In 1983, after years of negotiations and compromises in Frankfort, The Kentucky Center for the Performing Arts was opened at the corner of Sixth and Main Streets. From the beginning, the quasi-government agency provided a much-needed home for the majority of Louisville’s Big Six performing arts groups: Louisville Orchestra, Kentucky Opera, PNC Broadway Across America – Louisville, Louisville Ballet and Stage One, with Actors Theatre of Louisville being the only group with its own permanent performance spaces. From the beginning, the challenge for the Center and all Performing Arts Centers (PACs) has been how to generate sufficient revenue to sustain themselves while advancing their residents’ missions and serving the public. This is a balancing act which requires a unique set of skills and sensibilities from its management team. For the past five-and-one-half years, Dan Forte has been on the beam as The Kentucky Center’s Director of Programming.
SD: What would you say is the greatest strength you bring to The Kentucky Center for the Performing Arts?
DF: I am able to pick up the vibe from the folks I work with, listening to what radio is excited about, watching for what agents are really excited about. If you pay attention, they will let you glimpse what’s really important to them, and those are the artists I look at closely. They’re always throwing a lot out there, but sometimes they let their guard down and give me a true sense of what’s lurking and what I need to be aware of.
SD: You are the Director of Programming, a position originally held by Dick Van Kleeck. Those are pretty big shoes to fill.
DF: Programming at The Kentucky Center has gone through several phases in its 27-year history. Dick had a penchant for finding unusual artists and acts. He created the Lonesome Pine Special that for a time had an international presence.
SD: Until the funding ran out.
DF: As is too often the case, yes. But it has an enduring legacy – Béla Fleck and the Flecktones were literally created by Dick Van Kleeck here on the Bomhard Theater stage. At the same time, Ken Clay was here doing programs like Midnight Ramble that included a celebration of African American culture and history called the Walnut Street Review. He also brought in a lot of “World Music” artists. Then, for a time, Eric Wiegl was here bringing in what we call the “commercial” or current pop artists.
SD: And all of that has evolved into your current position?
DF: Right. I was brought in to give the achievement of all these disparate goals a single voice. That is very common for most PACs these days; we don’t have the luxury of divvying up our expertise. I think it probably benefits the Center to have a jack-of-all-trades in this position. I don’t claim to be an expert in the classical performance field; but I did work for the late violinist Helen Armstrong, who had an incredible chamber music program – the Armstrong Chamber Concert (ACC) series based in Washington Depot, Connecticut. That was my exposure to chamber music, and I learned a great deal working with the musicians. This job is like anything else; you take all your collective experiences and bring them to bear.
SD: The ACC has changed in the years since her death, but it was an interesting model that really took chamber music back to its roots.
DF: While we did public performances, the salon concerts were a big part of our season and we worked with a host of wonderful musicians – a lot of them from New York City, of course. The salon concerts took place in Greenwich, Connecticut, and towns like Westport and New Canaan, Connecticut. We would have as many as 85 people in a home and have hors d’oeuvres and a cocktail hour before the concert. Her programs were adventurous. She worked with composer Ezra Laderman; she also brought in Skitch Henderson, Itzhak Perlman and Kathi Lee Gifford. After the concert, we would have dinner and dessert – it was always a lovely experience.
SD: Is Connecticut your home?
DF: No, I am actually from New Jersey. I love Louisville, but I am a big fan of Jersey.
SD: They do call it the Garden State for a reason.
DF: Well, you honestly can’t get a better tomato. It’s a small state but there are farmer’s markets everywhere.
SD: What was it like where you grew up? Were you on a farm, or in the city?
DF: Actually, I was right in between. I grew up in a suburb called Willingboro, outside Philadelphia in south Jersey – just fifteen minutes from the Betsy Ross Bridge. I did go into Philly once in a while, but I wouldn’t describe my childhood in urban terms. At the time, I was not really immersed in the arts and culture of that city.
SD: How did you start down the path that brought you here? As a performer?
DF: I did not start out as a performer. I see myself more as an audience member and an advocate for the arts. In college, a desire to see art and be close to it blossomed in me; I wanted to see as much of it as I could. In high school, I did study voice and was involved in the school’s theatrical productions, and I was also involved in sports. In college, I was a communications major at Montclair State University and the thrust of the program was to develop ourselves as well-rounded individuals in the field.
SD: Right there in New Jersey.
DF: It was a college at the time and I saw its transition into a university – which was a matter of meeting certain statewide criteria. As a matter of fact, I joined the Board of Trustees as a freshman – first as an alternate and later as a voting board member. In Jersey, all the state schools are required to have students serve as board members. I saw the importance early on of being actively involved in my community –
I have a strong sense of civic duty. I live downtown now and I’m very interested in the Renaissance of Louisville, so I sit on various committees related to that.
SD: Such as?
DF: One is the Downtown Development Review Overlay, which is there to reinforce and maintain the architectural and urban design character of this special area with respect to the pedestrian experience. It’s a very dynamic group. The other is the Physical Improvement Committee with the Louisville Downtown Management District. I’m also President of the Louisville Downtown Residents Association. I think being involved in civic affairs is important as a member of The Kentucky Center staff and my community at large. As someone who is communicating with and programming for the community, it’s important that I understand the community. The best way for me to deepen that understanding is through these types of activities.
SD: I see a lot of residential development downtown; give me your thoughts on the progress being made.
DF: More people are moving downtown, but it’s slow growth. Part of that is because of the economy. The condo I moved into is now a sold out building. What I like to see is the strength of the retail built, including the restaurants and museums in particular. East Main Street is a hub of activity in anticipation of the October opening of the Arena, and I think that will continue; I hope the “Iron Quarter” maintains momentum. More activity breeds more activity. Living downtown, you want to be close to the things a city like Louisville offers. I’m five blocks away from Actors Theatre, four blocks from the Arena and seven blocks from The Kentucky Center. It’s great to step out your door and be near all that energy.
SD: How would you describe your philosophy in terms of bookings for The Kentucky Center?
DF: The goal of the Center is to be fiscally responsible when presenting and to serve as an economic catalyst. My philosophy is very simple: Find whatever it is that will engage our community. We book between 35 and 40 shows per year under the Kentucky Center Presents brand. These shows are in addition to the productions by our resident companies: Louisville Orchestra, Kentucky Opera, Louisville Ballet, PNC Broadway Across America and Stage One/Music Theatre Louisville. In fact, we do everything possible to complement their seasons.
SD: How has the role of the Center changed over time?
DF: Some people say that art is a balance between risk and survival. I think those days are somewhat past – that may be a philosophy for a producing organization. For The Kentucky Center to play its role and to have the resources it needs to be of real service to those producing organizations, we also need to present artists who will not only pay for themselves but will leave some money here.
SD: So you’re looking for broad appeal.
DF: That’s right. We know that sometimes we are filling a niche that isn’t covered by some other group’s mission, but we still aim to fill the house. For instance, we have a series called “A Little Off Center” that is a little edgier – satirical, funny, unexpected; but we have a fantastic partner in LEO with which to explore the possibilities. We also partner with whatever radio station might be interested in a particular act, but we want to fill the Bomhard for all of those performances.
SD: What is the capacity in the Bomhard?
DF: For that series, we put in tables, so we have room for 659 people. Compare that with the Brown, which is roughly 1,400; and the Whitney is just under 2,500 seats.
SD: Do you ever use the MeX?
DF: The MeX is a great space. I’m hoping to do something this year in conjunction with the Idea Festival; but to date, I have not booked anything there. The local theatre companies have really nestled in there so the calendar is pretty packed.
SD: That must be a challenge for you in all of the venues.
DF: It’s all about working with the other companies and respecting each others’ schedules and needs. I am always looking to book the big blockbuster shows in the Whitney like Norah Jones, but the reality is that Whitney Hall is a very busy venue. Fortunately, a big part of what I do is to complement the offerings of the other companies, to fill niches and offer the community the kinds of shows that aren’t being presented by any other group. Of course, if I have the opportunity to book a big show like the Moscow State Symphony Orchestra or Les Ballets Trockadero de Monte Carlo, both of which are coming next season, I’ll work closely with Louisville Orchestra and Louisville Ballet to make sure we are all on the same page, that we are working together to give audiences the best entertainment options.
SD: TYou are heading down to the South by Southwest festival in Austin, Texas. Is that vacation, or will you be working?
DF: I am officially working. I was invited as a panelist to discuss how bands find homes at performing arts centers as a new frontier for them. My colleague from Massey Hall in Toronto will be on the panel along with “D.J. Spooky” and Bill Bragin, formerly of Joe’s Pub, who is now with Lincoln Center Out of Doors. The moderator is the manager of Asylum Street Spankers, a group we have presented on four occasions now. So I’m going down for that, but I will stay a few extra days to check out the bands. This is my second time at this cutting-edge festival – which is truly an invaluable experience for me. One of my local partners, Production Simple, and I tried to book Amy Winehouse after seeing her there – it didn’t work out, but being there keeps me current.
For more information about Kentucky Center Presents and the many performances at The Kentucky Center, log on to www.kentuckycenter.org or call the box office at 502.584.7777.