By Elaine Liner
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
What are your predictions for DTC's future?
When we moved into the Wyly, our subscription base dropped about 10 percent. But we had enormous single-ticket sales. That's the trend nationwide—subscriptions down and single tickets up. On one hand, that's good. That's new people coming to the theater and buying tickets. What they'll now have to grapple with is getting the subscribers back.
Is the Wyly's architecture scaring people away?
The trick of that building is that a lot of people feel like they're walking into this dark cave-like thing. The whole reason it's on ground level is that you can take advantage of the windows and see side to side, but the windows started not to work during A Midsummer Night's Dream [DTC's first show in the Wyly in 2009]. There have been mechanical problems with the shades. The plan was for people to walk into shows with the shades up and then when the show starts, the shades go down. They are working feverishly on that. The architects chose to push everyone down a two-story slope outside into that lobby and make them go up for that experience of being on ground level and being able to look out. That whole piece of the building is missing right now.
But inside, the performing space is so flexible...
And because it is, DTC can do Cabaret [opening in April] in a way that the Lexus Series at the Winspear Opera House or Dallas Summer Musicals at Fair Park couldn't do it. DTC can turn the Wyly into the Kit Kat Club.
Think you'll bring some of your theater know-how into the church job?
I'm sure. Better lighting maybe, and much better sound.