Housed in a stunning building designed by Frank Lloyd Wright, ASU Gammage at Arizona State University, one of the largest university-based theaters in the world, has been broadening its audience for many years. Its outreach extends to both immigrant and older adult audiences. Widely recognized for its work in Phoenix, ASU Gammage’s commitment becomes evident in the role played by one of its staff members: Michael Reed, the senior director of Cultural Participation and Programming, is responsible for developing and overseeing an astonishing array of performances, including explorations of theater arts for all ages, and programs highlighting the arts of various cultures.
The commitment to accommodating older adults, for example, was demonstrated while The Phantom of the Opera was at the theater for a four-week run. To better suit the preferences of older adult audiences, some performances were scheduled as matinees. Reed also explains that the house staff is very experienced in working with older adults and those who are frail or have disabilities. The staff works with ARTability, an
ASU Gammage’s desire to prioritize outreach that promotes cultural diversity is reflected in its programming for school children in Phoenix. Reed explains that, “The Phoenix Elementary School District has up to 90 percent of Latino students in many of its schools,” and he seeks to give them the chance to benefit from exposure to diverse arts and culture. Through a “busing” scholarship funded by the Nationwide Foundation, students and teachers, for $3.00 each, are transported to ASU Gammage for one-hour performances throughout the school year. To support teachers, the Cultural Participation Program provides a complementary guide filled with interactive lesson plans.
“The Cultural Participation programs are the heart of ASU Gammage’s mission of ‘connecting communities.’ The programs take the artist’s voice, community identities and the innovation of ASU to create a shared cultural place; uniquely inspiring and bringing thousands of Arizonans together for extraordinary shared experiences that create community and foster learning.”
In 2010, performances included Dancing Earth, recommended for grades six to 12, in which an indigenous contemporary ensemble presented a symbolic dance program. The program, according to ASU Gammage’s description, imparted “stories of creation, bio-diversity, history, and sustainability, to bring to young audiences a revitalized understanding of humans in relationship with the planet.”
Another was Step Afrika!, suggested for grades three through 12, that featured a touring company whose “stepping” reflects African traditions in dance. According to the description of the performance, the artists demonstrated the “ties between stepping, college life, and academic achievement, while introducing the concepts of team work, discipline, and commitment. The performers incorporated world traditions, demonstrated through the lively South African gumboot dance.”
Reed says that, “We’re flexible and we try to really understand what’s happening in our community. And we try to make our programs reflective of what’s needed.” He notes that strong leadership explains Gammage’s success: Colleen Jennings-Roggensack, the executive director, is very community-oriented and the senior staff has been working together for some time. Connecting communities is their mission. Jennings-Roggensack is a prominent local personality, and is frequently on morning talk shows. Reed is also interviewed on television and radio. This contact with the public gives both the chance to share their vision for the theater with the community.
Reed adds that ASU Gammage has made inroads in attracting individual donors; cultural participation is a strong draw for Gammage donors and funders. The number of individuals restricting donations to cultural participation programs has increased, and funding is also available from the Arizona Lottery for these programs. Reed explains that, “When donors find out they do this broader programming, they are impressed.”
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