‘It doesn’t always help to stay quiet’
Art groups make sure messages on dispute are heard
As news broke of an impasse in negotiations over renting the Dr. Phillips Center’s new Steinmetz Hall last week, the four affected organizations quickly moved to make sure their supporters heard their messages loud and clear.
“Public spats are regrettable, and this was entirely avoidable,” read a strongly worded email from Orlando Ballet, signed by executive director Shane Jewell and board president Jonathan Ledden.
From hopeful notes to defiant cries, the downtown Orlando arts center, Orlando Ballet, Opera Orlando and the Philharmonic sought to inform — and rally — their fans through social media and mass emails.
After years of behind-thescenes meetings, the organizations have been unable to agree on the fees for using Steinmetz Hall, a state-ofthe-art performance venue set to open in 2020.
The ballet’s email was sent not only to regular subscribers but also to casual attendees who might have only attended a performance or two.
The performing-arts center stressed its local connections through both email
and social media posts.
“Orlando Mayor Buddy Dyer described the arts center as the ‘heartbeat of downtown,’” it said in its email blast. “For that, we owe a lot of thanks to our dedicated team making a home for the actors, dancers, singers, playwrights and performers in our own backyard.”
Opera Orlando and the Orlando Philharmonic Orchestra dispatched similar emails that struck a conciliatory tone.
“We are confident that all involved are continuing to work towards a solution and ultimately, a successful, fair, and equitable resolution and strong partnership,” they said. “We look forward to continuing a mutually beneficial relationship with Dr. Phillips Center.”
Orlando Ballet, however, took a bolder stance.
“We are not going back to the days where Orlando Ballet had no choice but to accept whatever terms were dictated because of our weak position,” the email stated. “We are not going back to the days of signing bad deals that forced financial crisis.”
And by the end of the day Thursday, all three groups had widely circulated a list of talking points “in light of overwhelming public interest.” In no uncertain terms, it laid out the groups’ wishes, including a five-year rate freeze and priority in scheduling events — terms the groups say are essential to developing solid business plans.
The document also detailed rate hikes paid by the groups in the past few years and accused the Dr. Phillips Center of making “misleading” statements about the scope of its support of the ballet, philharmonic and orchestra.
Arts-center officials have previously said rate hikes were part of an agreed-upon play with the organizations to prepare them to move into Steinmetz Hall. On Thursday evening, a spokeswoman said she had seen the groups’ talking-point document.
“There appear to be some continuing inaccuracies and misinformation being presented as facts,” the spokeswoman wrote in an email. “At this time, we continue to abide by our policy of keeping ongoing negotiations confidential.”
Supporters of the performing groups “appreciated being looped in,” said Gabriel Preisser, executive director of Opera Orlando.
“People responded they can’t believe this is going on,” he said. “And they 100 percent support us.”
At least one arts fan backed that up with her wallet. Orlando resident Margaret Nolan posted on Facebook that the messages “motivated me to give them each MORE money and support!”
The Philharmonic found its patrons are “eager to know everything,” said Cristina Venturini, director of marketing and sales.
“We didn’t want to say nothing,” she said. “It doesn’t always help to stay quiet.”
The groups also used the messages to discuss issues specific to them. Opera Orlando brought up its status as a “resident organization” — a designation that comes with discounted rental rates. Dr. Phillips Center officials have said Opera Orlando doesn’t qualify because it was not around in 2007 when the idea of resident organizations was made part of the arts center’s contract with the city. That agreement, which mentions the now-defunct Orlando Opera by name, does specify its “successors” be considered resident organizations — but doesn’t spell out the exact criteria to be considered a successor.
Some of the messages used facts and figures to bolster their positions and reassure donors and ticket buyers.
The ballet pointed out it finished its last season with a $200,000 surplus and stressed the dispute is not about the group’s “financial condition or sustainability.” It also took the opportunity to salute new financial backers such as The Edyth Bush Charitable Foundation and Dr. Phillips Charities, which the ballet called “significant donors and advocates.” The president of Dr. Phillips Charities, Ken Robinson, resigned from the Dr. Phillips Center board of directors in July with a scathing letter questioning the arts center’s leadership and direction.
The Dr. Phillips Center did not mention the negotiations or dispute but reiterated its commitment to the ballet and opera, writing: “We’re honored to do our part to support these and other organizations, including providing more than $3 million in rent value and other support to them since we opened.”
Its message quoted LaVon Bracey Davis, senior director of community programming, on the arts center’s purpose: “We are delighted to welcome new and returning community groups to the arts center, as this venue was built for the Central Florida arts community.”