A director lands in a small college town and realizes she has to make her own opportunities if she wants to work. A group of college friends share a common vision and band together to find a new audience in a big city. An experienced artist finds himself unfulfilled and strikes out on his own to produce bolder and more challenging work. The solution: create a TYA company. Now, three new companies, however dissimilar their foundings, are encountering many of the same struggles. We asked these three artistic directors whose companies are less than five years old to share their experiences and continuing challenges.

Adam Burke joined fellow Northwestern graduates J. Casey Lane and Meghan Pressman to create the Chicago Theater for Young Audiences, and began producing in 2004. This summer they will present BFG: The Big Friendly Giant with guest director David Saar. Andy Packer is a theatre artist based in Adelaide , Australia and the Artistic Director of SLINGSBY presents. He has two projects in the works that will launch the company later in 2005, including The Owl and The Pussycat and Other Nonsense, a musical based on the life and work of Edward Lear. Nancy Halverson founded the Children’s Theater Company of Sioux Falls in 2001. Most recently the company premiered Emperor, Incorporated, book by Wesley Middleton, music by Michael Keck.

Emperor, Incorporated (Conceived by Nancy Halverson, Book and Lyrics by Wesley Middleton, Music and Lyrics by Michael Keck) at The Children's Theatre Company of Sioux Falls.  Photo by Argus Leader

Demetrius Thomas, Amira Sabbagh, Veronda Carey, and Malane Cobourne in Jungalbook by Edward Mast at the Chicago Theater for Young Audiences. Photo by Michelle Tesdall

What led to your decision to strike out on your own rather than joining an already existing organization?

Adam Burke: There wasn’t a company in Chicago producing the kind of work we wanted to create. We met in graduate school at Northwestern and found that if we wanted to work in the TYA field, we either had to leave Chicago or start our own company because a company did not exist that could support our vision.

Andy Packer: I am at a point in my artistic growth where I feel the need to determine what projects I invest my energy into. I have no shortage of ideas for new theatre productions, but if I want to get these projects off the ground I need to champion the ideas for myself. It is very difficult, as a freelance artist, to convince established companies to invest their resources in your ideas. This is particularly the case if you are interested in creating new work even though you may have a very good, proven track record of producing quality work for young audiences.

Nancy Halverson: I have always secretly dreamed of starting my own company. My husband was called to be the president of a small liberal arts college in Sioux Falls , South Dakota. Because there was no available job on the faculty for me (and no professional theatre in the entire state!), I realized I was going to have to make my own opportunities.

During our first year in town, the local parks and recreation department contacted me about applying for a grant to produce a show in the parks during the summer. I started with Suzan Zeder’s Wiley and the Hairy Man and everyone who showed up to audition was cast. More than 1600 young people and their families saw the show -- some several times. I knew then that there was a need and an audience in my community.

I then approached the college with a plan to begin producing with the college as our fiscal agent. After a year, the board of the college was so pleased with the amount of “first-time visitors” the company was bringing onto the campus they designated the company an official partner. We have operated this way for four years.

In making the decision to start your own organization, how do you find the "like minds" to come on board with you?  How do you find the artists, managers, actors, etc., who are ready and willing to build a shared vision of a new TYA organization?

Adam: A number of us came from similar academic backgrounds where our sensibilities about TYA were cultivated. We found that we shared a vision for the company. Beyond that, it becomes about who has the passion to stand with you during hard times. Who is willing to be at Kinko’s at 4 a.m. cutting postcards?

Andy: When looking for collaborators I always look to people whose work inspires me. I am constantly amazed that so many talented artists will jump on board for a good idea – even though we may not have the level of financial funding they’re used to. The artists I am working with are the best for this project that Australia has to offer.

It is always very important to make sure your collaborators truly believe in the work you’re doing. If it’s just another gig to them, you will wind up dragging them along on the journey rather than being fed by their passion for the project. Maintaining your own passion is of utmost importance.

Nancy: I really started to develop my idea when I met a small group of professional artists who wanted to work. We started casually -- I invited three women to my house for a cup of tea and to sing. The women had never met and I think they agreed to come only because it was such an unusual invitation. I told them my idea for a show and appealed to their desire to perform. Over the next two months we built the show and it toured for two years, followed by a second show that also toured for two years.

What was the biggest funding challenge you faced in the first few years and how did you overcome it?

Adam: We struggle with having the money in reserve or advance to aggressively pursue multiple projects. Living “check to check” or meeting deadlines at the last minute is no way to grow as an organization. Until you have a few years of producing under your belt, your company won’t necessarily be competitive for grants. We were left to fund our first few seasons through individual contributions.

Andy: Overcoming the low level of TYA funding available has been my biggest challenge. I am fortunate that we have the South Australian Youth Arts Board which supports the development of art for, by and with children and young people. However, the money that they had available for the development of new TYA projects was very limited -- around $6000.00. This made it difficult to create work with anything other than the most modest production values.

To get around this, I lobbied the South Australian Youth Arts Board and explained the limitations this was placing on the TYA sector. In turn, the South Australian Youth Arts Board lobbied ARTS SA (the South Australian Governments Arts Funding and Policy body). As a result, experienced TYA artists/companies may now apply directly to ARTS SA, which has up to $40,000.00 available for funding! This is, of course, still not enough money to mount a very large production, but it is a step in the right direction.

Nancy: Because I had no funds to start my company, I only committed to projects once I had the money in hand. Five years later I still operate this way. I love to write grants and luckily I’ve been successful. Many people dread fundraising but I’m so passionate about our work that I enjoy telling our story. I spend a lot of time making presentations to civic organizations and professional groups.

What piece of advice would you give a new company about selecting/assembling a board for their organization?

Adam: Board development is one of those mysterious things that no one actually knows about. There are no answers or correct formula. We have been trying to find a well-rounded mix of individuals with strong personalities and outstanding character. We have found a mix of people who are financial supporters with the capacity to write significant checks, and those who want to roll up their sleeves and hang decorations for our fundraiser. So far, they are not the same people.

Andy: It is important that you have good financial and legal representation, of course; but the key element, I think, is that you respect the people as individuals and vice versa. It also helps if you share a common language of artistic ideas. While it is the Board’s responsibility to steer the financial and management success of the company, it is also important that they are emotionally connected to the artistic program.

Nancy: Be sure to think carefully about the role you want your board to play. Be very clear when talking to prospective board members if you expect them to give of their time, money or talents. Set a suggested contribution level for your board members and be sure they understand the expectation before they sign on. Think about the skills within your organization and supplement with board members who might give their services and expertise to round out your company.

What are the biggest challenges you faced (or are currently facing) in your first season of operation?

Adam: Aside from funding, awareness has been a major hurdle. As a new company in a large theatrical landscape, it is difficult to garner a lot of attention. Without a permanent home that people can associate us with, we have to work much harder to promote ourselves.

Andy: Funding and the rate at which you can access it are our biggest challenges. In Australia , projects are funded for different stages of development - typically at least two creative development periods and then a rehearsal and presentation of a first season. Sadly, it often ends there. This process can often take two to three years to get through, which can be quite frustrating. A gestation period is a good thing, but three years is a long time to keep the passion going and keep the full team together.

Nancy: A challenge came in the first year when I received a grant from the MLK Foundation to produce Aurand Harris’ Steal Away Home. Since I had always worked in communities where actors of color were plentiful, I didn’t even consider the demographics of my new community. Unfortunately, there was not a professional actor of color to be found in the entire state. My state arts council took pity on me and allowed me to use some guest artist funds to bring in two actors from Minnesota. The real joy was seeing our black communities embrace the production. Every performance sold out.

What strategies are you implementing to get the public interested in your work?  How are you building an audience and coaxing donors to support you?

Adam: Our connections within the professional theatre community in Chicago and TYA companies nationwide have helped to further our mission. We have pursued partnerships with local school districts, reached out to local charities by donating tickets, and currently work with the Chicago Police Department to integrate theatre into their community policing initiatives.

Andy: The goal is to develop new work as an independent company and then to have it presented by an established venue or company. The marketing of a show is such a time consuming and expensive process that it seems better left to that producing company that already has the infrastructure in place. Often venues and presenting companies become interested in producing work once it exists. I think this partnership approach is a better use of arts funding, as it does not involve a small company establishing new marketing structures. This will work until you have your own season of several plays – but that is a very slow process in Australia.

Nancy: The most important thing that we have done to build our audience is to listen to our community. Our city has a community foundation that is a clearinghouse for philanthropic giving. Every few years their board decides on a focus for their giving. We have received significant funds from this organization because we create theatre pieces in response to their focus and tour to schools.

Where do you see your organization in five years?  What mark would you like to make on the field?

Andy: In five years, I would like to see SLINGSBY presents developing exciting, engaging theatre that tours nationally and internationally. I would also like to see us partnering with presenting companies and venues. My artistic passion and goal is to increase the sophistication and emotional depth of the work presented to young audiences. I’d be even more pleased if that results in a broader industry change. I hope that we can lead the way by encouraging artists to establish their own companies to develop the work that is burning in their bellies, rather than having to rely on gigs that come their way.

Nancy: I’d like to be one of the companies that people think about when they are entering the field of professional TYA. When I was in grad school, I read an article about Metro Theatre Company and I was so impressed by their work that I had to find a way to work with them. I did, and the experience still shapes my work. I hope that five years from now, grad students will be reading about our work and aspiring to move to South Dakota.

What can we do as a field to offer support to the fledgling TYA companies?

Adam: We need to continue to communicate and to form strong partnerships. There is great strength in the knowledge that can be shared among groups. I also think that co-productions will become much more necessary in the near future.

Andy: I believe in the idea of “source” and “established” companies. The new up-and-coming companies are the source that will eventually become the established companies. If the established companies wish to survive I believe they have a responsibility to protect and support the source companies. This means presenting excellent work when it has been created. Established companies could also assist source companies by sharing some of their resources and partnering on the development of new work.

Nancy: Support ASSITEJ/USA’s Ann Shaw Fellowship
(http://www.assitej-usa.org/AnnShaw.html). It is a phenomenal program that will get us all moving out of our comfort zone and sharing our work and our artistic spaces!

Chicago Theater for Young Audiences can be found online at www.ctya.org

Children’s Theater Company of Sioux Falls is at www.ctcsf.org 

SLINGSBY presents is currently developing its website. In the meantime, questions regarding the company can be directed to Andy Packer at apacker@carclew.org.au