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Risky Business:
Small Theatre Group Invests in Permanent Home
Tucson, ARIZONA-based Beowulf Alley Theatre Company
considers all angles before choosing to renovate a former fitness equipment
showroom in the downtown area.
Until a few months ago, the Beowulf Alley Theatre Company in Tucson, Ariz.,
had no permanent home and was forced to book rental space for its productions.
Any small theatre group in this same predicament can recite a litany of disadvantages
— no rehearsal space, limited tech time and the inability to continue
the run of a successful show.
But finding a permanent home can be expensive, time-consuming and, ultimately,
counterproductive if the proper steps aren’t taken at the right time.
Like a first-time buyer looking for a family home, theatre groups need to
be calculating yet intuitive, cautious yet brave and patient yet eager. It’s
a long road to the right decision.
Using Beowulf Alley’s situation as an example, let’s see why this
theatre group decided to find a permanent residence and how they went about
the process.
Beowulf Alley’s background
Beowulf Alley was formed in Tucson in 2001 when a group
of actors and directors approached artistic director Stephen Elton with the
idea of establishing a new theatre company that would allow them to not only
explore their craft but also cultivate a following by producing contemporary
plays by both established and emerging writers.
The group had found a benefactor who offered them a small monthly stipend
and wanted Elton to take the lead. Subsequently, the group mounted two critically
accepted productions but soon realized they had a decision to make: Should
they continue renting space or should they consider taking a more aggressive,
riskier approach?
One of the deciding factors was the lack of performing space in the Tucson
area. They could have continued to establish themselves as a producing company,
but with 40 to 50 theatre groups, dance companies and other performing groups
in the area, where would they be able to stage their works? True, large venues
exist for performance groups inTucson, but they can be difficult to book,
have too many seats or be too expensive.
Having a permanent home would remove all doubt about where the company could
stage its productions, and it could also help to develop a positive cash flow.
By renting the space to other production companies, Beowulf could become a
landlord or producing partner to other performing arts groups looking for
space.
“Diversification is key, because you only do so many shows a year, and
you end up with a lot of dead time in between that you still pay rent,”
Elton says. “So if you can fill the space when you’re not performing,
you have that source of income.”
The right location
Once the decision was made to find a permanent home,
Elton began a wearying, two-year search along every avenue of Tucson for the
right location to build a permanent home. In June 2004, he found what he was
looking for and signed a six-year property lease.
The site – a former showroom for fitness equipment – is loca ted
in downtown Tucson. It’s a couple of doors down from a tattoo parlor
and just around the corner from a Mexican food joint. The area is in the midst
of revitalization, but still has a way to go. While the streets in the area
appear safe during the day, an uneasiness sets in at night. On the positive
side, just two blocks away, the old Fox movie theatre is undergoing a $2 million
renovation. Also, two of Tucson’s best-known restaurants are in the immediate
area.
In addition, the city broke ground on a 750-spot public parking structure
one block north of the theatre. There is also dialogue, as part of the downtown
renovation, regarding the creation of an additional 25 angled parking spaces
right in front of the theatre. Elton believes that once the city sees the
positive impact they are going to have on the area, it will be eager to help
in any way possible.
Yes, but how much?
But location was only one part of the equation. For
many start-up theatre companies, cost is usually the main factor. Elton says
his landlord’s goal was to get $6 a square foot triple net, which means
Beowulf Alley pays for, in addition to rent, insurance, maintenance and taxes.
Elton believes he negotiated a very good deal for the company, especially
considering the central location in the city.
Monthly rent aside, the next biggest consideration was the potential of the
building itself. Elton considers size and ceiling height to be the two most
important factors when searching for a workable space. “The funny thing
is your No. 1 limitation is open space,” he says, explaining that many
large buildings have pillars that block views and make the facility unworkable
for theatre use.
Beowulf Alley settled on a 6,000-square-foot space that can accommodate a
stage with 140 seats, three offices, staging and rehearsal spaces, as well
as a lobby and restrooms. The interior has no structural support columns to
block the audience’s view of the stage. With so much open space, the
architect had a broad spectrum to choose from as he began to work on the theatre’s
drawings.
The second encouraging factor is the additional 16 feet above the 10-foot
false ceiling. This additional height allows for a good lighting grid placement
and an effective rise for rake seating of the audience.
Opening notices are in
After the first stage of renovation, the theatre opened
in July with a temporary 49-seat capacity. The production, Richard Strand’s
The Death of Zukasky, was generally well received by the critics, and the
theatre drew positive reviews for its sight lines, acoustics and lighting.
Although still a work in progress, Beowulf Alley’s new home seems to
be comfortable fit and a fine addition to Tucson’s theatre community.
