Letters from Philip Morris

A War of Choice at the Kennedy Center

I know enough about the world to know I will never know enough.

People in authority have hard choices to make, and I can only ever partly see the pressures behind their decisions. And our judgment about whether something is a true necessity or a “war of choice” say as much about us as it says about a particular decision.

With that preamble, what is happening at our national performing arts center, the Kennedy Center, looks very much to me like a war of choice. A sudden, two-year shutdown for renovations that will displace the National Symphony Orchestra and other resident companies which plan seasons years in advance, forcing them to scramble for rehearsal space, performance venues, and ways to reseat thousands of ticket holders who thought they knew where they were going next season.

There are other impacts from this war of choice felt not just in Washington but throughout the national arts ecosystem that has relied on this flagship institution as a symbol and cultural hub.

National education programs such as the American College Theater Festival and the Alliance for Arts Education — created by and long associated with the Kennedy Center — have been pushed to operate at arm’s length, if they can, as if arts education were an expendable side project rather than a core national mission. At exactly the moment when young artists and teachers most need stable, visible pathways into the field, the symbolic connection to their “national” center is being loosened or severed.

If these disruptions were driven by truly unavoidable physical needs or financial collapse, they could be handled in ways that respect the cultural ecosystem: phased construction, transparent planning, and collaboration with resident companies and education partners whose lives and livelihoods are at stake. Instead, many in the field are experiencing this announcement as a sudden blast, leaving them to pick through the rubble of upended plans and uncertain futures.

It is hard, in this moment, for us not to feel like a target. But if this is a war of choice, then audiences, artists, and citizens have choices, too. Many in Washington have already made them. We, too, right here in our back yards, need to pay attention and ask hard questions about what an arts organization in a community is for. Then we need to choose where and when we speak up for, support, and protect these institutions and our cultural future.

—CEO Philip Morris

Alive Downtowns!

For each of the last three years, the 12 historic upstate New York theatres — with a thousand seats or more and located in downtowns from Kingston to Jamestown — have worked together to request a direct allocation from New York State. We have received $5 million each year distributed between us all based on a formula. 

Our value statement is simple and vital: our downtowns need us not to just survive but to thrive! The more we are open, the more foot traffic there is in our central business districts for food, drink, shopping, and economic development. The more we are open for everything from local dance recitals to movies and meetings, the more our downtowns remain core to community health.

We range from 150 years old to somewhere around 75. We have education programs and work with schools and community service organizations. We open our doors regularly for all the community. We do whatever we can to help our neighbors. We are anchored institutions.

In the Capital Region, Proctors Collaborative, the Palace and the Troy Savings Music Hall are part of Alive Downtowns! So, you know our value.

To that point, a good word from you — the very people who love and engage with us — to our regional and upstate elected officials will help us keep this support among the State’s many priorities. Senator Pat Fahy and Assemblyman John McDonald led the effort from the start and have been dogged advocates. Nearly all the upstate legislators have signed on in support.

If you see them, say thank you. Tell them we matter to you!

—CEO Philip Morris

Ode to Theatre Kids…

Theatre kids, regardless of their age, know who they are and don’t get upset at the folks who don’t seem to understand. They have learned, to respect others and their opinions, even to the point of stepping right into the sneakers, work boots, slippers, or skates of another — to open a window into that person’s soul.

Theatre kids get that without them there is no theatre. They show up regularly — early mornings, late nights, weekends, holidays — whenever is needed to do the preparation, the construction, the staging, or the rehearsal.

And theatre kids build everything: sets, props, costumes, sound cues and lighting, marketing materials, social posts, and ticketing methods. They build it all by interpreting designs, collaborating with others, sticking to the budget, and having it done on time — every time. The curtain goes up for theatre kids around the country tens of thousands of times a week. I can think of no other work that simultaneously delivers projects as timely as theatre kids.

Theatre kids know, every time they show up, that they will be critiqued (some might say criticized). They know that it is part of the process of getting better and that they are ALWAYS in the process of getting better. Theatre kids learn how to offer and how to receive these critiques.

Theatre kids come from all backgrounds, identities, income levels, and emotional maturity. In the theatre, they find respect, value, learning, and a deep sense of importance that does not go away. In fact, it lasts a lifetime!

—CEO Philip Morris

The calendar is about to click forward to 2026. That click is normal and anticipated, and is a reminder for us of how monumental the year will be for the Collaborative.

From 2019, we have worked on three specific projects that will come to completion in 2026: an artist housing project, in collaboration with a private developer, that will yield 10 studio apartments for the casts of Capital Repertory Theatre — giving us for the first time full control of housing for our performers; the addition of a cogenerate microgrid adding electric resiliency and new electric customers to our existing thermal customers around Proctors in Schenectady; and the restoration of the American Theatre in Troy as a full time movie theatre and small event space.

In addition to these physical projects, our conversion of core ticket and development systems, financial systems, telephone system, and calendaring system all in the first quarter of the year, has kept staff in a mode of constant learning and adapting.

It has been remarkable to watch as all of this, again planned for years, come together and to completion in one “click.”

Mr. Proctor would be proud. In 1926, he took the leap to build and open the beautiful theatre that started all this. At 100, we are preparing not just to celebrate getting to this historic moment but to clearly state that we are building and adapting to meet the next 100 years head on!

—CEO Philip Morris

Ode To Winter

Admittedly, the Arctic blast that swept across much of the country in early November seemed premature and a bit unwelcome. Personally, I still had leaves to mulch and outdoor furniture to put away. These chores will wait, though, for the inevitable warmer week we will get in December.

Which leads me to this ode to winter. Something fundamental shifts come with the change to daylight savings time. That sense that there will be fires in the wood stove, there will be lovely holidays, and, joyfully, guilt free time to read and watch films, and to attend concerts and theatre.

When you live in the northern climates, standard time means making the most of every bit of daylight and constantly working to deal with the lawn and garden and outdoor activities.

Yet with darkness comes a different kind of wonder. The fabulous and crisp air of winter, stunning fresh white snow fairies on walks, skiing (for those who are able), and, truly, the joy of snow blowing. No outdoor day is better than one with a bright blue sky, new snow, a bonfire, and that amazingly magical air in and out of your lungs.

Did I already mention reading, going to concerts, and theatre? Contemplative interactions with the arts in the darker, colder days sets the stage for the cycle of light returning. An aliveness of a different sort than summer.

Yes, this is a pitch of sorts to go out and be with others and enjoy your favorite cultural activity. But it is not a sales pitch, rather, it’s part of capturing the joy of winter. It is a declaration of why I love living in the great Northeast.

—CEO Philip Morris

Thank you, Lionel. 

Recently, at the age of 99, we lost an extraordinary advocate for Proctors, for the Collaborative, and for the community. Lionel Barthold served as a dedicated board member for over 35 years before choosing to become Emeritus in his early 90s. 

He was active, engaged, smart, and endlessly curious — always willing to put his time, talents, and treasure to advance our mission. He played an instrumental part in the naming of the Collaborative after months of exploring a variety of names and branding ideas that reflected our long range plan to be an integral part of the entire Capital Region through our affiliations. And, on a more personal note, 24 years ago, Lionel chaired the search committee that recommended me to the Proctors board.   

Lionel was well known in the business community having started a large-scale electric power controls system and design company, PTI, that achieved international success and, after 30 years, was acquired by the German giant, Siemens.  

After selling the company, Lionel continued creating and inventing, filing patents for electrical transmission and tackling more mundane life challenges (like how to hold up a two-story Christmas tree).  

He ice-sailed, built furniture, invented ingenious solutions for all kinds of problems, created unforgettable holiday cards, and, basically, modeled how to live with generosity, curiosity, and joy — cherishing family, friends, and community while always being playful and having fun.   

It is impossible to fully capture all that he added to our planet, to our community, and to the many lives he touched. For those who did not know him, trust me, you wish you had! 

Thank you for sharing your life and your light with all of us, Lionel. You will be remembered with admiration, gratitude, and love. 

—CEO Philip Morris

Welcome, Miriam!

Almost a year ago, Miriam Weisfeld agreed to join our team as Consulting Artistic Director of Capital Repertory Theatre while continuing her role as Producing Artistic Director of the summer Adirondack Theatre Festival. Her responsibilities for the year included planning the 2025-26 season for theREP and observing and learning from Maggie and the staff how she would take on becoming, as Maggie redeployed, the Producing Artistic Director of both theatres.

This dual role is significant and totally new. It preserves ATF’s tradition of engaging with playwrights and producing new work in their summer festival, and, simultaneously, replaces a 30-year veteran of theREP.

Many organizations experience “Founder’s Syndrome” during changes like this, in which a high-profile, long-term leader’s departure destabilizes an organization due to their strong influence.

Our goal is to avoid this, seen in many other organizations. We will both honor our past and set the stage to build on it for the long term.

Since joining us, Miriam has immersed herself in the culture of Proctors Collaborative — including theREP, Universal Preservation Hall, and Proctors. As of Sept. 1, she officially stepped into her new responsibilities. We look forward to introducing Miriam to donors, artists, supporters, and subscribers through a variety of events during the year.

If you see her, say hello. Miriam, we welcome you to our fold as we learn together how to weave together the wonderful work of ATF with theREP and the Collaborative.

We look forward to the next 30 years!

—CEO Philip Morris

As Capital Repertory Theatre’s remarkable production of “Once” came to its fabulous and final performance, the board and staff decided to celebrate the production and its director, Maggie Mancinelli-Cahill, with a closing celebration — a bouquet, a few thoughtful words from long supporters, and a champagne toast with show attendees.

It was lovely.

Maggie, for 30 years as the Producing Artistic Director, has witnessed, led, and participated in thousands of changes: staff changes; board and leadership changes; organizational and structural changes; a huge building/theatre change; and now her own change as she transitions to a new phase of her life.

I know she has cried at times while absorbing her decision to make this change. I also have seen her grace and her style as she has accepted hundreds of compliments, congratulations, hugs, and — yes — champagne toasts.

Leadership comes in many forms. 30 years ago, Maggie led the way as one of the few women leading a producing professional theatre. She inspired other women in the Capital Region in other professional fields to take on similar leadership and to be unafraid of the challenges or responsibilities.

Now, she leads as one of the first in our region’s cultural world to take seriously the next step in her career — a step that all of us will eventually, if not soon, must take seriously, too.

Maggie is a force. Not just in the theatre, but in the community. Her transition opens possibilities and, at the same time, closes some. You can tell she understands that which is why she leads.

Maggie, thank you, and, in honor of the Irish setting of your last directed show:

May the road rise up to meet you,
May the wind be always at your back,
May the sun shine warm upon your face,
the rains fall soft upon your fields, and until we meet again,
may God hold you in the palm of His hand.

—CEO Philip Morris

July is really December…

I admit that I have completely stolen that nugget from Jean Leonard, President of Proctors Collaborative. When I first heard it, I smiled. The more I heard it, the more compelling — and frightening — it became.

We work years into the future all the time. We are scheduling Broadway shows for 2028. We are racing at full speed to complete, by June 2026, a microgrid electrical installation that has been in planning and approval since 2019. We are meeting with board leadership about changes coming in 2026 and 2027. Marketing teams are drafting plans and seeking producer approvals for spending and art design for performances in December.

Of course, there is today, tomorrow, and next week. But even for many of us who are focused on the immediate future, there is always December — and 2028.

It reminds me of Daniel Kahneman’s book, “Thinking, Fast and Slow.” In it, he dissects the slower, studied approach versus the intuitive, faster one. In our cultural world, maybe we could write a variant: “Thinking, Near and Far.” Psychologists often talk about distant thinking as abstract, and as dates get closer, thinking becomes more concrete; but that doesn’t really apply here. A date in 2028 is concrete. The costs we commit to that date are clear. The labor, marketing, house management, and cleaning schedules are put in the calendar. It is like tomorrow.

Jean might even reconsider her line: July is really 2028.

—CEO Philip Morris

It Used to Be…

20 years ago, summer at Proctors was a much quieter time. There was no Universal Preservation Hall, Capital Repertory Theatre was not part of what has emerged as Proctors Collaborative, and while we had summer camps for young people, they tended to last only a week or two, and often we worked with outside partners to help deliver them.

Oh my, how that has changed! We now have multiple shows on the MainStage — this year, nearly two weeks of Disney’s “Beauty and the Beast.” During July, we produce our own student pre-professional Broadway production — with students working with experts on every aspect of making theatre — this year, “Urinetown.” Similarly, theREP runs a student playwriting and producing program for four weeks (Summer Stage Young Acting Company), and UPH hosts Rock Camp for young musicians. Add to that a ton of movies – both free and ticketed – music performances, and community uses of our properties, and spring just rolls into summer and summer right into fall.

What’s funny about this change is how routine upgrades impact maintenance and staff. We now have to spend hours simply scheduling two weeks for an upgrade to the UPH floor and block out those dates on the calendar. The same goes for our large-scale upgrade at Proctors to LED stage lighting. At theREP, we had to find and block out 10 days for a ceiling repair in our costume shop.

We used to simply say, “We can do that work in the summer.” Now, it’s multiple calendar meetings between three or four departments to make it all happen!

What does this all mean? Well, I cannot help but think that it not only means we are busier. But it also means we continue to make our communities better for our kids, our families, and our communal well-being. It means we are meeting the needs of our spaces. We are being good stewards. Doing so would not happen without your continued support, and we show our gratitude by making sure we use your support well and year-round.

Come see a show, watch our kids at work, enjoy a movie, or ask for a tour. See why and how we make a difference 365 days a year!

—CEO Philip Morris

I am in a room with about 50 peer performing arts center executives from across America. We talk about ticketing, scheduling software, single ticket sale declines, and the changes we all see on Broadway.

One of us, responsible for programming many buildings, describes how the need for our curation grows, due to costs, many Broadway shows now can run only five or six months rather than one or two years.

In my kids’ circles, curation is used maybe too often to describe music playlists, beer flights, cheese boards, and concert programs. It is an appropriate use of the word: to pick the best or most appropriate artistic work for presentation. I grew up thinking of a curator more as selecting and interpreting visual art and exhibits. 

Most touring Broadway theatres present between six and ten shows a year. Most of our audiences know the monster shows plus a few often star-studded ones (no, George Clooney is not going to tour “Good Night and Good Luck!”), but largely they don’t know the fabulous shows like “Water for Elephants” or “Life of Pi” because they were short-lived in New York City.

While this has always been true, it is more so because costs in New York City have risen so high; a good show may not last long enough to earn a national reputation.

Why this long explanation? To remind our subscribers that, for better or worse, Jean Leonard and I are the Capital Region’s Broadway curators! We see everything. We talk about it between ourselves, with our staff, and with our peers. We “curate” our seasons to bring the already popular shows blended with the excellent but less well-known. Sometimes show availability forces us to not space our season perfectly, but we do not bring shows that we think are not worthy. Maybe it’s a story with a new different take, a great set design, a totally new show that has received positive critic review, or a revival of something of critical importance to the work of theatre.

We ask you to trust us. You will know one or two, you will have heard of a few, and a few will be totally new to you. 

We think it’s a great season and will keep you coming back!

Trust us and try it!

—CEO Philip Morris

Actually, May is the “Cruellest Month”… (With deep apologies to T.S. Eliot)

May is spring, flowers, songbirds, Earth healing from winter, short-sleeve shirts, and convertible rides. Unless you are a Broadway theatre person.

May is when, especially since COVID-19, all new shows open in New York. Well, most new shows. Many new shows, anyway.

This year the count hit 18 — 18 new shows on Broadway. That means 18 evenings and a few afternoons (excluding Mondays) out of 31 days in the month.

Why this tsunami of acting, lighting, sets, sound, and marketing?

It’s a bit artificial, as you might guess. In order for a new Broadway show to be eligible for the Tony Awards in this particular year, they officially must open by April 27, 2025. Since being nominated for a Tony and, potentially winning a Tony, seems to make a huge difference for sales of a show, and with shows costing more than ever, waiting till the last minute to open is a smart cash control strategy.

So, what makes this so cruel? The Tony voters need to vote by early June 2025. In order to vote, Tony voters must see everything in the category for which the show is nominated. In other words, to vote for Best New Musical, a voter must see all the nominated new musicals.

While about half the performances that will be eligible for a Tony nomination open earlier in the season, it is about half that must be seen between the official opening date and the voting date; basically May!

Now, New York in spring is lovely. But so is my backyard, and when I finally get to it, it will be summer.

That’s a kind of cruelty, right?

—CEO Philip Morris