By ANN RICHARDS
When the
McCree Theatre closed its doors in 1989, almost two decades after its debut as Flint, Michigan’s first and only venue dedicated to African American artists, few believed the beloved inner city playhouse would see a revival. The survival rate for most community-based, ethnic theaters is short; according to a recent national study, most African-American theater companies have an average life span of about seven years.
Fifteen years after its demise, however, McCree resurfaced. A modest-budget, volunteer driven holiday production,
Christmas at the Crossroads, written and directed by former staff, attracted unexpectedly large audiences and critical notice. Despite a dismal local economy, that success helped trigger a revival of the theater in 2004, said Charles H. Winfrey, McCree’s executive director.
McCree's new 220-seat theater. |
According to the
National Arts Index 2009, an annual measure of the vitality of arts and culture in the United States published by
Americans for the Arts, current patterns of art consumption may help sustain McCree’s second life.
Public participation in the arts is expanding, despite the economy, say the authors of the report, who also note that “community-based and culturally specific arts organizations are driving participation and vitality.”
“It’s the theater that won’t give up,” said Louis Hawkins, a board member who was drawn to McCree because of its commitment to underserved audiences.
“McCree provides access – not just geographically, but psychologically,” he said. “It provides disproportionate opportunity for minority residents to experience the arts. It’s smaller and less intimidating than mainstream cultural organizations, and provides an environment for discovering, developing and showcasing talent that might otherwise not have been developed.
“Just as importantly, it provides an opportunity for the broader community to experience quality performances that it might otherwise not have been able to enjoy – and it provides the McCree casts and crews with a bridge to mainstream cultural organizations - a bridge they can cross back and forth as they hone their skills and appreciation for the performing arts.”
Born out of the Genesee County Model Cities Program to provide performing, musical and visual arts for urban residents, the Floyd J. McCree Theatre and Fine Arts Centre (named for Flint’s first black mayor) was a hub of activity in its early years, according to Winfrey.
Singers in dress rehearsal at McCree. |
“Back then, McCree served as a cultural center for Flint’s north-end neighborhoods,” said Winfrey, who took over as executive director in 1979. “The theater was always the most visible part of McCree, but we also provided classes in the visual arts, photography, instrumental music, dance and creative writing.”
But McCree became a victim of its own success, drawing a large part of its clientele from outside its service area and subsequently losing its federal support in 1978. Realizing the important role that McCree played in the city’s cultural mix, the C.S. Mott Foundation picked up the center’s operating costs that year and continued to provide partial support – directly and through the
Urban League of Flint – totaling more than $1 million through 1986.
Despite Mott funding, the organization’s inability to diversify its financial base coupled with inconsistent production quality lead to shorter seasons and eventually, diminishing audiences.
“In the past, it seemed like I was busy with everything that had nothing to do with theater,” Winfrey said, reminiscing about the building maintenance issues, cash flow problems and artistic squabbles that prompted the theater to close its doors.
This time around, says Winfrey, the “new” McCree Theatre is trying to avoid past mistakes. Operating in rented space at the Urban League of Flint’s headquarters along a major bus route, the company performs in a 220-seat theater, refurbished with volunteer labor and seats donated by National Amusements. Four plays – most original – are performed each season, utilizing volunteer talent on and behind the stage.
McCree's recent production, Hangin' Out. |
“Right now, our goal is to fill our 200 seats for every performance,” said Winfrey of the theater’s efforts to increase earned income and lessen dependence on grants and fundraising. Over the past two years, audiences have been growing. Casting calls, which attracted 10 to 15 people in the 2004 season, now draw 50 to 60 individuals, including many teenagers and young adults.
The Mott Foundation has provided funding to help McCree young talent, first through a multi-year grant of $100,000 that enabled McCree to perform an original, anti-violence play,
Graffiti Chronicles, at 40 area schools. In 2008, Mott also provided $110,000 in multi-year support for the McCree-Ative Performing Arts Academy, a year-round fine arts program for young people.
Winfrey also credits the Mott-funded
BEST Project – a capacity-building initiative for area nonprofit organizations – as instrumental in helping the theater create a five-year plan for the future.
“We’re not Juilliard, but we try to maintain high standards and provide a structured experience, particularly for young people,” said Hawkins. “We try to keep opportunities available for anyone who wants to participate.
“McCree is a place that gives them the opportunity to discover and develop talent.”
Click to read details about Mott grants made to McCree Theatre