give movement legs
Learning how to discern and choose between movement response opportunities
Point to other Black theaters - collectivizing
Strong Humboldt Park reputation/visibility solid foundation on which to build wider visibility
Expansion of audience and work
Music integration
UTC part of Teatro Unidos
Merchandising – retail component – Chicago-centric urban apparel idea
Big Picture Goals
Salaries and compensation – full time employment for 3 core staff + CJPC role
Addition of new performance space
Create new opportunities for the community in larger, better equipped house
99 seat- house
Live/work space
Work with artists who live in the building
Continue to use current space for incubator, workshops - way to invest in place in the community
Voice in Chicago, national and international theater table
Increased touring
Universities
International, Fringe Fest, etc.
Publishing/Archiving
All new works produced by UTC published in a Humboldt Park anthology
Archive all works fostered by UTC
UTC part of Teatros Unidos (anthology)
Increase Education Programming for under 18
Partner more closely with local schools
Successful development and production of Division
Merchandise Line
UrbanTheater Company
Play and Season Selection Processes
The Overview is divided into play and season selection.
Please review each section for clarity and completeness and respond to the questions, using bullet points or short sentences. If you have nothing to add, skip to the next section.
Play Vetting and Selection Process
Initial Sourcing
Miranda, Ivan & Tony sit down in “think tank”
Thematic beginning - start with a thematic idea, not play selection
What’s missing from the community?
What work is needed to amplify community voice?
What work is needed to uplift community?
Themes selected from lived experience
ie. Miranda’s experience with gentrification in Humboldt Park led to Not for Sale
Let community tell us what they want to hear
ie. Jose Echeverria brought in book for Real Dance Fever, led to Back in the Day
Evolution of sourcing
Focus Chicago/Humboldt Park since 2017
Work that aligns with social justice values and counter-narratives
Play Selection Process
Multipartial approach. Equitable, representation of the many perspectives of the LatinX/ Humboldt Park/Chicago experience.
Pipeline of themes, project ideas developed through facilitation of these multiple perspectives
Informal Structure
While Admin meetings routine & biweekly, artistic matters constantly discussed on Slack, and all always jump on a call
Integrated with Season Selection process
Any suggested changes, additions or other comments to this description of the current play selection process?
Key Artistic Considerations in Play Selection
Review the outline of key artistic considerations below and, from your own perspective, rate the importance of each using the following scale:
1 = unimportant
2 = somewhat important
3 = important
4 = very important
5 = critically important.
(You are rating importance of each consideration to play selection, not rating these considerations against each other.)
Feel free to provide brief comments or questions where indicated. If you are unsure of importance, leave the rating blank.
Representation
Must represent/reflect our audience/community and ourselves
Part of black diaspora. Afro-diaspora character present.
This City, This Community, These streets, Our history, Our people
Chicago-centric
Authenticity/authentic (Chicago) voice
transplants can write about transplant experience
Center BIPOC voices/playwrights
Theme considerations
How theme will affect community and how to have community conversations around the piece
ex. Water and Power – about bridging Northside and Southside of Chicago
Expand beyond the Chicago stories centered in BIPOC communities and experiences during the 70’s/80’s
Mute
Displaced
Story elements
Stories we have not heard before
Moves beyond bicoastal theater canon
We have the power – and responsibility - to put stories on stage that audiences outside our community have no idea exist.
Story Clarity
Story and character complexity and nuance
Supports exploration of many subtexts
Leads to infinite discovery
Resonates
Social justice aspect
Similar lived experience
Joyous element celebrating stories
Use of comedy in telling stories of social equity (dramedy/the sugar pill)
Artist alignment
We align ourselves with our artists
Artists must resonate with our social justice orientation
Open for collaboration and growth
Opportunity to decolonize
Non Euro-centric approach and practices
Flatten the hierarchy
Access
Cultural, artistic inclusion
ways to include people who typically lack access
Understanding power paradigm/disrupting power dynamics
Theatrical Canon has been bi-coastal
Tap networks
Anti gatekeeping. Sharing the wealth. Connecting artists to others in network for needed resources
New Play development timeline
Confirming play idea can be developed within desired timeline/context of what we’re doing
Lean toward commissioned works typically 6 months to a year
Devised works - appx 18 months
Please rate the importance of each consideration (referencing full descriptions above):
Representation
Theme considerations
Story elements
Resonates
Artist alignment
Access
New Play development timeline
Any comments regarding the artistic considerations in play selection? If so, please note.
Are there other artistic considerations you believe rise to a #4 or #5 in importance?
If so, please note.
Key Non-Artistic Considerations in Play Selection
Review the key non-artistic considerations below and, from your own perspective, rate the importance of each using the following scale:
1 = unimportant
2 = somewhat important
3 = important
4 = very important
5 = critically important.
(You are rating importance of each consideration to play selection, not rating these considerations against each other.)
Feel free to provide brief comments or questions where indicated. If you are unsure of importance, leave the rating blank.
Artists must be willing collaborators
can’t have a person who will bottleneck
Make sure admin supports team
Confidence can meet revenue goals
Collaboration opportunities/networks
ie. Teatro Thursdays/Sundays, cross promotions
Please rate the importance of each consideration (referencing full descriptions above):
Artists must be willing collaborators
Make sure admin supports team
Confidence can meet revenue goals
Collaboration opportunities/networks
Any comments regarding the non-artistic considerations in play selection? If so, please note.
Are there other non-artistic considerations you believe rise to a #4 or #5 in importance?
If so, please note.
UrbanTheater Company
Key Artistic Success Indicators for Plays Produced
How we know we're successful — by our own measures.
Please review this list of artistic success indicators for plays selected and produced. Briefly comment on any that are confusing, that you disagree with, or that you'd articulate differently.
Story is clear
Production is cohesive
Resonates with audience
Overall aesthetic
Utilization of space
Elevation of story line
“Wow” factor/goosebumps
Us
Audience
Resonates with a staff: “I want to see the show every day!”
Element of surprise
Discovery of something new every performance
Nuance and complexity
Comments on artistic success indicators for plays?
Any additional artistic success indicators for plays you'd suggest?
Key Non-Artistic Success Indicators for Plays Produced
Please review this list of non-artistic success indicators for plays selected and produced. Briefly comment on any that are confusing, that you disagree with, or that you'd articulate differently.
Artists’ experience
Want to work here
Needs met (including personal)
Barriers overcome
Artistic fulfillment
Safe place to work
Financial
Met revenue goals
Budget managed/surplus
Audience demand
Increased audience
Sold-out run
Resonance
Conversations/buzz
Social media dialogue around the work
Audience feedback
Artist promotion of the play to other artists
Increased CPS school engagement
Strong community partnerships around the production
Impact - about more than theater
Succeeded in humanizing everyone and the process
Comments on non-artistic success indicators for plays?
Any additional non-artistic success indicators for plays you'd suggest?
UrbanTheater Company
Current Season Selection Process
Integrated with play selection process.
Within play selection, identify solo performance, tour, and new large production for each season
Has become more streamlined since Miranda
Things have been disrupted by pandemic and multiplicity of BLM activity. But next three seasons already planned (and included under Season Considerations)
Any suggested changes/additions or other comments to the Season Selection Process?
Key Considerations in Season Selection
Review the outline of key considerations below and, from your own perspective, rate the importance of each using the following scale:
1 = unimportant
2 = somewhat important
3 = important
4 = very important
5 = critically important.
(You are rating importance of each consideration to season selection, not rating these considerations against each other.)
Feel free to provide brief comments or questions where indicated. If you are unsure of importance, leave the rating blank.
Connect artistic and non artistic elements
Non Artistic: Connecting to the community.
Does it reflect the community
Does it stay inline with our mission?
Themes for seasons - a theme or a time in history community concerned about/that will resonate. Themes in place through 2024:
Spirituality and marginalized identity:
Brujaja with Melissa DuPrey: Growing up in a Latinx modality.
Melissa the first Afro-Latina from Humboldt Park to be produced
Mi Casa, Tu Casa
Uprising - Puerto Rican Resistance through Time
the Young Lords
Division (the riots).
UTC’s first devised work
Something UTC has talked about a long time. Ivan has been passionate about it since college.
Coming to Chicago
Brinca charco (PR phrase “puddle jumper”) about immigration – commissioned work on Ivan’s story being Puerto Rican in Mexico and Chicago
Managed Budget
Confidence in ending season in the black
Collaborative opportunities
Revenue generating opportunities with shows that will resonate with audience Connections with community partners and businesses
Resonance with schools, LUCHA, Trans Chicago, etc.
Balance of cast and production size
Larger work
Solo work
Touring work
Resonance with community partners: schools, LUCHA or Trans Chicago, etc.
Please rate the importance of each consideration (referencing full descriptions above):
Connect artistic and non artistic elements
Themes for seasons
Managed Budget
Collaborative opportunities
Balance of cast and production size
Resonance with community partners
Any comments regarding the considerations in season selection? If so, please note.
Are there other considerations you believe rise to a #4 or #5 in importance?
If so, please note.
Key Non-Artistic Considerations in Season Selection
Review the outline of key non-artistic considerations below and, from your own perspective, rate the importance of each using the following scale:
1 = unimportant
2 = somewhat important
3 = important
4 = very important
5 = critically important.
(You are rating importance of each consideration to season selection, not rating these considerations against each other.)
Feel free to provide brief comments or questions where indicated. If you are unsure of importance, leave the rating blank.
Any comments regarding the non-artistic considerations in season selection? If so, please note.
Are there other non-artistic considerations you believe rise to a #4 or #5 in importance?
If so, please note.
UrbanTheater Company
Key Artistic Success Indicators for Overall Season
Please review this list of artistic season success indicators. Briefly comment on any that are confusing, that you disagree with, or that you'd articulate differently.
We achieved our “From the Street to the Stage” motto
Common theme/important historical time among community
Instincts proved on point
The instinctual excitement and enthusiasm for the ideas and plays selected were sustained
Artistic aspirations were realized
Artists want to work at UTC again, are approaching us
Comments on overall season artistic success indicators?
Any additional overall season artistic success indicators you'd suggest?
Key Non-Artistic Success Indicators for Overall Season
Please review this list of non-artistic season success indicators. Briefly comment on any that are confusing, that you disagree with, or that you'd articulate differently.
Created supportive environment beyond artistic work.
Artists consider us “family” and UTC “home”
Comments on non-artistic success indicators for overall season?
Any additional non-artistic success indicators for overall season you'd suggest?
Approach to Risks
Please review this summary of UrbanTheater Company’s approach to risks, and think about it in connection with play selection and season planning. Note any suggested clarifications/additions where indicated.
We live in realm of possibility in all facets of organization
Approach risk as achievable challenge
Artistic risk we embrace and encourage
We’ll make it work - it doesn’t scare us
Financial risk must be managed...creatively
If something doesn’t financially make sense, we find a way to dial it back
UTC has sound financial management, which is the foundation for strategic risk taking
Sometimes risk sneaks up and we must be nimble
Comments on approach to risks?
UrbanTheater Company
Past Production “Hits” and “Misses”
Sometimes a theater company produces work that is deeply satisfying by artistic and/or financial, logistical and organizational measures and standards. Sometimes that’s not the case. In the next stage of research, Moonshot will pay particular attention to plays that represent a range of outcomes.
Please consider those productions you experienced or recall from the list below and respond to the questions. For purpose of our inquiry, we are looking at both artistic success/disappointment and non-artistic (financial, institutional, and other) success/disappointment.
This is a subjective exercise. Results, tabulated in the aggregate, will inform which productions are studied in greater depth.
Please check all of the following productions that you were involved in and/or experienced as an audience member:
Within each of the following categories, list 3-4 plays that, in your opinion:
Were particularly successful by artistic standards (quality of script, performances, production, etc.)
Were particularly successful by non-artistic measures and standards (financial, logistical, organizational, etc.)
Were particularly disappointing by artistic standards
Were particularly disappointing by non-artistic measures and standards
While we’ll be delving into the “why’s” of success/disappointment later in the Moonshot process, feel free to briefly comment on your sense of the “why’s” for any of the shows you listed.
UrbanTheater Company
Almost Done!
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March 8, 2021