Fox Theater Report 09-16-1996
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Fox WATSON THEATRE
Discovery phase
Report to the Salina City Commission
by Salina Fox-Watson Theatre
Discovery Group Steering Committee
September 16, 1996
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FOX-WATSON THEATRE
Discovery Phase Report
to the Salina City Commission
- Table of Contents -
Committee Members & Supporters .......................................4
Fact-finding Process ....... ............ ......... .......... .............. ...... ......... 7
Focus Groups... ........ .... .................. ...... ............ ............ ...... ......... 10
Fox - Wa tson Facility Condition ....................................... 11-14
Fox - Wa tson Historic Perspective ........................................ 5-6
Introduction..... ....... ..... .... ........ ..... ............. ......... ........ .......... ........ 3
League of Historic American Theatres ................................. 9
Options, Economic Development .........................................19
Options, Historic Preservation ..............................................15
Options, Ownership ... ............ ............ ........................ ...... ........21
Options, Programming ...................................................... 17-18
Recommendations ....... ............ ............ .......... ....... ...... ......... 23- 26
Si te Visits ....................................................................................... 8
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Fox-Watson Theatre
Report to the Salina City Commission
by Salina Fox-Watson Theatre Discovery Group Steering Committee
"The life of historic
theatres is directly
linked to the economic
survival of our
nation's cities..."
- Sam Hoyt, State
Assemblyman,NY in remarks to the
League of Historic American
Theatres 1996 Conference, Buffalo
NY
Introduction
A ten-member group of concerned Salina citizens, formed in
early 1996 to embark on an aggressive fact-finding process to
determine what viable options exist for the Fox-Watson Theatre.
A series of consensus-building meetings was held in January
and February with decision-makers from private arts organiza-
tions, the Downtown Main Street Program, and City staff. In
March and April, background materials comprised of previous
studies and other baseline information including copies of the
original blueprints were assembled and analyzed.
In early May, the group made a study session presentation
to the City Commission and received endorsement to pursue
the fact-finding process. Limited fundraising for this private
effort began in May.
Members visited the Historic Hutchinson Fox Theatre in
June, and sent a representative the League of Historic American
Theatre (LHAT) national conference in Buffalo, NY
Local site tours in July and August included the Midland
and Folly Theatres in Kansas City, the Granada Theatre in
Emporia and the Wareham Theatre in Manhattan.
A series of three focus groups drawn from a cross section of
the community was held to give input as to desired program-
ming, alternate uses, financial support and marketing.
In mid-August, a 3 member team of volunteers from LHAT
came to Salina to evaluate the theatre and Salina's market in
regard to possible sustainable uses. The team offered artistic,
operations and technical expertise in the field of historic the-
aters. They provided a comprehensive assessment of those
areas as appropriate the Salina Fox-Watson Theatre.
The LHAT team also met with the Fox-Watson steering
committee as well as City staff and interested community
volunteers and professionals. Formal and informal gatherings
made for valuable exchanges of ideas and information.
Following the four month discovery phase of the project, the
steering committee met to analyze all materials and information
gathered, and after thoughtful discussion, agreed on a proposal
to be contained in a final report as presented to the Citizens of
Salina and the Salina City Commission.
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Introduction, continued
Steering Committee Members
Judy Ewalt and Joe Warner, co-chairs; Gerald Cook, Warren
Ediger, Al Gebhart, Mike Henry, Suzanne Hokett, Charles
Kephart, John Marietta, Bill Pierson, Monte Shadwick.
Technical Support
John Burger and other City of Salina staff, Anne Courter and
other Salina Area Chamber of Commerce staff, Mary Douglass,
Roy Dudark, Darron Leiker, Tom Markley, Kris Morris.
Donors and Contributors
Mike Beatty, Gerald Cook, Don Dieckhoff, Warren Ediger,
Judy Ewalt, Mike Henry, Jean King, Linda Lawrence, Dorothy
Lynch, Richard Morrison, Steve Sebree, Monte Shadwick, John
Shaver, Joe Warner.
-.
First Bank Kansas, Design Central, Green Lantern, Inc.;
Hampton, Royce, Engleman & Nelson; Kennedy & Coe, LLC;
Ryan Mortuary, Inc.; Salina Area Chamber of Commerce, Salina
Downtown, Inc; Shooters Bar & Grill, Southwestern Bell Corpo-
ration Foundation, Sunflower Bank, UMB-NBA, UNIGLOBE
Knowles Travel.
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Part 1- Fox-Watson Theatre Historic Perspective
Since the theatre closed in 1987, three formal studies of the
Fox-Watson have been undertaken by the Salina Area Chamber
of Commerce, The Community Cultural Plan/Wolf Report and
the Salina Symphony. Each study concluded that some sort of
restoration of the theatre is desirable. However, none of these
studies has been acted upon in the absence of either a champion
or financing.
Additionally, the theatre has never had a comprehensive
assessment by anyone experienced in the process of revitalizing
an historic theatre.
circa 1931, courtesy City of Salina
The Fox-Watson Theatre was opened on May 19,
1931. The cost of the structure was $400,000. The
Theatre was named for Winfield Watson who worked
for 42 years in the business and civic community of
Salina, and who was instrumental in attracting the
Fox and Midland Theatre Companies who built the
movie palace.
Once completed, the theatre was considered the
finest in this part of the state. It boasted the largest
screen in Kansas at the time it was built, though
used principally for motion pictures, it was equipped
with a full stagehouse and orchestra pit.
The theatre was designed by Boller Bros., prominent motion
picture theatre architects from Kansas City, Missouri. It was
built by Busboom and Rauh, Contractors, Salina. Local archi-
tect, Charles Shaver, who himself became responsible for design
of many Salina landmarks such as Memorial Hall and the
United Life Building, supervised construction.
The Art Deco design features elaborate terra cotta panels
garnishing of Spanish Baroque influence and is reminiscent of
the work of Louis Sullivan, a Chicago architect, who was a
teacher and employer of Frank Lloyd Wright.
The theatre measures 125 feet in length and 120 feet deep,
facing Santa Fe Avenue. A two story storefront 24 feet high runs
along the principle facade 78 feet with five storefront bays 40
feet deep, which each contain 425 square feet. Upper story
storefront spaces have been home to a beauty salon and radio
station, but have been vacant since the 1960s.
The auditorium measures 80 feet wide, and is 100 feet in
length. It has an additional 80 by 25 feet deep proscenium
stage. Its ceiling is suspended metal lath and plaster and is 42
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Fox- Watson TheatreHistoric Perspective, continued
feet high. The auditorium seats 1,353 people on two levels, 933
on the main floor and 420 in the balcony.
The theatre closed in 1987 after 56 years of use. After 2 years
of disuse, the Dickinson Theatres offered the City the building
with the stipulation that competing motion pictures (first run)
not be played there for 25 years. When the City received the
building on March 20,1989, it was in need of a new roof. The
City replaced the roof in 1990 at a cost of $60,000, and has
performed routine maintenance necessary to stabilize the
building.
A partnership between Salina Downtown, Inc, and the City
was successful at an economic development venture with three
ground level storefronts being occupied by office and retail
tenants in the spring of 1995.
date unknown, courtesy City of Salina
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Part II - General Fact Finding Process
Purpose
The purpose of the Fox-Watson group: to embark on an
aggressive fact-finding process to determine what viable options
exist for the Fox-Watson Theatre.
Process
The process included the following three phases:
I. Review Phase - May, 1996
II. Fact-finding Process
III. Final Report - September
Proj ect Areas
Specific project areas included the following;
A. Building
B. History
C. Programming
D. Organization
E. Marketing
F. Resources (financial)
Timeline
Timeline for the discovery process began in May and was
scheduled to conclude in mid-September with presentation of the
steering committee's final report.
Discovery Phase Budget (as of 08/26/96)
"Fact Finding" funds came from private sources:
Cash Donations
$5,560
$3,500
In-kind Services
Volunteer Hours (345 @ $8.00)
TOTAL private investment
$2.760
$11,820
$8,697
TOTAL paid expenses to 08/26/96
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Part II - General Fact Finding Process, continued
Folly Theatre,
KG, MO;
Warren Ediger
Left, interior;
Below, exterior
The Midland and Folly Theatres
contrast remarkably, for the
Midland's original paint finishes,
color scheme and building design
remain, while the Folly has been
substantially altered.
Midland Theatre, KG, MO; Warren Ediger
Below, interior
Site Visits
Various committee members made a series of on site visits
to:
Kansas City, MO - Folly, Midland
Emporia, KS - Granada
Hutchinson, KS - Fox
Manhattan, KS - Wareham
Wamego, KS - Columbian
Great Bend, KS - Crest
Albuquerque, NM - Kimo
Omaha, NE - Rose, Orpheum
Council Grove, KS - Stella
Information was reviewed from Judy Ewalt's Buffalo/
LHAT Conference site visits:
Geneva,NY - Smith Opera House; Syracuse, NY -
Landmark; Fredonia, NY - Fredonia Opera House; Erie,
PA - Warner; Jamestown, NY - Reg Lenna Center; War
ren, PA - Struthers Library Theatre; Buffalo, NY - Shea's
Performing Arts Center, North Park, Kleinhans Music
Hall, Studio Arena; Tonawanda, NY - Riviera; Niagra-
on-the-Lake, Ontario, - Royal George, Shaw Festival;
Lancaster, NY - Lancaster Opera House
Grenada
Theatre,
Emporia, KS;
Warren Ediger
Right, interior;
Below, exterior
A badly leaking roof at Emporia's
Grenada Theatre caused extensive
water damage. Volunteers are now
virtually gutting the interior,
including the stage deck and much
omamen tal plaster.
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Part II - General Fact Finding Process, continued
Member benefits accessed - League of Historic
America Theatres, Baltimore MD
Technical documentation, all aspects of historic theatres
Network of 2,000+ historic theatres in all stages of
revi taliza tion
Training at conferences and via network
Invitational visits to other theatres
Local consultancy visit from League
LHAT - Salina Site visit, August 14-15, 1996
A team of three professionals volunteering for the League
provided a physical assessment, reviewed focus group results,
and met with local leaders and interested citizens to gain per-
spective for facilitating committee recommendations on market-
ing, strategic planning and fund raising:
Killis P. Almond, Jr., Killis Almond & Associates,
San Antonio, TX.
Brian McNeil, Flynn Theatre for the Performing Arts,
Ltd., Burlington VT.
Maureen Patton, The 1894 Grand Opera House,
Galveston, TX.
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Part II - Fact Finding, continued
Summary, Public Focus Groups, August, 1996
In an effort to sample public opinion, the committee
conducted three focus sessions: two groups of randomly se-
lected citizens, and one selected from the business community.
Results - strong support
. that the building should be put back into use for our
community. All focus group members seemed willing to
support that effort in some way: money, time, energy or
other resources.
. that a multi-purpose facility would be the best use
. that making the Fox available to everyone in the comm-
unity is critical
. that there is a need and support for music, movies,
theater or other fine arts performance
. that a public/private partnership is the most viable
option
Results - undecided due to need for more information
. how project should be funded
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Part III - Fox-Watson Theatre Facility Condition
Facility Assessment - site visits/professional con-
sultation
The following local and regional professionals and special-
ists have or will provide information to the steering committee
about facility issues:
Walt Shook, Project Manager, The Waldinger Corporation,
Preliminary boiler, heating, air conditioning and
plumbing assessment
Warren Merrill, Vice President, B & W Electrical Contractors,
Electrical system review
Stan Pestinger, President, Pestinger Pump and Water Well
Drilling Service,
Cooling system wells assessment
Scott Hughes, PSI,
Asbestos and lead assessment study proposal
Rick Brunnetti, Scott Lang, Kansas Department of Health &
Environment
Water contamination concerns and regulations.
Jeffrey Crist, P.E., Bucher Willis & Ratliff Corporation
Preliminary structural survey.
Condition Overview:
The far-sightedness of the City of Salina in accepting the
facility from its previous owner and providing basic on-going
maintenance, including a critical roof replacement, has pre-
vented the building from significantly deteriorating. The
systems vary in their condition and adaptability to current
operational needs. Some need complete replacement while
others need updating. Portions of the building have remained
in surprisingly good condition. Significantly, the essential parts
of the main theatre elements remain largely intact. Overall, the
facility provides a base in much better condition than those of
similar efforts in many other communities. The Fox should
require significantly fewer funds than the numerous successful
theatres pulled back from complete neglect and disrepair.
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Part III - Fox- Watson Theatre Facility Condition, continued
Some hemp in the rigging system has
already failed.
06/21/96, J. Ewalt
Fox-Watson Theatre Issues and Responses:
The facility condition varies widely by system. The me-
chanical system, and particularly the boiler, needs major repair
and/or replacement due to years of deferred maintenance and
inoperation. The cooling system similarly needs significant
work, although it likely needs less replacement than repair. The
electrical system requires updating, falling far short of current
standards.
Current Findings:
The following summarizes the current findings in an on-
going process of discovery and study.
Theatre/performance Spaces and Systems:
Issues:
. Stage rigging presents a safety and operations concern
because of age of hemp.
. Stage lighting system unreliable and outdated.
. Sound system inadequate for performances.
. Seats dirty and not fully functioning.
. Auditorium walls and ceilings dirty and have areas
of water damage.
. Understage dressing rooms and support spaces have
deteriorated from significant water damage.
. Existing theatre support spaces do not provide adequate
support for many performance options available.
. The stage/ support spaces lack a loading dock for travel-
ing performances.
. Stage floor surface aged and irregular.
. Existing building does not provide access to the
handicapped.
Responses:
. Replace rigging hemp lines.
. Install new stage lighting and controls.
. Install new sound system.
. Clean and repair seats.
. Clean and repair auditorium walls and ceilings
. Repair understage dressing rooms and support spaces
after determining and halting source of water entry.
. Expand theatre support spaces to first and second
floor storefront/ office space and adjacent properties
as needed and as available.
. Add a loading dock accessible to the stage/support
areas.
. Renew stage floor.
. Modify / construct handicapped accessible toilets and
seating.
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,;. \r
Environmental Concerns:
Issues:
· Some deteriorating building components
contain asbestos (pipe insulation, plaster,
etc.).
· Some paint contains lead.
· Ground water extracted and recharged via cooling
system wells has contaminants.
Responses:
· Conduct asbestos abatement after conclusion of an
asbestos survey which identifies exposure risks, quanti-
fies asbestos containing materials, recommends abate-
ment procedures and projects costs.
· Address lead paint condition after conclusion of a
survey which identifies exposure risks, quantifies lead-
containing paint, recommends containment procedures
and project costs.
· Confirm initial KDHE discussions indicating acceptance
of continued use of well system.
Building Systems:
Issues:
· Boiler requires replacement because of age, neglect and
water damage.
· Steam distribution piping unreliable or unsuitable
because of rust, scale and inactivity.
· Extraction and recharge well serving cooling system
condition deteriorated from inactivity.
· Chiller condition uncertain because of age and inactivity.
· Mechanical conditioned air distribution system service-
able with repair.
· Electrical system significantly outdated and only par-
tially functioning.
· Building structural system shown no obvious problems
but has seen water exposure from previous roof leaks.
· Building envelope has localized areas of
moisture damaged brick.
· Service and exit doors allow water and air
en try.
· Paint covers original wall and ceiling colors
and stenciling.
· Later concessions stand in entry obscures
original entry space and detailing.
· Existing marquee less compatible with the
building design than the original it replaced.
· Original tower height reduced to current
level following lightning damage, gives
tower truncated appearance.
Evidence of original decorative stenciling.
06/21/96, J. Ewalt
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Part III - Facility Condition, continued
Building Systems:
Responses:
. Replace boiler
. Replace steam distribution piping. We\ls .
. Recondition and reactivate cooling system ~s.
. Recondition chiller.
. Repair conditioned air distribution fans and clean
ductwork.
. Conduct a structural survey to verify condition of struc-
tural components.
. Repair/replace damaged brick.
. Replace service and exit doors and frames.
. Construct a new concessions area in space adjacent to
theatre entry and lobby.
. Replace marquee with new similar in design and ap-
pearance to the original.
. Re-construct tower to original height, restoring original
visual balance and presence.
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Part IV - Historic Theatre Restoration/Preservation Options
The most basic "given" the committee used was that any and all options were to be evaluated.
All options the committee examined were, however, examined in the context of what could be
considered appropriate for a property listed on the National Register of Historic Architecture.
From the numerous site visits, committee members reached a consensus that the most appeal-
ing and economically viable projects had something in common: that the architecture of the
building had been respected during renovation, and that there seemed to be a connection between
faithfulness to original design and finishes and overall results.
Architectural preservation has a strong budgetary impact. Decisions on what to do, when to do
it, and how it is to be done depend directly on the overall vision of what role preservation should
play in the building's future.
Definitions for
Historic Preservation Project Treatments*
Stabilization
Is defined as the act or process of applying measures
designed to reestablish a weather-resistant enclosure and struc-
tural stability of an unsafe or deteriorated property while
maintaining the essential form as it exists at present.
Preservation
Is defined as the act or process of applying measures
to sustain the existing form, integrity, and material of a build-
ing or structure, and the existing form and vegetative cover of a
site. It may include initial stabilization work, where necessary,
as well as ongoing maintenance of the historic materials.
Rehabilitation
Is defined as the act or process of returning a prop-
erty to a state of utility through repair, or alteration which make
possible an efficient contemporary use while preserving those
portions or features of the property which are significant to its
historical, architectural and cultural values.
Restoration
Is defined as the act or process of accurately recovering
the form and details of a property and its setting as it appeared
at a particular period by means of the removal of later work or
by the replacement of missing earlier work.
. United States Secretary of the Interior: Standards for Historic PreserYilli.Qa
Proiects
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Part V - Historic Theatre Programming/Options for Usage
Typical Uses Seen for Historic Theatres
Rental-theatre use & services contracted for flat fee, theatre
retains concessions
weddings lectures
corpora te receptions concerts
class reunions closed circuit tele-events
small conferences graduations
corporate meetings local theatre productions
religious services & meetings
(including youth series) private parties
music and dance recitals political rallies
teacher in-service awards ceremonies
multi-school education, cultural events
fund raisers
Promotion-theatre use, ticketing and marketing are contracted;
theatre retains concessions and mayor may not share in profits.
local symphony, chorale, theatre group performance
touring acts
Presentation-theatre organizes series or event, pays presenta-
tion and marketing costs, takes all profits; may collaborate with
another entity in organizing
children education series concert series
movies - silent, foreign, classics sporting events
touring acts - Broadway hits, solos and performing
groups
Production-theatre creates presentations of its own, pays
production, presentation and marketing costs, takes all profits
and losses.
dinner theatre
theatrical presentations
various talent events
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Part V - Programming/Options for Usage, continued
Example of typical 1996-97 season offferings
found in multi-use historic theatres
(; he (jfilUd
~"~Ii.<)......~tI< . ...<~
ifI.~G., ..~..)'.,t~:~ i
",."'w....{.... ~ . .~.~
1894 OPERA HOUSE
lk>1}J"4Uid Iii,. OiNc"lf Opt..ra lioIlse vlrhl! SUI(<' ,if fe.w" J.~.. ,lte ?3Nll."i8J<!awre
The Broadway Series
"Always...PatsyCline" "The Who's Tommy"
"Grease" "Singin'in the Rain"
"Kiss of the Spider Woman"
The Centennial Sundays Series
Victor Lang-"Political Facts and Fables"
Christopher Maier-"Moving Stories"
Tom McDermoll-"The Gift of the Irish"
Jay Stailey-"Gulf Coast, Down-Home"
Serious Fun Children's Series
Greenthing-The Dinosaur and the Ant
Around The World in Eighty Days
Alice in Wonderland
Cinderella Winnie the Pooh
Special Performances
Greater Tuna A Christmas Carol
A Tuna Christmas
Battle of the Big Bands Round Two
The Foreigner
Missoula Children's Theatre. The Wizard of Oz
The Grand 1894 Opera House seats 1,061. It was rescued from
demolition in the mid- 1970s and underwent a 12-year, $7
million refurbishment which has earned the theatre various
awards of excellence in design. The stage is no larger than
Salina's Fox- Watson.
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Part VI - Economic Development and Market Positioning
"The link between the arts
and flourishing economies is
obvious-in tourism, job
creation and career options
for our youth through arts
education....By investing in
the arts, we invest in our
communities" -u.S. Senator
Ben Nighthouse Campbell, R-
CO.
Economic Development and Historic Theatres
Historic theatres are increasingly seen as economic engines
to stimulate growth in the community. A 1993 study by the
Colorado Business Committee for the Arts and the accounting
firm of Deloitte & Touche revealed a $461 million local sales
impact by nonprofit cultural organizations and their audiences
in Metro Denver. (Source: Colorado Business Committee for the
Arts, "The Economic Impact of the Arts in Metro Denver,
1993.")
The study also showed that attendance to the cultural
organizations was greater than the professional baseball, foot-
ball, and basketball sports teams combined.
The Reg Lenna Center in Jamestown, NY, is credited with
turning around the Downtown economy since 1990. The non-
profit organization which owns the theatre has been instrumen-
tal in creating a small museum, renovating a large mill building
into offices, and attracting visitors who spend money in other
businesses.
Market Positioning
Earlier studies on the Fox Theatre included inventories of
competing facilities and market competition. The Fox Theatre
Discovery Group updated this information and concludes that
with the absence of Marymount College Fine Arts Theatre, there
is no other public or private venue in this area offering complete
mid-size facilities to attract popular entertainment.
The present rich calendar of cultural offerings show there is
a significant audience in northcentral Kansas which looks to
this community for a variety of high quality performance
experiences. Further market information can be gathered and
refined once a non-profit board has established a clear mission
and purpose for the kind of activities it considers appropriate
for the community.
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Part VII - Historic Theatre Ownership Overview
Ownershi p
In 1994, The League of Historic American Theatres surveyed
current and former theatre members. It was conducted as part
of a strategic planning effor undertaken by the League as a
service to its members, through the National Endowment for
the Arts Advancement Program.
A total of 140 responses were returned, or 28% of the 496
surveys mailed.
Just over half (71) of historic theatres participating were
non-profit organizations, with another 26% owned by state or
local governments.
Some non-profits have contracts to run government or
commercially owned historic theatres, bringing the rate of non-
profit management to 69%,
Legal Status: Historic Theatre Owners and Operators
Legal Status
Nonprofit
Government
Commercial
Other
CollegelUniversity
No Answer
Historic Theatre Owners
51%
26%
9%
5%
2%
6%
Historic Theatre Operators
69%
7%
7%
6%
2%
9%
Source:Historic Theatre Profiles
League of Historic American Theatres,
1994
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Part VIII - Recommendations
The information collected to date by the Fox-Watson Steering Committee indicates that the
Fox-Watson Theatre holds more promise and potential than previously believed. The Steering
Committee, after comparing the theatre's condition with that of others having gone through a
similar process, concludes that the building offers a starting point much ahead of most other
successful re-use projects. Similarly, the Steering Committee believes the theatre offers far more
performance options than previously assumed. Many multi-use theatres presenting widely varied
programs studied by the committee operate in nearly identical facilities. These examples, along
with the positive response received from the Salina community, lead the steering Committee to
conclude that a multi-use performance theatre can operate in Salina as an economically viable
option.
Phase 1- Stabilization
· Assumes limited initial financial commitment only as
necessary to meet basic health and safety needs required to
open the doors for limited public use. Facility improvements
anticipated include:
~ Mechanical system component replacement and repair.
~ Handicapped accessibility toilet and seating modifications.
~ Electrical system repairs and replacement
~ Clean-up and basic repair of under-stage support spaces.
~ General cleaning of seats, walls and floors.
~ Asbestos and lead paint abatement
· Tailor personnel and maintenance efforts to maintain the
facility in an "as is" condition without significantly upgrading
appearance of comfort. Program personnel requirements reflect
limited use and performance options.
· Anticipated "minimal use" (50-75 events per year) event
examples include:
class reunions
lectures
small to moderate-sized meetings
small musical performances
weddings
religious services
award ceremonies
recital
Phase II - Limited Rehabilitation
· Assumes additional funding targeted to specific en-
hancements of the support capabilities and appearance of the
facility to broaden the programming opportunities. Facility
enhancements anticipated include:
~ Upgrade stage rigging.
~ Upgrade stage lighting
~ Upgrade sound system.
~ Install film projector.
~ Upgrade electrical system.
~ Recondition orchestra pit.
23
Part VIII - Recommendations, continued
~ Construct removable stage extension over orchestra pit
~ Recondition and re-upholster seats.
~ Install new carpet.
~ Clean and re-paint selected areas.
~ Modify concessions.
~ Contract for off-site unloading and receiving of touring
performance groups.
. Increase personnel and maintenance efforts to support
additional facility activity including expanded event marketing
and initiation of a preventive maintenance program.
. Anticipated "moderate use" (75-100 events per year) event
examples include all "minimal uses" plus:
films chorales
local symphony (expanded stage) dance recitals
medium size theatrical performances graduations
large business and civic meetings
some professional touring groups
Phase III - Significant Rehabilitation/Restoration
. Assumes full funding necessary to realize the performance
and experience potential offered by the Fox-Watson Theatre
facility. Facility enhancements anticipated include:
~ Expand stage support spaces and equipment (assumes acqui
sition of adjacent property).
~ Expand management office space (assumes expansion into
first and second floor storefront spaces).
~ Expand stage lighting capabilities.
~ Enhance sound system.
~ Fully recondition stage rigging and fly loft.
~ Restore interior finishes to original color and condition.
~ Replace existing marquee with marquee similar to original..
~ Re-construct upper portion of tower to original height.
. Develop full management and maintenance staff to support
maximum facility activity including regional event marketing
and aggressive preventive maintenance program.
. Anticipated "expanded use" (100-150 events per year) event
examples include all "minimal" and "moderate" uses plus:
professional Broadway touring companies
religious, country and contemporary performing groups
larger musical groups (massed choirs, etc.)
large dance recitals
local theatre productions (requiring expanced audience capacity)
festivals (music, dance, drama)
state conventions
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Part VIII - Recommendations, continued
Financing Considerations
Based on examples studied in other communities, the
Steering Committee believes financing for facility improve-
ments, maintenance and operations must come from a combina-
tion of operating revenue and public and private sources. The
Steering Committee found no examples of similar facilities
financed solely by operating revenues. The most viable ex-
amples consisted of a combination of strong community sup-
port (through attendance revenue and donations), corporate
underwriting (support of specific projects and programs) and
public moneys. The Steering Committee anticipates the creation
of a start-up board of directors charged with initial fund-raising
and the creation of a non-profit foundation for continued fund-
ing support. The board's fund-raising program will likely
include a general public fund drive, individual designated
donations, local and regional business support, and regional
and national grant sources.
Organization
Mission statement
The Fox Theatre should be rehabilitated for the entire
Salina Area as a venue for a wide variety of entertainment
activities as well as a mid-sized facility for regional use;
keeping a balance between usefulness and respect for
historic architectural character.
Objectives
To develop the Fox-Watson as a regional entertainment
center serving a variety of needs for amusement, tourism,
arts, business and education.
To attract additional people and revenue into Salina.
To enrich the quality of life for families and children in
our community.
To continue the revitalization of Salina's core area.
To preserve one of Salina's historically significant land-
marks for generations to come
25
Part VIII - Recommendations, continued
Business plan
The Fox-Watson must be under the most rigorous of
business plans, to be just as realistic as any private sector
endeavor.
Support for its long term viability is vital. The Fox-
Watson must have a strategic plan as objective and con-
servative as any new business plan.
A realistic budget which includes cost vs income-
earned (fees, rentals) and unearned (memberships,
grants, contributions), plus contingencies must be devel-
oped at the outset.
Operations and Maintenance
Endowment should be raised prior to building opening
sufficient to substantially fund ongoing building mainte-
nance and repair.
Ownership:
Begin joint discussions with the City of Salina to define
conditions necessary to arrange a transfer of ownership of the
Fox-Watson Theatre to a private not-for-profit entity.
A new not-for-profit organization should be created, admin-
istered by an active 15-20 member board.
Board should consist of cross section of citizens representing
various interests of the community including cultural, financial,
educational, social concerns.
Among the Board, marketing and promotion, financial, non-
profit administration and volunteer management skills should
be present.
Individual members should exhibit vision and leadership
for the community and be prepared to actively take part in
fundraising, policy and other direct work of an organizing
board.
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The Fox-Watson Theatre
Salina, Kansas
The League of Historic American Theatres
Visiting Col*League Consultation
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VISITING COL *LEAGUE CONSULTANTS
Killis P. Almond, Jr., AlA
342 Wilkens
San Antonio, Texas 78210
(210) 532-3212
(210) 532-9919 FAX
Maureen Patton
Manager, 1894 Grand
Opera House
2020 Postoffice Street
Galveston, Texas 77550
(409) 763-7173
Brian McNeil
Flynn Theatre for the
Performing Arts
153 Main Street
Burlington, Vermont 05401
(802) 863-9954
(802) 863-8776
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Fox-Watson Theatre, Salina, Kansas
LEAGUE OF HISTORIC AMERICAN THEATRES
VISITING COL-LEAGUE PROGRAM
THIS REPORT HAS BEEN PREPARED FOR THE LEAGUE OF HISTORIC AMERICAN
THEATRES AND IS PART OF THE CONSULTANCY PROGRAM FOR THEATRE
MEMBERS
PROJECT: The Fox-Watson Theatre, Salina, Kansas
DATE: August 14-16,1996
OWNERS: City of Salina, Kansas
CONTACT PERSON: Judy Ewalt,
Co-Chairperson Fox-Watson Discovery Group
120 W. Ash
Salina, Kansas 67401
(913) 827-3641
(913) 825-6609 FAX
PRESENT USE: Currently mothballed by the City of Salina with no active use
VISITING PROFESSIONALS:
Killis P. Almond, Jr., AlA
342 Wilkens
San Antonio, Texas 78210
(210) 532-3212
(210) 532-9919 FAX
Maureen Patton
Manager, 1894 Grand
Opera House
2020 Postoffice Street
Galveston, Texas 77550
(409) 763-7173
Brian McNeil
Flynn Theatre for the
Performing Arts
153 Main Street
Burlington, Vermont 05401
(802) 863-9954
(802) 863-8776
SPECIFIC PROBLEM ADDRESSED
Provide a comprehensive verbal assessment of the structure; evaluate its capabilities
as a performance space, its potential as a rehabilitated and as an operational theatre;
and outline the process for a successful rehabilitation and use.
League of Historic American Theatres Visiting COL*League Program
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FOX-WATSON THEATRE, SALINA, KANSAS
TEAM APPROACH
It was determined that a team approach for the League consultancy would be the most
valuable for this client. League professionals from three different backgrounds -
architecture and preservation, theatre operations and theatre technical - was considered
the best option. It was the intent of the consultants to spend a concentrated period of time
evaluating the structure while meeting with individuals from the community and making a
formal presentation to community leaders and interested individuals.
This report is a synopsis of the verbal presentation and recommendations of the
consultants. A video was made of formal presentation and of a press conference held in
the Fox-Watson Theatre which can be used for greater detail. It is not the intent of this
report to take the place of a formal, paid consultant's report by professionals active in
theatre preservation.
THE COMl\1UNITY
First impressions of a community are often the most telling, especially when a comment
must be made about the viability of a restoration project such as The Fox-Watson.
Entering downtown Salina is an experience that says a great deal. For those whose
downtown, once the heart of the city, have now grown tired or almost entirely inactive,
Salina proclaims its livability and can-do spirit. While from an "insider's" perspective,
downtown may not be what it once was, it is so much more than what many see in their
own communities. All of this to say that there is a healthy atmosphere about Salina that
speaks volumes about the ability to bring The Fox-Watson back on line as a performance
venue for the community and area.
One of the most important elements in discussing the possibility of restoring and reusing
The Fox-Watson is to determine its benefit to the existing arts community and by
association, its impact on the city's economic health. Other "League Theatres" can give
evidence of how vital a role the historic theatre has played in downtown revitalization and
economic development strategies. And while no two communities are exactly alike, the
successes span a broad spectrum of geographic and demographic examples. The Fox-
Watson is not only an historically significant structure, but one that is in the unique
position of filling a niche in the arts community because of its size and capability.
A historic theatre provides not only a quality performance space, but gives added value to
each event because of its uniqueness of design and programming history. The Fox-
Watson can be a medium-sized venue with exemplary acoustics, and available for
programming or special events by multiple organizations or individuals within the greater
Salina area for a variety of activities.
LEAGUE OF HISTORIC AMERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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FOX-WATSON THEATRE, SALINA, KANSAS
THE THEATRE
The theatre opened in 1931 with a seating capacity of 1,353. It was originally designed
for movie and live vaudeville presentations.
This structure sits prominently on a comer in downtown Salina, Kansas. Its Beaux Arts,
colossal facade is of unique design and makes an architectural statement regarding the
entrance to the theatre. As part of the theatre building, there are commercial store-fronts
along the sidewalk and second floor office space which opens directly onto the balcony
theatre space.
As typical with atmospheric theatres of this type, the lobby spaces are adequate although
they do not meet current requirements and the stage is of moderate size.
There are several major advantages to this structure which relate to its reuse. The
following are advantages which definitely make the project easier to rehabilitate:
1. Mechanical Systems - The current mechanical system is located in the basement
which extends under the sidewalk. The existing boiler, although replaced fairly recently, is
beyond repair and must be totally replaced. There is a need for circulation pumps for
hot/cold water which can also be placed in this area. Proper redundant sump pumps for
the basement are mandatory and reuse of the large fan coil unit is very possible and is
recommended.
2. There is a substantial amount of existing store-front office and retail space along
the front facade of the theatre. There is a definite need for expansion space relating to
theatre offices and rest room facilities at orchestra level. The existing rest rooms are off
of the balcony lobby and are inadequate by current standards. The use of this first floor
space as support office space, ticketing, rest rooms for disabled and additional rest rooms
for the public is important to patron comfort and operational needs of the theatre.
3. The second floor has office space which opens directly onto the balcony of the
theatre. This can provide space for additional rest rooms, meeting areas and other support
spaces, such as a large conference or board room which could be valuable in the operation
of the theatre.
4. Currently, there is a structure directly behind the stage which is for sale. The
needs of a modem stage include dressing rooms which meet disability requirements and a
proper loading dock and support area. This space would be extremely important to
, purchase for future expansion of the stage so that the stage can meet the modem
requirements of a medium size performance venue. This area to the rear of the stage also
can provide direct loading dock access to the City parking lot and ally immediately
adjacent.
LEAGUE OF HISTORIC AMERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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FOX-WATSON THEATRE, SALINA, KANSAS
5. There is a basement storage area which can open directly into the mechanical space
under the lobby or, with a small amount of excavation, could open directly into the
basement below the stage. This can be used for storage, chorus dressing rooms, rehearsal
space or additional mechanical space.
The adjacent spaces are available to convert this structure into an excellent
medium-sized venue for the performing arts and the presentation of the cinematic arts.
The building has been extremely well cared for considering its long vacancy. The City of
Salina is to be congratulated for an excellent job of mothballing the structure and keeping
the maintenance and security of the structure at a very high level. Temporary reuse of
some of the store-fronts is an excellent way of keeping life in the building and of keeping
the street facade active. The architectural potential of this structure as a modern
presentation venue is very high and its seating capacity, stage and support areas can be
made to function as well as the finest modern facilities at a faction of the cost.
TECHNICAL ASPECTS OF THE STAGE
The most important thing to remember when discussing the technical abilities of a
performance stage is there is no such thing a "perfect" stage or a "perfect" theatre for all
activities. Every stage has performances which work better on that stage than on others.
The Fox-Watson Theatre is no exception. A full chorus line of the Rockettes will never fit
on this stage. However, there is an enormous variety of performances, lectures, films and
dance that can be comfortably presented on this stage without the need to perform major
changes to the structure.
The similarities between the performance and the seating areas of the Fox-Watson and the
performance and seating areas of the Flynn Theatre in Burlington, Vermont, are truly
amazing. The Flynn Theatre has an annual budget of $2 million and offers a very wide
variety of presentations within that venue. While it is true that Salina is not Burlington,
Vermont, the opportunities for similar activities which occur at the Flynn Theatre can fit
on the stage of the Fox-Watson. When properly selected for the patrons of Salina, these
same activities can perform in a successful fashion just as they are in Burlington.
The following are items which should be considered in approaching the rehabilitation of
the technical and mechanical aspects of the Fox-Watson:
1. Stage Deck - The stage deck is large enough to accommodate a wide variety of
live presentations. With the addition of a portable stage extension, the Fox could function
, quite well, although the lack of a cross over will force users to hang the full-stage black 3-
4 feet down stage of the brick upstage wall. The deck itself is in poor repair, and until
such time as the tongue-and-groove decking can be replaced, tempered sheets of 4 x 8
Masonite should be screwed onto the deck surface, painted flat black and replaced as
needed. All loose decking must first be re-anchored and sanded to present a smooth
underlayment for the Masonite.
LEAGUE OF HISTORIC A.'1ERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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FOX-WATSO~ THEATRE, SALINA, KANSAS
Wing spaces are shallow and will force road cases, once emptied, to be re-loaded
onto the truck(s). All attempts should be made to secure ancillary spaces for short-term
storage of road gear, thus saving double handling of materials.
The deck appears to be of "floating" or "sprung stage" construction, a significant
asset! Replacement of the surface decking should not negatively affect this feature and
will offer a marketing plus for dance programming. Tongue-and-groove, Edge Grain
Southern Yellow Pine or Edge Grain Douglas Fir is a good replacement material for the
deck surface as it will accept stage screws and hold them under tension.
Removable hand-rails should be installed for the stage-right and stage-left escape
stairs for safety reasons.
2. Grid - The grid above the stage is supported by steel I-beams and channels with
the beams running upstage-downstage. A few selected cross-channels have been damaged
and need to be replaced immediately, prior to active use of the rigging. Also of immediate
concern is the anchoring of the "torpedo" counterweights fastened to the smoke hatch
doors. No personnel should be allowed on the stage deck until these weights have been
repaired! Due to the debris that has accumulated over the years, the grid must be
vacuumed and carefully cleaned so that ALL masonry, loose hardware, shims, etc., are
removed.
Structural analysis of the grid must be included as part of the overall structural
review of the facility. This analysis should be one of the first steps taken by the Theatre
Professionals. Such an analysis can very often be funded through preservation or
foundation grants. The grid is fully capable of providing significant technical capacity for
live performances using elements which "fly".
3. Rigging System - The rigging system consists of approximately 26 line-sets and
has plenty of capacity for full sets of soft goods, scrims, spot-lines and fire curtain. The
counterweight/arbor system supports battens at four points using aircraft cable/wire rope
with hemp hand lines. Prior to active use, all of the battens should be spliced for safety
reasons.
Unfortunately, all of the wire rope has been greased and this needs to be removed;
no lubrication is required. A professional rigging specialist must evaluate the soundness of
the floor/loft blocks and the condition of the wire rope, arbors, t-track and rail anchoring
and rail locks. The hemp handlines need immediate replacement, ideally with synthetic
, fiber rather than manila/hemp.
Additional counterweights will need to be purchased to supply all of the line-sets
for full production capability, but this may be added in increments over several years.
LEAGUE OF HISTORIC AMERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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Fox- WATSON THEATRE, SALINA, KANSAS
The fire-curtain line set should be equipped with a fusible link at 160 degrees and
cut-lines need to be installed stage left-right. Cut lines should also be installed as part of
the rigging upgrade for the smoke hatch. The grid is wonderfully equipped and should
require minimum cost to upgrade. Cleaning is an immediate need.
4. Fire Curtain - The fire curtain remains in excellent shape and features some
stenciling which must be preserved as the curtain is cleaned. The asbestos fabric is not
torn or friable, so there is no reason why it should be replaced. It does not appear to pose
any health threat and hundreds of asbestos fire curtains are still in use.
5. Resistance Dimmers - The dimmer board is located stage right and is original
equipment which we feel should be retained for historical purposes, but with only a few
token functions. Live professional performances demand computer light-boards and
modern dimmer arrays. Without such capabilities, the Fox will have a hard time attracting
national touring companies. Unfortunately, limited wing space may doom the resistance
board, but perhaps it could be saved and used for display purposes as was done at the
Elgin-Winter Garden Theatre complex in Toronto.
6. HV AC Equipment - Most of the HV AC systems are well beyond repair with the
exception of the air-handling fan located in the lower level. Adequate plenum and
mechanical spaces exist to accommodate new equipment. However, we strongly
recommend that new air conditioning compressors-condensers and air handling units be
relocated to the commercial space adjacent to the hall for noise-suppression reasons. The
HV AC overhaul will easily be the most expensive component of the renovation and is also
the most pressing need after a structural analysis. Early fundraising must be significant to
provide an overall installation of new equipment with the exception of the blower fan. AIl
ductwork must be cleaned and ideally insulated for attenuation reasons, and engineers
must make certain that enough fresh air is supplied to modern code levels.
We strongly recommend that a computer-control system be integrated into the
HV AC program for long-term efficiency and protection of all systems. Under no
circumstances should high pressure steam heating be used. Hydraulic systems combined
with forced hot-air may be preferred.
Due to the potential of a significant amount of water in the lower level mechanical
areas, sump pumps should be repaired/installed immediately along with failure alarms and
the sidewalk where the water is coming through must be repaired.
LEAGUE OF HISTORIC AJ\IERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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FOX-WATSON THEATRE, SALINA, KANSAS
OPERATIONS
The initial areas of decision are as follows:
- Ownership
_ Management, including development of a mission statement, strategic plan
and operational plan
_ Fundraising for both restoration and operation
- Programming decisions
_ Long range planning, including endowment funds, community
partnershi p s/ collabo rati ons
OWNERSHIP
Historic theatres in this country currently are owned privately, by cities, by umbrella
organizations and by separate not-for-profit organizations. There are challenges and
opportunities in each of those options. From a personal perspective, and having been
involved in two of those options, we believe that the most positive and healthiest
ownership resides in a separate not-for-profit organization that is fully focused on the
theatre and its needs. To be part of a larger organization that is programming and
fundraising for other arts-related or historic-related activities is difficult at best. A theatre
and its programming develops a following of support that has some crossover to other
disciplines but certainly brings very specific patrons to its cause. A large restoration
project too, requires time and energy directed at a specific goal, not a multi-faceted,
multi-discipline organization. Should the decision be made to move forward with the
creation of a new organization, a group of "incorporators" must take the necessary legal
steps to do that, create a board of directors and begin the process of establishing the plan
for restoration and reuse of The Fox-Watson. The city of Salina, having taken the
visionary step to mothball the theatre, must also be an active partner in releasing the
theatre to a new owner. In addition, the city can playa strategic role in initial fundraising
efforts through a public/private partnership. Based upon our observations, public funds
for restoration might be better acquired through a broad-based "quality oflife issues" on a
public ballot than a stand-alone Fox Theatre issue. It would behoove a new board to plan
with the city officials as well as the citizens to create the greatest chance for success.
MANAGEMENT
Initial decisions by a newly-formed board of directors will be critical. First and foremost
will be the writing of a mission statement for the organization. This statement, concise
, and yet powerful, will be the yardstick by which all future decisions will be made. It will
begin the process of strategic planning that indicates "what" you want and follows
through the operational planning that says "how" to do it. In particular, issues such as
philosophy of restoration, uses for the theatre, professional management and staffing, are
all part of the total picture. When do you hire an executive director as well as other staff?
Will this be a totally volunteer organization with little or no professional staffing? How
LEAGUE OF HISTORIC AMERICAN THEATRES VISITING COL*LEAGUE PROGRAM
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FOX-WATSO:"l THEATRE, SALINA, KANSAS
will the fundraising be structured -- capital needs only, inclusion of at least the first year's
operations, endowment built in as part of the campaign? Again, from a personal
perspective based upon working with a variety of cases, we believe that hiring at least an
executive director at the outset is the most efficient plan. Having someone on sight to
serve as the primary contact for architects, theatre and fundraising consultants or
contractors as well as for the board and the city, gives continuity to a project that is
immediately diverse in its activities. An executive director can serve as a spokesperson
along with the board, but also as the person whose specific job it is to be in the trenches at
all times. While board members are critical to the success and oversight of a project,
many of them are also the most committed individuals in a community in terms of their
professional and volunteer work. Their time, while generous, can not always be available;
and they each need the resources to back them up regarding research, appointment
planning, budgeting, etc. There are numerous resources available regarding board/staff
relationships with clear definitions of what is the appropriate role for the board and what is
the purview of the chief administrator. A lot of problems can be avoided by pre-planning
and understanding those respective roles.
It is necessary to look both at the interim operation of The Fox-Watson which would
perhaps utilize only a single staff member as well as its eventual completion and annual
operation. Two significant elements should be reviewed: the administration and the
budget. The makeup of the administration of The Fox-Watson will be determined, in part,
by the function of the theatre. Whatever the final determination of the board of directors,
staffing and the cost of staffing must start modestly and increase only as the needs
demand. A few talented and dedicated people will accomplish an amazing amount of
quality work if they are in fact, the right staff members.
THE EXECUTIVE DIRECTOR
The title itself is important because of the need for the chief administrator to interact with
other chief executive officers in the corporate world, as well as business, foundation and
community leaders. The position, integrated with the theatre's board of directors, is the
heart and soul of the operation. The Executive Director:
--carries out the purpose of the organization as set forth by the board of directors
--serves as chief public spokesperson for The Fox-Watson
--serves as primary facilitator and impetus behind the board's fundraising
, --serves as primary liaison between board and architect during restoration
--acts as unbiased arbitrator for The Fox-Watson
--aggressively seeks users of the theatre and establishes good relationships with all user
groups in order to ensure maximum use of The Fox-Watson
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FOX-WATSON THEATRE, SALINA, KANSAS
--serves as responsible agent in scheduling uses of The Fox-Watson, including negotiation
of contracts
--sets operational policies within guidelines set by the board of directors
--acts as house manager for all performances if necessary
--hires and fires all other staff
--develops and controls operational budget for board adoption and oversight
TECHNICAL DIRECTOR
This position is vital to a theatre's ongoing operation and maintenance. The technical
director (TD) also provides important support to user groups while ensuring a safe and
well-cared for environment. The technical director:
--sees to the daily maintenance of the building as a whole, as well as all stage equipment
--is present any time the theatre building is open
--supervises all stagehand, major maintenance and janitorial work
--coordinates the technical requirements of all users, providing lighting and set-up design
for users as needed
--arranges for major repairs as needed
COORDINATOR OF VOLUNTEERS
A strong volunteer program should be one of the easiest and most rewarding goals to
achieve as more and more individuals become excited about The Fox-Watson and its
restoration. Salina displays, even to the most casual observer, a commitment to
voluntarism and The Fox-Watson needs that commitment. A volunteer coordinator, at
least initially, does not have to be a paid position, but should be treated as such in terms of
expectations and responsibilities. A board position with the title "Chairman of
Volunteers" provides the basis for a committee of individuals with varying areas of
concern. These are:
--fundraising: providing moral, physical and financial support for special event fundraising
projects, individual solicitations and corporate and foundation personal contacts
--telephone: providing support for notifying others of meetings, need for tour guides,
special events, etc.
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FOX-WATSON THEATRE, SALINA, KANSAS
--mailing: providing support for stuffing envelopes, applying labels, etc.
--performance: providing support as ushers, ticket takers, general front-of-house
management
--concessIons: providing staff for concession/bar areas and gift counters
--docents: providing service as tour guides and exhibitors at special events that call
attention to The Fox-Watson
--publicity: providing speaker's bureau, solicitation for more volunteers, writing for a
Fox-Watson newsletter, etc.
BOX OFFICE MANAGER
As soon as is practical, The Fox-Watson should offer its tenants box office support in
exchange for a percentage of the gross ticket sales. That can be done unilaterally or in
partnership with another venue such as Bicentennial Hall. A consistent ticket outlet
location (The Fox-WatsonlBicentennial Hall) and on-site knowledgeable personnel can
create additional awareness of The Fox-Watson as a dynamic downtown facility. It also
opens up the possibility for regular business hours, phone and credit card sales, walk-up
tours of the historic facility and an overall "user friendly" atmosphere. The box office
manager should be responsible for the daily operation and accountability of the box office,
but can be supported by volunteers where feasible.
ADMINISTRATIVE ASSISTANT
Especially in the early stages of development, when staff is minimal, every posItIOn
affiliated with The Fox-Watson will include multiple areas of responsibility. The individual
holding this position should be able to function as a secretary/bookkeeper and general
office manager. Each staff member will, of necessity, do a great deal of his/her own
secretarial and telephone work.
THE OFFICE
In order to make the most of a limited number of staff members with a variety of
responsibilities, the offices should be equipped with an integrated computer system
(including the box office) that provides word processing, general ledger, box office and
, data base functions. A multi-line telephone system, copy machine, typewriter, fax machine
and general basic office equipment are all necessary in maintaining a highly-efficient
operation. If at all possible, the additional staffing outlined beyond the executive director
should be in place once the working drawings are in progress so that the transition
between restoration and operation can be optimum. This is certainly an item that can be
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FOX-WATSON THEATRE, SALINA, KANSAS
donated as in-kind services, and could be particularly attractive to a large corporation that
has available space at hand.
BUDGET
The budget process is the ground plan for a dynamic annual operation. A clearly
developed plan for income and expenses is essential for The Fox-Watson to be credible.
Successful fundraising from the individual, corporate and foundation communities is often
dependent upon the perception that The Fox-Watson is well-managed, not just the visible
fact.
Often the most difficult step to take is the first one. For Salina, that step may be to hire
an executive director who can serve equally w~lI in the roles of administrator,
development director, public relations director and architectural liaison. In order for that
to occur, however, some initial money must be raised and a preliminary budget developed.
The general operating budget which follows lists categories only with explanations of
each. It typifies a theatre's comprehensive operating requirements.
GENERAL OPERATING BUDGET CATEGORIES
INC OME *
Concessions (net) *
Handling charges *
Interest Income *
Rental Income *
Tour Income *
Foundation/corporate grants
Individual memberships
AN1\TUAL FISCAL YEAR
EXPENSES
Advertising/marketing
Audit Fees
Box office supplies
Conferences/travel
Contract labor
Credit card discounts
Dues and subscriptions
Freight and shipping
Fund raising
Hospitality
Insurance
Interest
Janitor service and supply
Legal fees
Maintenance
Office equipment and supplies
Postage
Production supplies
Salaries/employee benefits
Security
Taxes
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FOX-WATSON THEATRE, SALINA, KANSAS
*eamed revenue
Telephone
Utilities
Volunteer expense
FUNDRAISING
The city of Salina is in the process of developing a vision for its future which includes
downtown development. That downtown includes The Fox-Watson. The Fox-Watson
can serve as a catalyst to energize the downtown, attract visitors from the existing
population area and beyond, provide an exemplary space for local, regional and national
artists to use, and weld the community and its many arts groups in a dynamic project filled
with challenge, excitement, creativity and far-reaching economic ramifications for the area.
It is possible to see Salina in the role other cities have taken in support of a historic theatre
project. All indications clearly point to support within the community-at-large, certainly
given the position of the city as current owner, to successfully tackle and complete a
project such as the historic Fox-Watson. It is imperative, however, that this support be
translated into action which yields both time and money. The economic impact of a
restoration of this magnitude is great: a reason to stop in a city to view museums or
surrounding countryside, to shop and to attend a performance all translates into purchases
of food, souvenirs, hotel rooms, gasoline and a myriad of other items. Funds spent in
restoring The Fox-Watson and
maintaining it can return manyfold by bringing "new" dollars into the community from
outlying areas.
A decision will have to be made early on regarding the use of a fundraising team and a
consultant. Membership in NSFRE (National Society of Fundraising Executives) is an
important resource for basic information about appropriate fundraising strategies,
consultants and staffing. Keep in mind that a fundraising consultant is not the person who
raises the money, simply the person who guides and directs the effort. If is the board and
other volunteers who are the key to successful fundraising. A strong consultant in this
area can be invaluable and well worth the contract cost.
PROGRAMMING
Determining the mission and vision of the organization through strategic planning will also
set in motion the process of determining programming decisions. If The Fox-Watson is to
be a "presenter", meaning the responsible organization for booking and marketing a series
of performance, the board may choose to form a program committee to work with the
, Executive Director to choose a slate of performances and market them. In addition, The
Fox-Watson is an ideal space for other user groups to rent. The more "use" days taken in
rentals, the more revenue will be generated. Begin quickly to establish rental policies. Is
there a specific kind of event that is unacceptable; are there special rules and regulations
regarding food and beverage in the theatre; are there requirements regarding an outside
concessionaire for both food and beverage as well as "hard" goods such as T-shirts, etc.?
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FOX-WATSON THEATRE, SALINA, KANSAS
Experience dictates that The Fox-Watson will be used for a greater variety of events than
anyone dreams. Be prepared to be creative -- that's what a theatre has to offer that a
traditional ballroom does not.
LONG RANGE PLANNING
Long range planning is ongoing. The board will not set a long range plan in motion only
to have it remain static. The best planning is done on a continuum and adjusted according
to how matters are progressing. Part of the long range planning process is the discovery
of information pertinent to the various issues of management, including appropriate salary
ranges for staff, rental rates for using the theatre, determining the "niche" for the theatre
within the Salina area, determining the labor force for stage work, and developing the plan
for collaborations with other community resources such as the colleges, performance
groups, and the city itself
In summary, the work of establishing an organization, working toward the completion of a
restoration project and continuing' with operation of an historic theatre is a challenging
one, but also one that can bring a community together for a common purpose and create
an excitement and energy within the community that is far reaching. There are a myriad of
projects similar to this one that have worked through the process, many of them with the
help of League of Historic Theatre members. You are not alone, now or during the
project should you proceed.
PROPER PLANNING PROCEDURES
The proper planning on any project is the key to success. In a recent survey performed by
the League of Historic American Theatres, of all the theatres that had completed their
rehabilitation process, 70% stated that they wished they had done more planning. It is
important that the Fox-Watson Theatre take advantage of its membership in LHAT and
the experience of other theatres throughout the United States. A great deal can be learned
from other theatres, whether those theatres are in Kansas or in other states - the process is
the same no matter the location. The only differences are the details and the adjustments
for local needs.
In keeping with proper planning, certain planning documents need to be completed. The
first would be a strategic plan which would define the organization that would run
presentations within the Fox, the composition of the Board and a theatre mission
statement for the citizens of Salina and north central Kansas. This document is not a
programming document for the building; it is a programming document for the operations
, organization.
The second step which should be considered would be a business plan. A business plan
can be developed locally or it can be developed locally with input from outside
consultants. It should be remembered that when an outside consultant is used, a broader
vision may develop and the consultant can lead the organization through discussions on
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FOX-WATSON THEATRE, SALINA, KANSAS
operation, presentation and the meshing of operations with the mission statement.
Budgets can be established and five-year projections developed to determine how the
building should be operated as a business and how the income can be maximized. During
the formulation of the business plan, commitments can be secured from City, County,
State and other agencies for support of the operations and the presentations of the space.
Rental rates can be established and staffing can be defined along with job descriptions and
salary ranges.
Once the strategic and operations plans have been completed, then a Master Plan can be
developed for the architecture of the building. This would be an architectural and
technical evaluation of the building and the development of schematic drawings which
would reflect adjacencies for spaces within the building and recommendations for
expansion. This will give a single document which could be used to explain the project to
the public, public agencies and private foundations who could assist in the funding.
Following the development of the Master Plan, it may also be necessary to hire fundraising
counsel. Fundraising counsel can help guide the Board in their quest for funding the
project.
Some of the first monies in fundraising may be used for purchasing adjacent properties
which have previously been placed under option if not already purchased. It is essential
that properties be purchased as soon as possible to prevent them from increasing in value
as the Scope of the Fox-Watson Theatre project becomes public knowledge. Early
purchases ofland or buildings by individuals who are understanding and supportive of the
Fox project could be an alternative to allowing the land to escalate in value.
Once funding has progressed sufficiently to allow professionals to look at the architectural
development of the project, then a contract should be negotiated with an architectural firm
which has an extensive theatre and preservation knowledge and experience. A team of
consultants should be developed along with a building committee who would work
together on the construction documents with the final result being the bidding of the
project either as a single phase or as a multi-phase operation.
Keep in mind that the hidden elements of the building, such as heating/ventilation/air
conditioning (RV AC), electrical, plumbing, stage, lighting, sound and cinematic
equipment all are very expensive and all are hidden. The public areas should be the last
areas to be finished so that the public does not become too comfortable nor come to
believe that the building is finished just because the areas in which they circulate are
complete. The finishes, seats and draperies in the public areas and the public areas
, themselves can be promoted and named for individual donors or foundations at the very
end of the project where visibility becomes more important.
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FOX-WATSON THEATRE, SALINA, KANSAS
CONCLUSION
It is obvious from our visit and discussions with residents of Salina, the arts community
and the City, that this area of Kansas is extremely blessed with arts, presentations,
museums and film. It is also obvious that there is no medium-size venue in this area that
would allow for the expansion of the arts. Every community needs venues of different
sizes. This allows the presentation to be produced in the venue that makes the most
artistic sense and makes the most economic sense for the number of seats in the venue.
The time is now for the Fox-Watson and it can be of great benefit to the citizens of north
central Kansas in their quest for more and better presentations.
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