Repertory Dance Theatre

RDT is currently in the process of inventorying, cataloging, and assessing our extensive archive including over 120 years of modern dance history and almost 60 years of company history. This archive preserves videos, photographs, and documentation of dance history to support our “living library” of dance for future generations of artists and art lovers.

In our 59th season of reflection, RDT participates in Utah State Archives Month to highlight “the future in the archives.” To stay connected:

  • Follow our social media for features from our archive throughout the rest of October, exploring futures and dreams – realized and unrealized – for the arts in Salt Lake City.
  • Sign up for our archive newsletter to continue receiving exclusive peeks into RDT’s history throughout the season.

This project is made possible through a grant from the Utah State Historical Records Advisory Board (USHRAB) and National Historical Publications and Records Commission (NHPRC).

FROM THE ARCHIVE – Dreams for an arts space

Founded in 1966 as Artists-in-Residence at the University of Utah, RDT was housed in a World War II barracks building near the University medical center for nearly 26 years. This space was never quite big enough to hold all the ways the company wanted to expand and in 1988, the University told RDT that its building was scheduled for demolition.

On this precipice of change, as the company came to terms with losing their home, we began to dream of what futures could be possible with a new arts space in Salt Lake. What would the ideal space look like? What activities could we develop in a larger facility? We envisioned spacious rehearsal studios, efficient office space, and multi-use performance spaces. A place where performing artists could experiment, create and present their work. A community gathering place where dance classes, cultural festivals, and traveling artists could be featured. As this dream grew, it became clear that our ambitious goals aligned with many other arts groups in the city and could only be realized by forming new partnerships.

In 1989, Alice Steiner formed the Performing Arts Coalition (PAC), dedicated to developing a performing arts center, which included Repertory Dance Theatre, Ririe Woodbury Dance Company, Ballet WestChildren’s Dance Theatre, Zivio Ethnic Arts Ensemble, Utah Symphony Utah OperaNova Chamber Music, Salt Lake Festival, and the Utah Media Center. Together, plans for the future of the arts in Salt Lake City were designed, re-designed, discarded, re-started, and eventually built into the Rose Wagner Performing Arts Center.

Personal notes from 1988 by Linda C. Smith expressing RDT’s contribution to Salt Lake City.

A Living City needs the arts.

The arts need the city.

What an incredible event it is when an opportunity arises to marry these needs.

Salt Lake City has that unique opportunity within its grasp.

The opportunity to support and nurture its distinguished artists, and at the same time, to offer its citizens the riches that only the arts can provide.

It is no secret that the arts have the power to inspire, to enrich lives, and to communicate powerful images, and ideas.

It is no secret that Salt Lake City is the home of internationally respected arts groups.

And in some cities, Dallas, Cleveland, Pittsburgh, San Antonio, Louisville, Aspen, and Portland, it is no secret that the arts not only have a cultural impact on communities, but economic impact as well.

Last year there were just under three quarters of a million people who went downtown to see arts events.

It is obvious, the Utah Jazz isn’t the only game in town.

But, think of what could happen if there were an additional 150,000 people each year attending concerts held every weekend … or potentially, every evening in a performing arts complex within walking distance of a restaurant, hotel, or shopping area.

This is the center we purpose.

Think of the educational impact of programs devoted to children, special populations, and multi-cultural audiences.

This is the center we purpose.

What could happen if arts groups could share production spaces, box office costs, equipment, rehearsal areas, pianos, reception rooms, and management.

Think of the events, the visiting artists, the experimentation, the classes, and the excitement a performing arts complex could host.

This is the center we purpose.

Salt Lake City has lost activity, energy, and the critical mass necessary to a vital downtown.

The R/UDAT and DMJM studies recommended that Salt Lake City actively promote the formation of an Arts and Entertainment District which would include small and medium sized theaters, rehearsal, living, working space for artists, an art museum,galleries, shops and restaurants.

A new performing arts complex could house the activities necessary for the downtown area to become the hub, the focal point for the community by grouping related/complementary activities so that they may support and reinforce each other.

We have surveyed the arts community and identified similar space needs among Salt Lake’s most respected performing companies.

Four primary users, Repertory Dance Theatre, Gina Bachauer International Piano Competition, Salt Lake Acting Company, Ririe Woodbury Dance Company ….. plus 16 other performing groups including: Pioneer Memorial Theater company, Ballet West, Chamber music and choral groups, the Childrens Dance Theater, Folk and Ethnic companies and the Utah Symphony,

All have indicated the desire to use small to medium size theaters which would enable:

  • expanded and more frequent programming,
  • greater performing flexibility,
  • convenient scheduling for audiences.
  • cost effective ways to share space.

The Gena Bachauer International Piano Competition and Festival could perform 15 concerts per year, hold international auditions,solo and chamber music rehearsals, annual recitals, lectures, classes, solo and chamber music concert series, establish administrative and ticket offices.

The Salt Lake Acting Company, which has grown over 500 percent in the last six years, is currently producing six plays per year, offering 170 performances, and are utilizing every inch of space in their current theater. They would like to expand and have access to an additional 300 seat theatre, office space for 23 employees, a workshop, laboratory, and support spaces.

In addition to their Capitol Theater performances, Ririe Woodbury would love an intimate theater to premiere new works in a creative and cost effective manner. They need office, rehearsal, and production space and would perform up to eight additional weeks in a smaller theater.

And Repertory Dance Theatre who is losing their rehearsal, office, and production space at the University of Utah, wishes to establish a new home in the downtown area and expand their entire operation to include:

  • Offering more frequent performances (10-12 weeks per year)
  • Developing workshops, symposiums, and a lecture series.
  • Presenting dance companies and artists from outside Utah
  • creating a Children’s Matinee series
  • Developing a school

RDT wants to:

  • respond to community desires
  • lead community appreciation
  • inspire community aesthetics

We can help each other the city and the arts.

Please support the Performing Arts Coalition’s proposal which will be coming before you as you choose your priorities for a living downtown Salt Lake City.

List of RDT activities and value to the community, 1988.

THE REPERTORY DANCE THEATRE

DANCE LABORATORY THEATER MUSEUM SCHOOL LIBRARY RESOURCE CENTER

The Repertory Dance Theatre performs, teaches, commissions, preserves, inspires, researches, creates, sponsors, promotes, presents.

RDT has fulfilled a goal of establishing itself as a professional performing and touring company of national importance which provides live dance performance in the cultural capitals as well as in the rural areas or the country.

RDT performs an average of five major concerts in the Salt Lake Area per year, inaddition to a summer series, and a community outreach program which offers affordable live performance, lecture demonstrations and classes to schools, social organizations, special interest groups, universities, etc., on an average of 20 to 50 activities per year.

RDT has established an excellent reputation for training students of all levels of accomplishment by offering summer workshops since 1970, and it has participated in the Artists in Education program on a national and local level since its inception. It offers a program to advanced dancers who wish to augment their training by studying RDT repertory and technique on a professional level. Its student performing group RDT II becomes a training ground for prospective company members and gives performing experience to dancers, and choreographic opportunities to local choreographers.

RDT offers commissicns to dancers, choreographers, musicians, writers, designers, film makers, architects, technicians, and management personnel. Artists of all disciplines are encouraged through collaborative projects and programs which are designed for special interest groups, children, senior citizens, as well as general audiences.

RDT offers Its expertise in artistic, technical, and managerial areas to the community. It also shores its space, equipment, and personnel with arts groups, and acts as a resource center for the arts.

RDT sponsors activities and guest artists in order to bring audiences the opportunity to see a broader focus of theater and dance than that which is imported by traditional local sponsors.

In order to continue to maintain, create and grow in its ability to offer services to the community and expand its impact in the dance world. RDT must enlarge its physical facilities. The great interest in the performing arts and arts in education justify the desire to develop programs in an adequate environment. At present, RDT is housed in a barracks building with studio space approximately 23′ wide by 40′ in length comprising the main studio. A smaller rehearsal area 23′ by 20′ is used for additional work. The  studio is used by DCE in the late afternoon and evening and Is not available to RDT exclusively. Adequate rehearsal space is essentially unavailable in the city. The Capitol Theater space is assigned to Ballet West and the Utah Opera for the most part. RDT is only able to rent space on occasion. The Capitol Theater is the most appropriate theater for dance in the city but has a 2000 seat capacity, which is difficult for contemporary performing groups to fill. The theater is scheduled for its primary tenants, and not for the convenience of smaller arts groups. It is a union regulated house with beautiful but expensive facilities which are not always adequate for the presentation of all forms of dance. The Salt Lake Community needs an alternative theater to present concerts in a comfortable, affordable environment which could accommodate not only dance, but also music, film, and theater.

For Salt Lake City to enter the mainstream of Arts and Culture, there must be a set of spaces that “fit” potential arts events, to complement existing facilities.

Original statement of purpose for the PAC, goals and visions, and founding member organizations, 1988.

Performing Arts Coalition

Mission Statement

The Performing Arts Coalition exists to create an affordable performing arts complex located in downtown Salt Lake City.

Goals:

  1. To serve th& objectives of the resident tenants in the development of their art forms.
  2. To solicit community and government support for the creation of the Performing Arts coalition complex.
  3. To create a program for the facility including location, design, management, endowment, and funding.

For Salt Lake City to enter the mainstream of Arts and Culture, there must be a set of spaces that “fit” potential arts events, to complement existing facilities.

 


 

Theater Arts Coalition

Goals:

  1. Obtain small theater space In downtown Salt Lake City suitable for dance, music, and theater performances presented by a variety of arts groups;
  2. Obtain 15,000 to 20,000 square feet of flexible rehearsal space;
  3. Obtain 5,000 square feet of office space;
  4. All of the above to be made available at rental rates competitive with the Bicentennial Arts Complex.

Who We Are:

We are/will be a non-profit corporation representing arts groups committed to obtaining the goals outlined above. We will be organized as follows:

Independent Fund-raising

Board of Directors

Advisory Board

Made Up of Major Tenants

Possible major tenants include:

  1. R.D.T.
  2. Gina Bachauer International Piano Competition
  3. Salt Lake Acting Company
  4. School of Ballet West
  5. Pioneer Theater Company
  6. Chamber Music Groups
  7. Utah Arts Festival
  8. Other performing groups

Our Committment:

We will commit to raise $_________ In contributions for a public/private small arts complex and we will actively lobby for the public funding entity to raise their committment. In return, we require:

  1. The right to name the facility, place plaques and otherwise create opportunities for donor recognition;
  2. Collaboration on the design of the facility;
  3. Collaboration on the management structure for the facility;
  4. Reciprocal tenant agreements with the Bicentennial Arts Complex.

Design/Location/Cost of Theater Complex

I. Facility Programming Observations

(a) If two theaters are built:

    1. Smaller theater (200 to 400 seats) would be experimental theater. It would most likely have a flexible stage, flexible seating, excellent acoustics, and limited back of the house features.
    2. Larger theater (600 to 800 seats) would be a more traditional theater with a standard, proscenium stage, fixed seating, excellent acoustics, and standard back of the house features.

(b) If one theater is built It should be mid-sized (400 to 700 seats). It would most likely have a fixed, proscenium stage, fixed seating, excellent acoustics, selected back of the house features, and extensive back stage storage space to maximize stage use. The potential to shrink the theater with curtains/partitions should be investigated.

(c) The rehearsal space should have a minimum of 10,000 square feet with an average ceiling height of 15 feet or higher. Rehearsal space configuration should be flexible and each space should be acoustically separate.

(d) Office space for the tenant groups, a box office, and dressing rooms should be included in the complex.

2. Location/Cost Possibilities:

(a) New facility:

    1. SWC Pierpont and West Temple (Two theaters, 15,000 square feet of rehearsal space)

Land@ $28/sq.ft. $1,711,570

(Asking price is $2.1 million or $34.35/sq.ft.; purchased for $11.60/sq.ft. in 12/87)

New Building $7,117,000

(Based on DMJM cost estimates) *

Parking -0-

(Not addressed in the OHJHre port)

TOTAL ESTIMATED COST $8,828,570

    1. Between Pierpont and 200 South, between 200 and 300 West (Two theaters, 15,000 square feet rehearsal space)

Land @ $10/sq.ft. (Assume 2 acres) $871,200

New building (based on DMJH cost estimates) $7,117,000

Parking (share with new arena)  -0-

TOTAL ESTIMATED COST $7,988,200

(b) Renovation:

Restaurant Equipment and Supply Building (One theater and 19,000 square feet of rehearsal/office space OR two theaters and 10,500 square feet of rehearsal/office space)

Building purchase price @ $30/sq.ft. $1,000,000

(Asking price is $1.4 million or $41/footprint sq.ft.; purchase price was $11.60/footprint sq.ft. in 12/87)

Renovation cost estimate 4,200,000

Additional land for parking @$20/sq.ft. 623,700

TOTAL ESTIMATED COST $5,823,700

*We feel that the DMJM cost estimates maybe $1 million to $3 million high.

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