Okay, here is a good dilemma for all you arts manager types out there. So good that I have been encouraged to post it on my blog by my faithful readers (and you know who you are)

Since things resolved to my satisfaction in the end, I may just name names if it gets too tough to refer to the principals in oblique generic terms. (Also given that people can look on my theatre’s website and figure things out very quickly.)

Last week, I got a call from a performer’s agent saying that principal performer in a group of 11 would not be able to perform in Hawaii due to his doctor giving him an ultimatium. Now ignoring the money already paid out for non-refundable airline tickets and hotel rooms, this presented a number of problems. The group was named after the gentleman in question and I was just about to send out print ads with his picture on it. Conferring with some other people, they suggested putting a tiny disclaimer in the ad saying he wouldn’t be performing in Hawaii.

I wasn’t sure if this was really the correct tactic for two reasons-1) I would essentially be paying a couple thousand dollars for an ad that was saying “Come see the show! (by the way, there is teensy flaw in the show) and 2) I wasn’t sure how much of my potential audience really knew who he was and identified strongly with him. There were also some aestetic concerns as well. The best picture I had was of him, the other two images were not only of poorer quality, but also very wide horizontally and wouldn’t really work unless I changed the orientation of the ad. I had the option of calling the newspapers and inquiring if I could change my space reservation after the deadline had passed, but the redesign and university approval process would probably put me past the deadline for when the art was due.

Other members of my booking consortium were concerned as well. One of the other theatre managers had seen the group perform and felt that even though the front man had been phasing out actually playing with the group, he was still the charismatic showman whose absence would make the group just another really good set of musicians in their particular genre. She sent an email to the agent asking if anyone else in the group could rise to the occasion and exude the same magnetism. Ever practical, I sent a follow up one asking if they were going to replace him with another person who could play the instrument or should I cancel the hotel and plane reservations.

I also noticed that the force majeure clause in the contract actually implied that if one of the musicans couldn’t perform due to illness, a pro rated portion of deposit would be refunded. I asked the other members of the consortium if we were going to pursue this avenue and suggested that his absence constituted more than 1/11th the value of the entire group.

I also noted that on Broadway (though it may be an urban legend) if the actor listed above the play title in the playbill and marquee doesn’t appear that night, you are guaranteed a refund if you ask for it. I wondered if there was a similar common law precedent where we might have the right to break our contract if the person who the group is named after doesn’t perform.

So there is the case–as an arts manager, what do you do when the person everyone is potentially coming to see ain’t coming?

Well here is what I did. I let the ads go as is without inserting a disclaimer. I did it for the reasons I mentioned above–I didn’t know that too many identified strongly with him, the image was the best one to attract people and from our box office surveying, I wasn’t sure anyone actually saw our newspaper ads anyway.

I did however, come clean to the radio DJs who were promoting the show for me because 1) They serve a niche audience who are likely to identify strongly with him and I expect that I will be programming to that niche in the future and it would be a big breach of trust if they learned I knew he wasn’t coming 10 days prior to the concert. Better to lose the ticket sales and fight the battle for their hearts another day. 2) One of the DJs wanted to do a phone interview with a member of the band so there was a 98% possibility that they would mention the big guy wasn’t coming. Although I could shrug and say I didn’t know much earlier than she did (which would have been absolutely true) one of the first rules of damage control is to make sure that you control how a story breaks.

Now 12 hours later, I get a message saying the gentleman is coming. It is a little bit of pie in the face for me to turn to the DJs and sheepishly tell them to forget I said anything, now he is coming. Had I been less ethical, things would have actually turned out okay and no one else would have been the wiser so I suffer a little loss of face for being honest. Ultimately it is a gamble though. Had I waited and tried to figure out how I could manipulate events so that the bad news wouldn’t be discovered until later, the situation could have turned around and bit me on the butt.

Hopefully, I won’t have to face that situation again or one where I find out the star isn’t coming as the rest of the band deplanes at the airport. However, these events have made me aware of the need to plan for just such a contingency.

Way back in my second entry I pointed out that I had a letter posted on Artsjournal.com’s letter section and in the Artful Manager blog. One of my suggestions was that arts audiences and church audiences share some commonalities–faithfully joining a communal activity on a regular basis being one.

Well, I actually have a church doing services in my theatre which you would think would combine the best of both worlds. I have a large group of people coming to my theatre, moving my display about our 30th anniversary and staring at our large set filled with water during their services. (Yes, they wanted to do baptisms, but we wouldn’t let them.)

Thus far when we ask people how they heard about the show, no one has mentioned that they attend services there. Somewhat disappointing, but we still have a lot of time to seduce them.

One thing they have been doing is providing us with volunteers to clean up our backstage and usher during the shows. They have been really dependable and efficient. One thing that is sort of disquieting to me though is that many of them are doing it as part of their service to the church and not because they enjoy live events.

I love having the resource of volunteers, but I guess as a person who has his own “religious” experience in the arts, I would really like to have people coming who are doing it because they enjoy an arts experience. I don’t want to convert them into subscribers or arts lovers. This is certainly an opportunity to expose people to the arts who never thought of it as an experience to be included in their lives and maybe they will ultimately benefit from it.

It is just a strange experience for me telling the church volunteer coordinator that I appreciate the help and don’t want to put anyone out so she should only include people who have a genuine interest in participating. She talks about how volunteering is important for rounding out their spiritual lives. The people who do help out may very well be curious and interested in the arts, but that doesn’t seem to be an important criteria in their selection when I talk to the volunteer coordinator.

On the other hand, they aren’t compelled into service either. Apparently, people aren’t allowed to commit themselves to volunteering unless their personal lives are in shape (and there is a support network that helps them get to that point.) I am sort of envious that they have such an organized volunteer network.

That is another problem for me. I really want to build a corps of volunteers so I don’t have to ask the church for help. Since the church has the contact information for their volunteers and I don’t, this makes it hard for me to solicit their services on my own behalf. I don’t aim to poach volunteers, but it would be great if some were interested in the arts because it would increase the likelihood they would approach me independently of their church association to volunteer.

Guess I am going to have to do it the old fashion way and build the volunteer group one person at a time.