American Theater: Who founded the 5th avenue Theater, when and why?
Bill Berry: The 5th avenue Theater was founded in 1979 by a group of supporters passionate about Seattle Arts who saw the potential to transform a historic film palace into a world class house for musical theater. The building itself dates back to 1926 and was originally a Vaudeville and Mute cinema house. The founders wanted to preserve this architectural gem and fill it with vibrant live performance. Their vision launched what was going to become one of the main musical theater companies in the country.
Tell us a little more about you and your history.
I spent my career in the theater because I believe in the power of musical narration. I grew up in Wisconsin and later obtained my graduate diploma in New York. I am a proud member of SDC. Over the years, I have worked in various roles (stage director, casting director, producer and director) before coming to the 5th. I am currently sitting on the board of directors of the National Alliance for Musical Theater and I am a member of the Broadway League. I am deeply determined to build spaces where artists can prosper and the public feels welcomed, entertained, disputed and inspired. No matter the number of times it happens, I always feel this same thrill when the lights went down and a story begins to be told. He never aged. It's always at home.
What distinguishes your theater from others in your region?
The 5th avenue theater is unique in what we have a double commitment to present a season of locally produced shows and productions on a national tour, very carefully organized for the public of the North West Pacific. As one of the largest musical theater companies in the country, we have also become an essential springboard for new musicals. Since 2001, we have produced 25 new musicals, including 10 in Broadway and have won a total of 15 Tony Awards, including two for the best musical. Our education and community commitment programs reach tens of thousands of people a year, and we operate in a historic and breathtaking place that is unlike any other. There is really nothing like the theater of 5th avenue, and I am extremely proud to come and work every day.
Tell us about your favorite theater institution other than yours and why you admire it.
This is a really difficult question. It's like asking me to choose a favorite child! It is such a difficult period in the theater, and I am a big fan of the work done in the industry. The way my colleagues continue to innovate and make changes inspire me daily. That being said, I deeply admire the work in progress Oregon Shakespeare festival. Their long -standing commitment to daring narration, equity and community engagement has influenced generations of theater. The constant excellence of their productions is not only impressive; It's incredibly inspiring. They created a model for the way a theater can be both daring and social reaction. Their courage in programming and leadership continues to advance the domain.
How do you choose the shows you put on your stage?
We are looking for musicals that move people, whether redesigned classics or daring contemporary works. Each season is carefully organized to find a balance between joy, challenge and artistic talent. We ask: will this story resonate with the public of the North West Pacific right now? Does he offer opportunities to a diverse range of artists and audiences? Our goal is to build a season that entertains, inspires and reflects the world in which we live. And I think something that must always be true is: Will this story be the best world in one way or another? This is a big question, but why tell a story if it will not advance the public in one way or another? This can happen in many ways, but it should always be present as part of the “why”. In addition, I think that sometimes the answer can be: It creates a space for us as people to laugh and feel joy. We need this space to live in the chaotic world in which we are.
What is your annual budget and how many artists do you use every season?
Our annual operating budget is around $ 29 million. In a typical season, we employ more than 700 people. This includes actors, musicians, designers, technicians, creatives, as well as administrative staff. We are proud to be a major employer of theater artists in the Northwest Pacific. Supporting the livelihoods of so many talented people is at the heart of our mission.
How has your theater succeeded since the end of COVVI-19 locking?
Like many in our industry, our financial model has been seriously affected by locking. In its consequences, the change in behavior of the public and the costs of the theater production only added to the challenges, making innovation and daring strategic changes essential. An exciting development is our new strategic alliance with Seattle theater group (STG). Thanks to this alliance, STG will resume the lease and management of the 5th avenue Theater room, bringing additional concerts, comedy shows and events – a victory to increase the activity of the city center – while we remain dedicated to the production of the first -rate musical theater that our audience loves.
How did your theater responded to calls for racial justice and more equitable working conditions that have occurred with a new emergency in recent years?
We made these calls seriously and we are committed to a long -term systemic change. This included the revision of our hiring practices, increased transparency, investment in anti-racist training and the guarantee of our stages reflect the diversity of our community. Right now, we are in the midst of an 18 -month partnership with Dr. Naho Shioya and his company Sozo Evolution, LLC To make sure that we do everything possible to promote an environment of culture support and Deia. That said, equity is not a check box; It is a journey in progress.
What is up to you at night? And on the other side of that, what makes you get out of bed in the morning?
Like many in this area, I am concerned about financial sustainability and professional exhaustion among our teams. The financial challenges have put it to the test, and that has the most on people. When we have to reduce resources, this does not facilitate work – it makes them more difficult. But what brings me in the morning is the possibility of creating joy, arouse empathy and offering an escape or a glimpse of someone sitting in the dark theater. I want each person to enter the theater feels this thrill when the story begins. It is the power of performance live, and it makes me move forward.
Which show are you working on now? Another thing in your season that you are eagerly awaiting impatiently?
Right now, we are deeply in the preparations for the North American tour of ParadeA powerful and timely musical that demands everything from its casting and its audience. I am also particularly excited for the national tour of Sufficewhich starts in the 5th, and for our production of vacation Elfwhich brings lightness and wonder to the public of all ages. It's a beautifully varied season. Personally, I also work on a production of Jesus Christ superstar It will close next season – and in a way, the dynamics of power, politics, religion, sacrifice and fame … Well, which swirls in my head and really triggers something in me.
What is the strangest or funniest thing you have ever seen (or bet) on your stage?
I love this question, and I also draw a thousand empty pages in my mind! What I think I remember the most is when we did a production to GypsyAnd we started the technological rehearsals for “little lamb” with the most cute real lambs on stage in the arms of the actor. During the four weeks of the show, which Lamb grew up and grew up, until the actor played Louise was trying to sing while the lamb becomes more and more unruly. The actor has never abandoned this lamb, but he appeared every night, and she would continue to try to sing it to sleep. Animals on stage – and babies animals? Even more complicated!
What do you do when you don't make the theater?
You will probably find me running a marathon, cooking or spending time with my friends and family. I also like to visit other cultural theaters and institutions. It nourishes my curiosity while keeping me inspired. Balance is a work in progress, but I try to find it where I can.
What is theater – not just your theater, but the American or world theater – looks like, let's say, 20 years old?
It is probably not a satisfactory answer. But in many ways, I hope that the theater will be there in 20 years. I hope that stories are always told and that we remain faithful to what makes the theater live so special – it is live, it is immediate, it is a communion between performer and public. I do not want us to lose this essential state of being when we advance and build new ways of doing theater. Let's always go back to a good story, well told.
