“Good night, good night! Parting is such sweet sorrow, that I shall say good night till it be morrow.” – William Shakespeare
When I was a teenager, my brother Sean and I somehow ended up with two tenth-row center tickets to see Les Miserables on tour in Los Angeles. We didn’t know anything about the show, and we were teenagers after all, so before it started we were screwing around in our seats and feeling restless about what we wanted to be doing that night. At one point, I even turned to him and said, “Is this going to be funny?” And he considered the title and said, “I doubt it.” I then got an inspired idea. “Let’s go see the new Indiana Jones movie instead!” Sean was game, so we stood up to leave, right when the house lights went down. So we sat back in our seats… and two and a half hours later, stood up again, transformed.
We both have clear memories of that night, some twenty years ago, not just about what happened on stage, but what it felt like to be there, to be a part of that experience. It confirmed our career paths. A few years later I got a degree in Musical Theater and then spent many years performing. My brother Sean is one of the greatest actors I know, and his theater company, Gideon Productions, is a highly-acclaimed anchor in the indie New York theater scene.
I truly believe my life is different from having seen that show. I’d been performing since I was four, but somehow that night shook up and rewired my brain in such a way that doing anything else for the rest of my life no longer made sense. I belong in the arts world, and here I will stay. But it wasn’t about the art – it was about the story that unfolded in front of me through song, dance, sets, costumes, and music. The heartbreak, the devastation, the hopefulness, the love – all communicated to my crazy teenager brain in a way that little else could. And that is what art does. It leaves you changed.
I’ve had other moments like that night: seeing the Annie Leibovitz exhibit at the Legion of Honor. Seeing the Quilts of Gee’s Bend exhibit at the Met. My own father conducting Night on Bald Mountain when I was four years old. Seeing The Secret Garden on Broadway. Seeing the Alvin Ailey Dance Company at the Napa Valley Opera House. Seeing Dave Brubeck perform with his sons just a couple of years before he died. The first time I got to sing my mother’s brilliant song “Away to America” to my baby.
But there have been so many things I’ve missed. I didn’t get to see the original cast of Rent on Broadway. I’ve missed my brother Sean’s last twenty or so shows in New York. I’ve missed dozens and dozens of local artistic opportunities because I have two tiny children and I rarely get to leave the house after 6 PM.
I am keenly aware that I’ve not just missed these shows and exhibitions; I’ve missed the opportunity to see them ever. Because no show is the same if it has a new cast. No symphony is the same when a different orchestra plays it. I can see other shows, other events, other exhibitions, but I feel an acute loss about that ones I’ve missed.
And last week, while I was on a trip through the Midwest to see family and go to a wedding, I heard unthinkable news: Shakespeare Santa Cruz was getting the axe. This incredible program, which for 32 years has been housed by UCSC and beloved by the community, was being discontinued as of the end of the year. I sat there in my hotel room, stunned with the news. There is a great deal about this decision that I don’t understand, and significant community concern about the way it was done. But one thing is universal, for those of us who know and love SSC: we are feeling tremendous loss.
Shakespeare Santa Cruz provided generations of Santa Cruzans (locals and visitors alike) the kind of transformational experiences that I had at Les Mis. Everyone I know has a SSC story, be it about the show itself, or being in the glen, under the stars, with a bottle of wine, or maybe a first date. The shows have been sometimes racy, sometimes classic, always high-quality. They have set the standard for Shakespeare companies across the country, and the Shakespeare program was a major conduit that connected this community with the University – a relationship that is often fragile.
We’re told that the program was cut because the financial model didn’t work, and hadn’t worked for a long time. That may be true. But this program was worth more than its balance sheet, for the tens of thousands of children who, through SSC, experienced the Bard for the first time, and the tens of thousands of adults who shared the experience of seeing great art in an otherworldly setting.
My life would have been different if I hadn’t seen Les Miserables when I was a teenager. Maybe not dramatically different, but different nonetheless. How many lives did Shakespeare Santa Cruz alter in its 32 years? And how many people will now be denied that experience? It’s impossible to quantify that loss. In the business world, people often talk about “opportunity cost” – what is the cost for the business to be doing a particular piece of work rather than other activities? In this case, the opportunity cost is particularly painful. Without Shakespeare Santa Cruz, we lose connection, inspiration, talent, excitement, and togetherness. You won’t find those on a balance sheet, because they are priceless.
To me, the strangest part of this closure from a business perspective is that the financial calculation of SSC’s value is based strictly on dollars in and out of the UCSC arts division. It was always my understanding that SSC is THE top vehicle for connections between UCSC and the local community as well as an easy entry point for introducing new prospective UCSC donors to the magic of the campus. I absolutely agree with you that there is educational, social, and cultural value to SSC beyond its balance sheet. But I would also assume that there are some significant gifts to UCSC that can, in some measure, be tied to an SSC experience. There are also likely some Santa Cruz city political decisions that tip in UCSC’s favor due to positive SSC experiences. I’m surprised that University Relations doesn’t see SSC as a marketing/advocacy vehicle to support campus-wide fundraising and support it accordingly. SSC is just as important as any number of other expensive endeavors (Alumni Weekend, UCSC events in the Bay Area, lobbying) to energize and connect with donors.
Nina, I completely agree. This decision seems so short-sighted in light of the tremendous amount of visibility and goodwill that SSC generates for the campus. And agreed, there are many expensive endeavors that likely don’t work in regards to dollars in and dollars out but that create crucial touchpoints between UCSC and their donors and the community. Really, this whole thing is pretty bizarre.
I agree! I have been going to UCSC Shakespeare for five years now and will sorely miss it. As a former member of the SF Shakespeare Board of Directors, I was so impressed with the quality of the performances every summer. I hope there will still be an occasional play presented in the future. Love your coverage of the arts, by the way. I also cover the arts as part of my blog/website at: http://www.unhealedwound.com
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