FY1994 09/29/1993FUNDING AGREEMENT
THIS AGREEMENT is entered into this day of hg�_, 1993, by
and between the BOARD OF COUNTY COMMISSIONERS, Monroe County, Florida, hereinafter
referred to as the BOCC and Florida Keys Community College hereinafter referred to as "Event
Sponsor";
WHEREAS, the BOCC, upon recommendation of the Monroe County Tourist Development
Council, hereinafter referred to as the TDC, has budgeted a portion of tourist development
revenues for promotion and support of certain cultural events; and
WHEREAS, the umbrella organization under contract to the BOCC has recommended that
certain monies be allocated to Event Sponsor; now
THEREFORE, in consideration of the mutual promises contained herein, the parties agree as
follows:
1. BOCC shall pay to Event Sponsor a sum not to exceed eighteen thousand, seven
hundred and forty-nine dollars ($18,749.00) for promotion and related expenditures in producing
the Tennessee Williams Fine Arts Center pursuant to the terms of the Funding Application,
attached hereto and incorporated herein by reference (Exhibit A). _
Should a breach occur after the expenditure of funds by BOW for an event; and the
event does not occur as a result of said breach, Event Sponsor shall re=�burseclMd' for the
amount of funds expended by the BOCC in connection with said event.
2. Event Sponsor shall provide promotion and related services as descrP*d in detail in
the Funding Application (Exhibit A). _-
3. Indemnification and Hold Harmless: Event Sponsor agrees -to indemnify and hold
Monroe County harmless for any and all claims, liability, losses and causes of action which may
arise out of the fulfillment of the agreement.
It agrees to pay all claims and losses and shall defend all suits filed due to the
negligent acts, errors or omissions of the Event Sponsor's employees and/or agents, including
related court costs.
4. Insurance Requirements: Event Sponsor shall carry during the term of this agreement
public liability insurance, including bodily injury and property loss damage to cover all claims,
demands or actions by any person or entity in anyway arising from the operation, of this event(s).
Such liability insurance shall be in an amount not less than $500,000. Monroe County and the
Monroe County Tourist Development Council shall be named as additional insured under the
insurance policy and such insurance shall be primary and non contributing with any insurance
carried by the County. Event Sponsor shall furnish the County with a certificate evidencing the
insurance required by this paragraph not later than twenty (20) days prior to the event.
5. Event Sponsor shall maintain records to be kept pursuant to generally accepted
accounting principles, for three years after the event, and shall permit BOCC and its agents and
employees access to said records at reasonable times.
1
6. For any breach of the covenants contained herein or in Exhibit A, BOCC may
terminate this agreement immediately upon service of notice of termination. BOCC may terminate
this agreement without cause upon providing 120 days notice of termination.
7. Event sponsor is an independent contractor and shall disclose any and all potential
conflicts of interest as defined by Florida Statute, Chapter 112 and Monroe County Code, Article
XXI .
8. Force Majeure: Event Sponsor shall not be liable for delay in performance or
failure to perform, in whole or in part, the services due to the occurrence of any contingency
beyond its control or the control of any of its subcontractors or suppliers, including labor dispute,
strike, labor shortage, war or act of war whether an actual declaration thereof if made or not
insurrection, sabotage, riot or civil commotion, act of public enemy, epidemic, quarantine
restriction, accident, fire, explosion, storm, flood, drought or other act of God, act of any
governmental authority, jurisdictional action, or insufficient supply of fuel, electricity, or materials
or supplies, or technical failure where Event Sponsor has exercised reasonable care in the
prevention thereof, and any such delay or failure shall not constitute a breach of this Agreement.
9. Ethics Clause: Event Sponsor warrants that he/she/it has not employed retained or
otherwise had act on his/its behalf any former COUNTY office or employee in violation of Section 2
or Ordinance No. 10-1990 or any COUNTY officer or employee in violation of Section 3 of
Ordinance No. 10-1990. For breach or violation of the provision the COUNTY may, at its
discretion terminate this contract without liability and may also, at its discretion, deduct from the
contract or purchase price, or otherwise recover, the full amount of any fee, commission,
percentage, gift, or consideration paid to the former or present COUNTY officer or employee.
IN WITNESS WHEREOF, the parties have executed this agreement the day and year first
above written.
(SEAL)
Atte t'
(SEAL)
Attest:
Clerk
Approved as to form and legal sufficiency:
Date: *- -?_2
Florida Keys Community College
Monroe
Board of County
ayor/Chairman
W 16 1101111 .r
2
SWORN STATEMENT PURSUANT TO SECTION 287.133(3)(a),
FLORWA STATUTES, ON PUBLIC ENTITY CREWES
THIS FORM MUST BE SIGNED AND SWORN TO IN THE PRESENCE OF A NOTARY PUBLIC OR OTHER
OFFICIAL AUTHORIZED TO ADMINISTER OATHS..
1. This sworn statement is submitted to MO N (Lo v- � U ��) f 1� M
ou1ST c'UrLo(� C--iJ] u-oL1`
[print nathe of the public entity]
by
WI I-LIAM /rt. SC-',FK E P— , p rsi aFNi
[print Individuals name and title]
for )I -'LC RA o A I & Y5 (A M M Cn N t 7 -1 (G L c. rG
name
whose business address is
5-70 Cc,t 2o�,�
VJ& s 7—
and (if applicable) its Federal Employer Identification Number (FEIIN) is p91 Z o 17 0
(If the entity has no FEIN, include the Social Security Number of the individual signing this
sworn statement:
2. I understand that a "public entity crime' as defined in Paragraph 287.133(1)(g), Haida Statutes, means a
violation of any state or federal law by a person with respect to and directly related to the transaction of
business with any public entity or with an agency or political subdivision of any other state or of the United
States, including, but not limited to, any bid or contract for goods or services to be provided to any public
entity or an agency or political subdivision of any other state or of the United States and involving antitrust,
fraud, theft, bribery, collusion, racketeering, conspiracy, or material misrepresentation.
3. I understand that 'convicted' or 'conviction' as defined in Paragraph 287.133(1)(b), iflorida Statutes. means
a finding of guilt or a conviction of a public entity crime, with or without an adjudication of
Bit• in any
federal or state trial court of record relating to charges brought by indictment or information after July 1,
1989, as a result of a jury verdict, nonjury trial, or entry of a plea of guilty or nolo eontendere.
4. I understand that an 'affiliate' as defined in Paragraph 287.133(1)(a), 1~7wMa Statutes. means:
1. A predecessor or successor of a person convicted of a public entity crime; or
2. An entity under the control of any natural person who is active in the management of the entity and
who has been convicted of a public entity crime. The term 'affiliate' Includes those officers, directors,
executives, partners, shareholders, employees, members, and agents who are active in the management of
an affiliate. The ownership by one person of shares constituting a controlling interest in another person,
or a pooling of equipment or income among persons when not for fair market value under an arm's length
agreement, shall be a prima facie case that one person controls another person. A person who knowingly
enters into a joint venture with a person who has been convicted of a public entity crime in Florida during
the preceding 36 months shall be considered an affiliate.
5. I understand that a 'person' as defined in Paragraph 287.133(1)(e), Statutm means any natural
person or entity organized under the laws of any state or of the United States with the legal power to enter
into a binding contract and which bids or applies to bid on contracts for the provision of goods or services
let by a public entity, or which otherwise transacts or applies to transact business with a public entity. The
term 'person' includes those officers, directors, executives, partners, shareholders, employees, members, and
agents who are active in management of an entity.
6. Based on information and belief, the statement which I have marked below is true in relation to the entity
submitting this sworn statement. [Indicate which statement applles.]
Neither the entity submitting this sworn statement, nor any of its officers, directors, executives,
partners, shareholders, employees, members, or agents who are active in the management of the entity, nor
any affiliate of the entity has been charged with and convicted of a public entity crime subsequent to July
1, 1989.
The entity submitting this sworn statement, or one or more of its officers, directors, executives,
partners, shareholders, employees, members, or agents who are active in the management of the entity, or
an affiliate of the entity has been charged with and convicted of a public entity crime subsequent to July
1, 1989.
The entity submitting this sworn statement, or one or more of its officers, directors, executives,
partners, shareholders, employees, members, or agents who are active in the management of the entity, or
an affiliate of the entity has been charged with and convicted of a public entity crime subsequent to July
1, 1989. However, there has been a subsequent proceeding before a Hearing Officer of the State of Florida,
Division of Administrative Hearings and the Final Order entered by the Hearing Officer determined that
it was not in the public interest to place the entity submitting this sworn statement on the convicted vendor
list. [attach a copy of the final order]
I UNDERSTAND THAT THE SUBMISSION OF THIS FORM TO THE CONTRACTING OFFICER FOR THE
PUBLIC ENTITY IDENTIFIED IN PARAGRAPH 1 (ONE) ABOVE IS FOR THAT PUBLIC ENTITY ONLY AND,
THAT THIS FORM IS VALID THROUGH DECEMBER 31 OF THE CALENDAR YEAR IN WHICH IT IS FILED.
I ALSO UNDERSTAND THAT I AM REQUIRW TO INFORM THE PUBLIC ENTITY PRIOR TO ENTERING
INTO A CONTRACT IN EXCESS OF THE THRESHOLD AMOUNT PROVIDED IN SECTION 287.017, ELD$"
STATUTES FOR CATEGORY TWO OF ANY CHANGE IN THE INFQRMATION CONT IN THIS FORM.
[signature] \
Sworn to and subscribed before me this Ide'l- day of v 19
' Personally known L OR Produced identification Notary 'Public - State of
(1I pe of identification)
Form PUR 7068 (Rev. 06/11/92)
r'Tl' commission expires
Nofery PON, St!,a of fladde -`I
MY tan ExPles Aq- 26, 1994
j,_Bonded Thru Troy Nin - Insurance toe.
(Printed typed or stamped
commissioned name of notary public)
Tennessee Williams
dine Arts Center
Attached is the request for TDC funding for the Tennessee
Williams Fine Arts Center for the 1993-94 year.
Copies of a preliminary budget were faxed to both Tinsley
Advertising and Stuart Newman & Associates. The ad/pr budget
submitted reflects the suggestions made by John Underwood of
Tinsley Advertizing. As of Thursday, 15 July, Andy Newman
had not been able to look over the request.
Thank you.
'3-
Ken Bryant
Executive Director/TWFAC
(305) 296-9081, ext. 299
Florida Keys Community College
5901 W. College Road, Key West, Florida 33040
Brickeff Avenue 856-W
Miami Fax
Flo" 33129 (305) 858-3877
July 9, 1993
Mr. Ken Bryant
Tennessee Williams Fine Arts Center
Florida Keys Community College
5901 West College Road
Key west, FL 33040
Dear Ken,
Thank you for sending your advertising proposal for the Tennessee Williams Fine Arts
Center.
In "Newspapers", we suggest that you switch the * I insertions to the jig
Time-, which has a better rate, fivquency and targeted audiewe. Also, we suggest that
you spend more money in out -of -my media to bring people down to your event and to
the Keys. We believe that your percentage of dollars spent in oat -of -county is too low
versus in -county media dollars.
Other than the above suggestions, the plan looks great. Please call Jim Johnson or myself
if you have any questions.
Good Luck,
John Underwood
Associate Acco Executive
cc: Jim Johnson
Lynda Stuart
APPLICATION FOR FUNDING FROM THE
MONROE COUNT`( TOURIST DEVELOPMENT COUNCIL
CULTURAL UMBRELLA
EVENT: Tennessee Williams Fine Arts Center (FKCC) 1993-94 Season
LOCATION: Tennessee Williams Fine Arts Center
Florida Keys Community College
5901 W. College Rd.
Key West, FL 33040
DATE OF EVENT: 11 November 1993 through 14 April 1994
(see attached schedule for specific dates)
ESTIMATED ATTENDANCE: 13,230
EVENT DESCRIPTION: The Tennessee Williams Fine Arts Center's fourteenth
annual presentation series will bring to the Key West/Lower Keys area
fifteen different events being presented in twenty-seven performances. The
Fine Arts Center will produce at least two of its own productions this
season: the musical KISMET with music based on the compositions of
Borodin, and a Tennessee Williams play (the most probable choice for
production is SUDDENLY LAST SUMMER). These productions will be mounted
in Key West using Key West professionals. A third production is under
consideration. The Special Events Series will include: THE STEVE CHAPIN
BAND in a legacy concert to brother Harry Chapin, who played the
Tennessee Williams Fine Arts Center, DANCE BRAZIL, THE DUKES OF
DIXIELAND, SPALDING GRAY, the reknowned stage and screen actor
performing an original one-man show, and THE FOUR FRESHMAN. The
International Festival of Chamber Music will once again bring world -class
chamber artists to Key ►.Jest, including MICHIKO OTAKI & CIRIL SKERJANEC,
THE ARTISTA TRIO, THE SWISS WOODWIND QUARTET, and THE EDER STRING
QUARTET. An addition to the Center's presenting season is the new Family
Series. This series will present four events, at reduced prices,
including: LAZER VAUDEVILLE, THE AMERICAN MAGIC -LANTERN THEATRE,
ILLUSIONS, and Canada's award -winning theatre company, DynamO Theatre,
in THE CHALLENGE.
IMPACT ON TOURISM: The 1993-94 Season and its advertising compaign have both
been designed to bring tourists into the Key Jest/Lower Keys area, to give
them activities which may convince them to extend their stay, and to bring
them back for another visit.
The advertising campaign has been designed to make the tourist, and
prospective tourist, aware of the cultural events available in Key West.
In this effort all areas of media will be utilized. Plans call for "rack
cards" and a season poster to be placed at hotels/motels, visitor centers
and chambers of commerce throughout the Keys, and we hope, along the
Florida Turnpike. Newspaper and magazine ads will be used to bring
tourists into Key West from the Upper Keys. Radio will also be used.
4
Once the tourist is in Key West, local newspaper ads will inform them of
the Center's offerings, as well as posters for individual events
distributed throughout Key West. Also, local radio advertising will target
the tourist.
In addition to print and radio advertising, television advertising will be
used. The Center will produce a generic season ad that will run on CNN and
the Weather Channel, and on Key TV, that advertizes the Tennessee Williams
Fine Arts Center and Key West as a cultural destination.
The season itself has been planned to present events which will present
Key West as a cultural destination. While some events, such as the SWISS
WOODWIND QUARTET, may reflect a "high -end" tourist, most events, such as
KISMET and the DUKES OF DIXIELAND, were scheduled with the idea of
offering events that do not present themselves as being too "snobbish" or
"high -class" --they are not events that one is "supposed to attend."
Rather, they are events which, while advancing the reputation of Key West
as a destination where a tourist can see "name" performers, are still the
type of event that a tourist, who is after all on vacation, can attend and
enjoy.
The Family Series was created as an attempt to help solve a problem that
many tourists have encountered. Up until now, those tourists who visit Key
West as a family with children, have found very little, if anything, in
the way of entertainment for all of the family after dark. Key West after
dark sometimes appears to become nothing but bars and t-shirt shops. The
Family Series is an attempt (on a small scale this year, but which
hopefully will grow in years to come) to offer events for the whole
family, children and parents. (Also, the major events of the entire season
were scheduled with the idea of being "family oriented.")
While the advertising campaign was designed to convince tourists to make
Key West/Lower Keys their tourist destination by letting them know about
the cultural events to be attended in Key West, the schedule was planned
so that it would draw the "up -scale" tourists and the "boomers with kids"
to the Key West area, be entertained, perhaps extend their stay, and
importantly, return for another vacation visit.
We feel that the impact on tourism of the Tennessee Williams Fine Arts
Center's 1993-94 Season will be to satisfy the cultural needs/desires of
up -scale prospective tourists to Key West, offering that one last detail
which convinces them to make Key West their destination, and to make them
want to return in the future.
NAME OF SPONSORING ORGANIZATION: Florida Keys Community College/Tennesse
Williams Fine Arts Center
ADDRESS: 5901 West College Rd. PHONE: 305-296-9081
Key West, FL 33040 FAX: 305-292-5155
CONTACT PERSON: Ken Bryant, Exec. Dir./T1.JFAC PHONE: 305-296-9081 ext. 299
3
HISTORY OF THE ORGANIZATION: In July of 1976, the Florida Department of
Education authorized funds for the construction of the Tennessee Williams
Fine Arts Center on the campus of Florida Keys Community College. The
Center was to house and present a variety of programs in music, dance,
theatre, and the humanities that would enrich the cultural fabric of Key
West and the Lower Keys. The goals of the Tennessee Williams Fine Arts
Center are to serve as a center for the fine and performing arts in the
Florida Keys and to offer high quality arts experiences in all areas of
the arts. On December 11, 1978, ground breaking ceremonies were held, and
the official opening of the Tennessee Williams Fine Arts Center took place
on January 24, 1980, with the world premier of Tennessee Williams' play
WILL MR. MERRIWETHER RETURN FROM MEMPHIS? which received international
attention.
HISTORY OF EVENT: The 1993-94 Season will be the Center's fourteenth annual
season. Although there has been changes in the "shape" of each season,
each of those seasons has adhered to the goal of consistantly presenting a
balanced blend of events, from chamber music to tragedy, from musical
comedies to folk music. The facilties of the Tennessee Williams Fine Arts
Center have made it possible to bring major dance and theatre companies to
the Key West area, such as Dancers from the NYC Ballet, the Martha Graham
Ensemble, and MOMIX, as well as many world-reknowned performers, including
Vincent Price, Betty Carter, Philip Glass, Emlyn Williams, Gordon
Lightfoot, and Dave Brubeck.
TENNESSEEWILLIAMS FINE ARTS CENTER
1993-94 Season
KISMET Thurs.-Sat., Nov. 11-13 & Thurs.-Sat., Nov. 18-20
A TWFAC/Key West production of the spectacular Arabian Nights musical based on the music of
Borodin, including such magnificent songs as 'Stranger in Paradise,' 'And this is my Beloved,'
and 'Baubles, Bangles, and Beads.'
THE STEVE CHAPIN BAND: LEGACY Friday, Dec. 3
Steve Chapin, brother of America's beloved story-teller/minstrel, Harry Chapin, and joined by
members of Harry's own band, including 'Big John,' the voice of Mr. Tanner, performing a concert
of songs written and made famous by Harry.
MICHIKO OTAKI & CIRIL SKERJANEC (Chamber Concert) Sunday, Dec. 12
LAZER VAUDEVILLE Saturday, Jan.B
An exciting evening of juggling, magic, music and comedy.
ARISTA TRIO (Chamber Concert) Friday, Jan. 14
DANCE BRAZIL Tuesday & Wednesday, Jan. 18 & 19
An exciting company from the State of Bahia in northern Brazil, performers of Capoeria, a
Brazilian 'dance/survival" form that is a fusion of ancient movement rituals from Angola, West
Africa, with the rhythms of Brazil.
DUKES OF DIXIELAND Friday, Jan. 21
A rousing celebration of New Orleans Jazz with one of the oldest and most famous of all dixieiand
Jazz bands.
ILLUSIONS Saturday, Jan. 29
An eerily powerful and visually haunting blend of mask, movement, and music, conjuring a world
that includes native American, Canadian, and Great Lakes influences.
SWISS WOODWIND QUARTET (Chamber Concert) Monday, Jan. 31
SUDDENLY LAST SUMMER Thurs.-Sat., Feb. 10-12 & Thurs.-Sat., Feb. I?-19
A TWFAC/K.ey West production of Tennessee Williams' haunting and hypnotic portrait of loneliness
and shocking death.
SPALDING GRAY Tuesday, Mar. I
The acclaimed stage and screen actor, and "monologist," performing his new monologue, 'GRAY'S
ANATOMY."
THE FOUR FRESHMAN Saturday, Mar. 5
They're better than ever.
AMERICAN MAGIC -LANTERN THEATRE Saturday, Mar. 12
A fun show for the whole family, in which the audience is taught to "be" a Victorian audience and
to make the sound effects of the stories, and sing-alongs with Victorian sea chanties.
EDER STRING QUARTET (Chamber Concert) Friday, Mar. 19
THE CHALLENGE Thursday, Apr. 14
A play by Canada's award winning DynamO Theatre which mixes music, dance and gymnastics.
TENNESSEE WILLIAMS FINE ARTS CENTER
1993-94 Budget, including Proposed Advertising/TDC Monies
TDC REQUEST
+ Denotes advertising either originating out of county, or viewed out
of county becuase of scope of broadcast or distribution
Denotes advertising either originating out of district, or viewed out
of district because of scope of broadcast or distribution
TELEVISION
TCI
- Key TV (Channel 15)
(84) :30 spots per wk/23 wks ($4/spot)
336
WeatherChannel (Channel 37)
(56) :30 spots per wk,'23 wks ($105/wk)
2415
*
(through Key Largo)
CNN (Channel 43)
(35) :30 spots per wk/23 wks ($140/wk)
2760
*
(through Key Largo)
(2) fixed/prime-time ads, each performance
day & day prior to perf =
(43) :30 spots ($25/spot)
1075
*
Production Costs: 2 ads to alternate
1000
*
throughout season
Subtotal
7586
RADIO
WKRY
Radio 93
(360) :30 spots aired over (14) wks � 8.50/
3060
'WWUS
Radio 104.7
(360) :30 spots aired over (14) wks 9 6.80/
3672
*
WIIS
Radio 107 (buy 1 get one free contract)
3000
WFKZ
Radio (Key Largo)
(140) :30 spots aired over (14) wks 8 13/
1820
+
Subtotal
11552
POSTERS
(500) Season Posters
600 *
(distributed to motels,
Welcome Centers,
Chambers of Commerce)
Set-up./design
230 *
(9) 1-color posters g 95.00.!
855
(distributed to tourist
businesses in
Key West & Lower Keys)
(150 printed each)
Set-up/design
1350
(2) 3-color posters g $ 525.00!
1050
(distributed to tourist
businesses in
Key West & Lower Keys)
(150 printed each)
Set-up/design g 150.00
300
Subtotal
4385
4
RACK CARDS
50000 4-color rack cards (4x9) 3500 +
& distribution fees (FPIS) 1062 +
(given to hotels/motels & Chambers of Commerce
to mail with info inquiries --distribute to B&Bs
& guest houses, Welcome Centers & Upper Keys &
FL Pike card racks)
Set-up./design 808 +
Subtotal
BROCHURES
(Distributed through mass mailings & through hotels!
motels, Welcome Centers, Chambers of Commerce,
B&Bs, etc/)
Season Brochures - 4-color separation
24"x9" accordian fold, 50,000 printing 5300 *
set-up & printing 1285 *
Out of District county mailing 800 *
Subtotal
NEWSPAPERS
KW Citizen - (14) 2x5 inserts
2 $78
1093
(26) 2x7 inserts
g $109,20
2840
(10) different
ads - 26 weeks
Island Life - (8) 2x5 inserts
g $80
640
(14) 2x7 inserts
9 $112
1568
(10) different
ads - 26 weeks
Island Navigator - (1) insert
per month for 7 months
(2) 2x5 3 $125
250 *
(5) 2x5 g $175
875 *
New Times - (1) insert per month
for 6 months
1860 +
2x6.5 2 $310
The News (Boca,'Deerfield) (1)
insert per week
i.5) 2x5 3 $135
675 +
(12) 2x7 3 $189
2266 +
Subtotal
MISC. PRINT ADS
Old Island Days Calender 200 +
Florida Living Mag (6) monthly inserts
1/3 page 3 $484 2904 +
Subtotal
COOP ADS WITH RED BARN THEATRE & t:JATERFRONT PLAYHOUSE
See Magazine Full page x 2 issues 2436 +
Key Exposure Full page x 1 issues 600 +
Humm's Guide Full page x 1 issue 567 +
Subtotal
5370
7385
12069
3104
3603
5
ART PRODUCTION FOR PRINT ADS
includes initial ad design plus resizing 2392
for individual publications
Subtotal 2392
TOTAL REQUESTED FROM TDC 57446
Breakdown of monies spent by category:
Out of
Out of
;: of Total
In District
District
County
Out of Dist/Cty
TV/Radio
10922
1820
.6657958
6396
Print Advertising
3517
11510
.7098923
6141
Print Handouts
8215
5370
.7925904
3555
(posters, cards
brochures)
TOTAL TO BE SPENT FOR OUT OF DISTRICT.%OUT OF COUNTY
DISTRIBUTION
41354
6
or .7198761 of total
* Set-up/design & production costs have been included in out of district monies when
those costs have created an ad, etc., that is used out of district
Fi
1993-94 Tennessee Willliams Fine Arts Center Budget
EXPENSES:
Administrative:
Marketing/PR (TDC)
Personnel/Salaries
Benefits
Professional dues & memberships
ASCAP, BMI, SESSAC, etc
Travel
Office Costs (phone, postage, supplies, etc.)
General Repairs
Maintenance Contracts
Computor & Printer
Concession Supplies
Presentation/Production:
Artist Fees
Technical Production
TOTAL EXPENSES
INCOME:
Ticket Sales
Concession Stand
Facility Rentals
Subtotal
Subtotal
Subtotal
Founders Contribution
DCA Sponsor !Presenter
Corporate Donations./Sponsorships
Monroe County TDC
Florida Keys Community College Support
Subtotal
TOTAL INCOME
57446
74635
30197
1250
450
3500
5800
5000
1300
4000
2000
185578
87908
15025
102933
288511
68430
3000
4000
75430
70000
6000
7600
57446
72035
213081
288511
TOTAL INCOME 288511
TOTAL EXPENSES 288511
BALANCE 0
8
Wm. A Seeker, President, Florida Keys Community College
Date
7-1 Z- 73
E. Nelson Read, Dean, Business & Administrative Affairs Date
The above mentioned organization holds Monroe County and the Tourist
Development Council harmless for any liability arising from the funded
event/activity.
�� NDNf�r C nor*
Mr Cam Expka Rw. 26, IM
iO ej Th#V ?my i9111 • Mwe q kw -
From its earliest origins in NY's Greenwich Village to today, the LEGACY of Chapin music
and "story songs" has endured, endearing millions of people around the world to this
peerless style of music that reflects and enobles the universal experiences of life in all of us.
Steve rocketed into the limelight when he joined his brother Harry as "featured performer",
music director, arranger and producer in the'70's. Always a favorite with audiences, Steve
continues to recapture legions of fans across the country. His performances of "Let Time
Go Lightly", on the platinum "Greatest Stories Live", which he also produced and his
"Life Is The Game" from "Chapter 11 Rag" are among his most requested songs.
After his brother Harry's untimely death, Steve turned his considerable talents to compos-
ing and arranging in TV, film and theatre as well as continuing his endeavors as a grammy-nominated record producer with 10
Gold and Platinum albums to his credit. Having finished producing the "Harry Chapin Tribute" PBS special and album (of the
historic Carnegie Hall concert commemorating the awarding of the Special Congressional Gold Medal to Harry featuring Bruce
Springsteen, Pat Benatar, Graham Nash, Judy Collins and Steve and the band among others) on CBS's Relativity Records, Steve
has released his first solo album "Chapter 11 Rag", reunited the band, and they are touring again to overwhelming response
and critical acclaim across the country.
Accompanying Steve are "Big John" Wallace and Howard Fields of the original group. John joined the Chapin family in the 50's
when he and Steve sang in the choir of Grace Church, forming the bonds of a lifelong friendship. Upon Steve's return to the
stage, it was only fitting that he asked John to add his distinctive basslines, beautiful vocals and unique stage presence to that
trademark blend, continuing the collaboration that has spanned three decades. Howard met Steve and John when he auditioned
as the drummer for the Broadway play "The Night That Made America Famous", for which Steve was Musical Director. After a
successful run, Howard joined the group full time in 1975 to round out that memorable ensemble, and now Steve has called
upon Howard to provide the rhythms and colors that make the sound so unique in the continuing legacy of Chapin music.
The Steve Chapin Band presents an exciting blend of poignant memories and new songs delivered with lyrical power and feeling.
n
7MM04
0
WW
O
s
s
s
W=
W
3
WMi W
�3E
O
� .0 � .� e � •3 s m <
�—� •_�° `°�3c 1 G
O.E
E N >� > U O> N °
O Q V
.0�.0
,0u��
OC ufl co
A •S .R u 'G Ja v O is `;cc
/
m233 °K';; cc
m
� 1
R9
o�
i�
N—
=g
W
W ^
�o
M` eD 00 J u l Ocoo
•_ C C 7 .N G N e0 C �. 3
= o �c 3.°o3c;�u�a H
vv _ E u �,'H T EE - m
ra cc` u� O. E vi-T R H •V•Spp�CS7 Lop A b
OD O C '0 O cC O t, 11 Q t0
c0 L C O' =pp G 11 L Q aC a O •fl �.
O E A V op 0
v o _ u� m T v o
o> s a,-+c� E E> H o� o ost
oo23 ��s'3 M - yT o— CO
> o 0
z E H - 3 s° fl o o.i� " o'u o n 3
_ ci
_
C O a 0 3� �` off" N•`4.� V y
s :M,--�=pu F-�auuE�e�� pgCc
3 y > a� E.Q ECG u 'M mE y v
fl� b c e A— 1 co•a
��
u m u e
u c. uIS
�3. ���
a i ... C� r 2 o b' ° o c o E
FE 7� O'd O u O C. R FE cc C.-.
>
V u 0 ` •q a u u O vVi IV •� C w L t0 7
O a Ef u ee c�(y w-`° u.c u "v °J v--
¢ u 3 c e»ia RL
C C
1i�� la 3 u u u r� T V O 7 G O H _•
Cd
eC i0 T 'C C UL.. 1'•' H '.C .� 7
>, Q CISu o c U� os i•0 c 0 < m c cL "m
m N > C >1 e0 u .z V c7 3-0 [0 e0 7 3=
®
� 1
R9
o�
i�
N—
=g
W
W ^
�o
M` eD 00 J u l Ocoo
•_ C C 7 .N G N e0 C �. 3
= o �c 3.°o3c;�u�a H
vv _ E u �,'H T EE - m
ra cc` u� O. E vi-T R H •V•Spp�CS7 Lop A b
OD O C '0 O cC O t, 11 Q t0
c0 L C O' =pp G 11 L Q aC a O •fl �.
O E A V op 0
v o _ u� m T v o
o> s a,-+c� E E> H o� o ost
oo23 ��s'3 M - yT o— CO
> o 0
z E H - 3 s° fl o o.i� " o'u o n 3
_ ci
_
C O a 0 3� �` off" N•`4.� V y
s :M,--�=pu F-�auuE�e�� pgCc
3 y > a� E.Q ECG u 'M mE y v
fl� b c e A— 1 co•a
��
u m u e
u c. uIS
�3. ���
a i ... C� r 2 o b' ° o c o E
FE 7� O'd O u O C. R FE cc C.-.
>
V u 0 ` •q a u u O vVi IV •� C w L t0 7
O a Ef u ee c�(y w-`° u.c u "v °J v--
¢ u 3 c e»ia RL
C C
1i�� la 3 u u u r� T V O 7 G O H _•
Cd
eC i0 T 'C C UL.. 1'•' H '.C .� 7
>, Q CISu o c U� os i•0 c 0 < m c cL "m
m N > C >1 e0 u .z V c7 3-0 [0 e0 7 3=
®
N
.11
y
;!
o a
1) o
Z
co
�:Fr
OQi
�0
8
8
5L
yj
coi.c
—
v
y
N %A
tt
W
L
u
C
>- a
Z=
VZ r 0
c . 3 f•-
Me
i U 7` N y^ r
�j eo�7 vsC
V. .'-0
GvI•^ O•C a
JR ON VIRA
L"
Jelon Vieim is the Founder and Artistic Director of The Capoeira Foundation and DanceBrazil. HE
has earned much acclaim as a broadly talented choreographer, and a world reknown master and
teacher of capoeira, the Brazilian dance/survival form that is a derivative of ancient movement rituals
from Angola, West Africa. Born in Santo Amaro de Purifica*, Bahia, a state in northern Brazil,
Mr. Vieira studied capoeira with the famous Mestres Bimba, Eziquiel, and Bobo, and Afro -Brazilian
dance at Escola de Ballet Teatro Castro Alves in Salvador, Bahia.
Since his arrival in the U.S. in 1975, Mr. Vieira has catalyzed the growing interest in and
understanding of Brazilian culture while simultaneously developing his own choreographic style that
blends traditional Afro -Brazilian dance and North American modern dance. In 1976 he formed The
Capoeiras of Bahia with Loremil Machado. Then in 1977, Mr. Vieira founded DanceBrazil, and for
the last 15 years has guided the company through breathtaking performances of capoeira and Afro -
Brazilian dance before audiences at the Festival of Vienna, Austria; Spoleto USA in Charleston, South
Carolina; the South Bank Theatre in London, England; and the Kennedy Center in Washingotn, DC,
among others. In 1989, DanceBrazil was featured on the PBS program, Alive From Off Center.
Currently Mr. Vieira teaches capoeira at his own school, Groupo de Capoeira Ogun in New York and
residency workshops throughout the U.S. He has been a guest instructor at Yale University's
African -American Studies Department since 1982 and taught at Oberlin College, Columbia
University, Stanford University, the Caribbean Cultural Center, Dance Theatre of Harlem, and Alvin
Ailey American Dance Center, among others.
In addition Mr. Vieira has been a guest on New York, Secret African City (BBC), The Arsenio Hall
Show, Good Morning America, Like it Is, and Positively Black. He has performed and choreographed
for On- and Off Broadway (including a solo appearance in the 38th Annual Hoey Awards hosted by
Tony Randall), and choreographed for the feature films Brenda Starr starring Brooke Shields and
Timothy Dalton, Rooftops, directed by Robert Wise of West Side Story and the Sound of Music, and
Boomerang starring Eddie Murphy.
Mr. Vieira has received fellowships from the National Endowment for the Arts, New York State
Council on the Arts, and New York Foundation for the Arts. He has served on panels of the NEA
and Dance Critics' Association, and on the Board of Trustees of Dance/USA. Also, in 1990 he was
inducted into the International Hall of Fame of Martial Arts. He has periodically served as a
consultant for National Geographic's Television Division, facilitating research throughout remote
areas of Brazil. And finally, for his role as proponent and master of an art form of unique historical
and cultural significance, Mr. Vieira has been featured in the writings of numerous academics,
including Professor Robert Farris Thompson of Yale University, and he was the subject of a
documentary by filmmaker Warrington Hudlin.
August 4,1992•Vol. XXXV11 No. 31
herself is a wonderful earthy pres-
Brazil, takes a differe
ence (1 wish she could get a few of
the dancers with modern dance
including African slaves— hav
backgrounds to ease up on their
pointy -toes -first walking style).
So the bright gods dance for us.
the Miracles celebrates the indom-
. Ogum, the god of war, is fierce
twin leapers (Michael Martin and
Bahians and their heritage of Afri- David Moreno); the motherly pro -
can religion and customs—some-
tectress Yemanja is Ella Carter,
times cunningly disguised to ac-
O Stacey Rivers, and Robin Wil-
liams. Katia Rios and Martin por-
tray aspects of the god of sex, Exu.
And then, as Yaba, the sensation-
al Rios, preening the air with her
long arms, takes on the hero, ap-
parently doing her best to exhaust
the potency that the gods have
endowed him with (this is not a
bad battle).
Carter, Rivers, and Williams
also dance as three different lov-
ers that Archanjo's divinely be-
stowed attractiveness wins him.
Each of these too has attributes
that derive from various goddess-
es. Then percussionists Antonio
Leite, Marivaldo Pereira, and
Davi Vieira quicken their beat,
and the real celebration starts in a
procession alive with swaying hips
and rocking steps and flashing
smiles. The highlight —what we've
all been waiting for —is the ca-
poeira match. Loremil Machado
and Jair Humberto Mansur pre-
sent the body as polished weapon;
the wheeling thrusts, the kicks, the
backflips, the one -handed cart-
wheels merge in a fluid dance in
which a split second turns an at-
tack into a parry. I forget to
breathe.
In the Samba de Roda, when
everyone gets a turn to enter the
circle and gloriously strut his/her
stuff, Machado is electric —agile
as ever, his humorous face alight,
utterly possessed by his dancing.
And Mansur, upside down, pranc-
ing on his strong arms, flourishing
his legs in the air, reminds us that
the body transformed by its own
prowess is a metaphor for the
transformation the spirit world
wreaks on the soul that enters its
great martial art
Delon Vieira's company, Dance -
nt approach
to a homeland in which people—
e
been severely oppressed. The
company's vibrant new Tens of
itable spirit of the racially mixed
commodate to Portuguese
Christianity. It is said that the
s form capoeira
kept men in slavery strong and
wily, yet, performed to the sound
of the bowed string -and -gourd in-
strument, the berimbau, it ap-
peared to the slave owners only as
acrobatic dancing.
The slender story line of Tent of
the Miracles (drawn from Jorge
Amado's novel of the same title)
is not all that clear —especially, --if
you don't understand the words
that charismatic, lusty -voiced
composer Geronimo Duarte is
singing. But it occasions lots of
rich, explosive, intrepid dancing
choreographed by Rosangela Sil-
vestro. The piece opens on a nice-
ly staged street scene: women in
swirly cotton skirts carry baskets
to market; people stop to greet
one another, gossip, and flirt.
Here comes the central character,
poet Pedro Archanjo, given the
name of Ojuoba by the god Xango
and made the guardian and voice
of African culture in Brazil. Ar-
chanjo is Nem Brito (a/k/a Eri-
valdo B. Silva, the company's as-
sociate artistic director), a big,
handsome, genial man in a white
suit. But during a ceremony nego-
tiated by Mae de Santo (Silvestre)
in which the gods endow Ar-
chanjo with their special gifts,
Brito dances as Xango. And he's
spectacular —his long limbs slic-
ing the air with ferocious vigor;
his feet slapping the floor as if he
were riding a giant drum skin.
Silvestre's choreography
shrewdly theatricalizes Afro -Bra -
New Orleans' own Dukes of Dixieland continue to charm the
audiences of symphony orchestras everywhere!
Regarding a recent symphony performance, John Cain, music critic
for the Indiana Star -Register, stated:
"Conductor Robert Vodnoy promised at the outset
that this 'Night in New Orleans' would be a
splendid one, and he was good for his word ...
The Dukes' selections reminded one of how
completely music can fill the soul."
(May 2, 1991) .
The Dukes play the HOTTEST Dixieland you've ever heard, blend it
with COOL New Orleans Bluea, and sum it all up with a true „
traditional second line to When the Saints Go Marchin' In."
Most of the orchestra charts (the Dukes have 14 available) were
written by the Dukes themselves and give the pops orchestra a
chance to,really awing!
from the -first downbeat to the final curtain call, symphony
audience's toes tap, hands clap, and they leave the concert hall
feeling as though they've had a two hour vacation to the city
where jazz was born.
The Dukes are ready to bring this spirited show to your city and
at a price that will lift your spirits as well. If your interest
is even slightly aroused, call today and request your free
cassette or compact disc of the Dukes' new recording, "Hearing is
Believing!" and hear it for yourself. As the title says, Nearing
IS Believing.
Eihd Sicgcl. CwDi,m w 100) Van No SI., N.W.. Suitt W20S Waa6inglon. D.C. 2(K1011 202.966-0001 > Fax 202.161.IMI 1
1111.1 _ .... e• 0:.,1.. _ �N] W- , 1 ,.4e F.11w(I lhi%c W11,1rr 11.4+an FI.,ri,10 11NN1 901.10J.IiNh ' F„
-D
°
E
O
O
S
Q
�L
u
u
C
c
-
a
;
o
tn
%....
O
aj
s
V
O
O
-a
s
•ti
3
"O
0
C
O
�
s
.°
.E
°
•c
°
E
Q
a
LU
8
L�
��
•�
ai
E
a
3
°
Z
G
C)
O
N
—C
C
N
-
(:m)
O
.i
•
�,
�C
3
ZO
_
o
O
E
c
O
E 0
* N
L
�
2
c
N �
oLn
>
E
C
> c
a
Q
c c E
x o
O
.� u
o)
O
O
>
'a
c v
p c O
N
>1 N
E
u
�
F--
o s
N
Vl
E
F u O
_
try
o
V
-a OR
u
a�
O
X
E
a
m
a 3
aD
Vf
O
3 m
s
> Q •`_
�G O
u
o 0
C s = o
N u o CD
C) -M C
o Q E 3
v 9 8- -c
d u O
C N ,,-
o E Q C
i C
O
O 8 O O
b4/ 1'j j 1t):4r1;Ux_ U.4
i. ". at -. . � i! I fit• I,
A e� �_-
WAS
-oil
Q 0•� v� ~•CI.
40
bw
• a
NANT
BEACTwo Sections
ISLAND EVENTS
ND7
NIZ P
4
Fifty Cents
Vainest 4, ban 23 NantscYal, MA 82554 Wednesday, Avlosl It, IM
Relive
the
magic
Before movies, there was
magic lantern theater —
sound was provided by
chanty singers, images
were band -painted.
In period dress,
Terry Borton takes you
back in time with
chantyman Bob Lehman,
lantcrnist Joan Michetti,
and his original 1890s
magic -lantern projector
BY PANOS KAKAVIATOS
Reocn staff .ricer
0 ne hundred years ago, when
the gleaming brass and ma-
hogany magic -lantern projec-
tor was invented, silent slide
shows were brought alive with ac-
companying singers and narrators,
explains Terry Horton, director and
producer of the Magic -Lantern
Theater, a show returning to The
Harbor House this weekend.
Borton, who dresses in a Victo-
rian top hat and frock coat for the
show, gives a brief history of the
raucous Victorian -era theater —and
hands out noise -makers before his
one -hour show which captures the
daring, adventure, and boisterous
good humor of the Age of Sail.
In the Victorian era, the magic'
lantern, a complex slide projection
device and direct forerunner of to-
day's TV, movies and videos, pro-
vidcd a common form of
entertainment both in theaters and
in homes, says Borton. The "magic"
LANTERN
Continued from Page 53
ton with the lantern slide
projections.
While narrating the sto-
ries that the slides illustrate
and changing slides during
the show, Borton regularly
encourages the audience to
blow a hom or make some
"good old fashioned noise."
"Everyone thinks of the
Victorian era as very
straight-laced, but there is
quite a lot of humor under-
neath all the formality," he
says, pointing to the notori-
ous rat slide from the "Story
of Nonh," in which • �t-
VICTORIAN SHOW: Forerunner of the slide projector, the magic lantern creates a dazzling array of effects, including
dissolves, pans and animation. See Sunday's listing for details.
of the once kerosene -fired lantern
11'eckly as well as a magic-Lmtern
dren and grandchildren," Borton
was produced by three proiectors
slide designer for slide digtributnrc.
cave
whose images could be merged, dis-
Beale developed a special artistic
"I Then, when l was a kid, my fa -
solved, or individually rotated to
style for the magic -lantern and, over
ther used that same lantern to put
create a kaleidoscope of pictures.
a 25-year period, produced 1,700
shows on for us, telling the same
For sound effects, the show's di-
slide designs.
stories in great-grandpa's same dra-
rectors encouraged audience partici-
The lantern was phased out by
matic style — the style f use in our
pation with horns, tambourines,
the motion picture reel in the early
shows now," he says.
and sing -along songs, says Borton.
1900s, says Borton, who uses a
Horton calls his 90-minute show,
With the help of Nantucket resi-
magic -lantern hebought in England.
The Magic of the Sea. Slides featur-
dents Bob Lehman, as chantyman,
Complete with valves for kerosene
ing illustrations for 19thcentury lit.
and loan Michetti, as lantcrnist,
lamps, this well-preserved mahog-
erature and music are brought alive
Borton presents the second summer
any and brass antique originally ran
by accompanying live music, 10 tra-
installation of a genuine magic-lan-
on kerosene. Because, kerosene -lit
ditional sea stories and songs in-
tern show at 8 p.m. in The Harbor
lanterns sometimes caused the ma-
eluding Daniel Defoe's "Robinson
House Aug. 23-24 and Aug. 30.31.
chine to catch fire, Burton uses elec-
Crusoe," a story about a man saved
The first series of shows were in the
tric light bulbs instead.
from being eaten by cannibals, to
Harbor House in July.
MAGICAL CHILDHOOD
the "Drunken Sailor" sea chantey
HAND PAINTED SLIDES
"I guess you could say I had Ian-
"sung as the sailors hauled on the
ropes."
The slides for his magic -lantern
terns in the blood," says Horton,
Lehman, local actor and member
are three-inch circular glass plates
who grew up watching magic-lan.
of the barbershop quartet Willie and
with hand -painted color illustra.
tern shows as a child and is cur-
the Wailers, leads the audience in
tions framed in wood, says Borton.
rently writing a book, The Lost Art
song. Michetti, who has performed
Most of the plates were painted in
of the Magic Lantern.
in a number of T'heater Workshop of
the 1890s by Joseph Boggs Beale, a
"My great-grandfather had an
Nantucket productions, helps Bor-
great nephcwof Betsy Ross, who had
1869 kerosene magic -lantern that
been an illustrator for Harper's
he used to put on shows for his chit-
Sec LANITRN Page 90
THE MAGIC -LANTERN
You may catch the Victo-
rian showman walking
along Main Street in the
morning or late afternoon,
marketing his show.
"A lot of people respond
to me in the century," he
says. They come up and say,
'good day, air,' or 'good eve-
ning,"' Borton says.
For Further Information, Contact:
7
Terry Bonon, Director
The magic -lantern show
The American Magic -Lantern Theater
will perform Aug. 23, 24
Box 151. Haddam, CT 06138
and Aug. 30, 31 at 8 p.m.
(203) 345-2574 or
in the Harbor House. Tick-
Brian Eastman, The Talent Center
ets are $8 for adults and
P.O. Box 23220, Cincinnati, OH 45223
$4 for children. A special
800-878-ACTS
dinner/theater package is
nlcn nrniln LL• r,,, ,,....,,.n
THE AMERICAN MAGIC -LANTERN THEATER
P. O. BOX 151 HADDAM. CONNECTICUT 06438 TELEPHONE (203) 345-2574
Welcome to The Magic -Lantern Showl
The American Magic -Lantern Theater is a 2-3 person touring group that captures the
boisterous style of Victorian magic -lantern shows --shows built on the multi -media "magic -
lantern" projector of 100 years ago. Director Terry Borton and his colleagues use an antique
magic -lantern; spectacular glass slides that were hand -painted in the 1880's and '90s; and
an authentic Victorian presentation style with lots of audience participation. The American
Magic -Lantern Theater (AMLT) is the country's only professional magic -lantern performing
group, and one of only three in the world. Over the last ten years AMLT members have given
hundreds of shows all over the United States, as well as shows in Europe.
Seven Different Shows
Programs can run from an hour, to a hour and a half. All shows involve a three -projector
magic lantern, 120 or more antique slides, storytelling, acting, singing, and audience
participation. AMLT can bring the full cast, or work with local talent. Shows Include:
A Victorian Extravaganza A Victorian Halloween
A Victorian Christmas A Victorian Valentine
A Victorian Patriotic Celebration Victorian Tales of the Sea
A Victorian Bible Festival
University -Level Seminars/Lectures/Workshops/Residencies
Magic -lantern shows combine Victorian literature, art, and the performing arts. The magic -
lantern was the direct fore -runner of today's movies, and almost as popular. As such, it
provides an extraordinary window into nineteenth-century culture, much as television does
for our century. Terry Borton is well prepared to introduce students to this fascinating
medium. He holds a doctorate from Harvard, has taught at several universities and lectured
at many, and is the author of two books and dozens of scholarly and popular articles. He has
released two records of his performances, has produced radio shows, and was executive
producer of a thirteen -part TV series. He is an acknowledged expert in the magic -lantern
field, and Is currently writing a book on America's foremost magic -lantern illustrator,
Joseph Boggs Beale. Appropriate areas for seminars include:
Art Film History Photography Drama
Literature American Culture Education
School/Community Outreach/Residencies
Magic lantern shows are fun, unusual, fascinating, and stimulating. They appeal to a very
wide audience, including senior citizens, college students, and children down to age four.
Terry Borton is experienced at reaching diverse audiences --at education that goes beyond
entertainment. Before becoming a magic -lantern performer he was involved with schools for
thirty years. As a teacher he won a national reputation for his ability to reach students and
make them think; he developed curriculum used across the country; and he ran teacher -
training programs. For fifteen years he was Editor in Chief of the Weekly Reader publications
--newspapers and magazines that reach ten million K-12 students every week.
Curriculum materials related to the magic lantern are available.
For further Information, contact: The Talent Center 800-878-ACTS
ir%^ ca-- nu CAY 9;13_647..78r%8
Dds6quilibre - The Challenge
Stumbling upon place which seems just as ambiguous as their own state of mind, four
adolescents set out quest of "something different", searching for "a somewhere else"....
Looking for a reason for their own existance and in search of themselves, they seek to fill
the void which looms around them. Feeding this quest is a compelling drive, a thirst
and a rage to live. At the foot of an imposing and somewhat daunting slope, they totally
indulge their every whim and play out their deepest feelings. Gradually they are seduced
by the dizzying heights which now stand before them and are enticed by the challenge
which they represent. Without a moment's hestiation, they embark on their quest to
scale the face of this colossus and thereby mesure themselves one against the other. In a
game of extremes, caught between high and low, day and night, repulsion and attraction,
they discover their taste for risk -taking. Relentlessly, they strive to reach the summit -
even at the risk of killing themselves in the process. Suddenly, this mountainous
structure opens up for them and having no concept of fear, they commit themselves
heart and soul, body and mind pushing themselves to the very limit.of their capacities.
As the level of risk increases, so does their passion and their urgency to live. These
games of balance and off -balance, of equilibrium and desequilibrium, now even more
dangerous, call upon every last bit of their imagination and flexibility these adolescents
can muster as they play out this dance with danger - this dance with death.
For a long time now,. DynamO Theatre has wanted to speak of adolescence and in the
end, this is the subject matter which has proved to be tremendously fertile. By giving
free rein to highly nuanced musical scoring and heart -stopping acrobatic choreography
the company succeeds in richly evoking the emotional complexities of adolescence, fully
exploiting a provocative set design by Claude Goyette,.
DynamO Theatre - a brief background of the company
As part of both a movement within Quebec which set out to rediscover the
circus arts and of a meeting of artists from various performance backgrounds, Dynamo
'theatre was founded in 1981 in Montreal. Among these artists were Pierre Leclerc, ex-
olympic gymnast and co-founder of National Circus School of Montr6al, Robert Dion,
founder and artistic director of the Festival International de Mime de Montr6al,
Jacqueline Gosselin and R6nald Laurin, experieced mimes and performers in theatre
for young audiences. The basis of their collaboration was an exploration of one
particular technical skill shared by each of these performers - acrobatics. In their
productions, acrobatic movement was to be choreographed to an original musical score
and then mixed with other performance techniques such as clown, juggling and mask.
1"he result: a unique style of performance known as acrobatic circus and productions
lauded by the critics as "the newest, most layered, most astonishing- thing on the
theatrical scene. (La Presse, Montreal)
The great accessibility of Dynamo Theatre's productions to audiences of all ages
and all cultures opened the doors for touring extensively both at home and abroad.
1'rogressing from just 10 to over 150 performances per year in a very short period of
time, the company saw its reputation expand well beyond the borders of Quebec, both
for for the quality and originality of its productions.
It was at this point that DynamO Theatre set itself a new challenge, that of telling
stories of emotional relationships through acrobatic movement. In 1986, at the
invitation of Olivier Reichenbach and in collaboration with the author, Cl6ment
c 'azelais, the company produced its first scripted work, La Lune, Tien que la Lune. At
the same time, the original company name, La troupe Circus was abandonned for
I)yrmmO Theatre to better reflect the evolving artistic direction. The following year, a
collaboration with Jacques Lessard of the renowned Th6atre Rep6re yeilded Mur-Mur.
'This production, directed by Robert Dion, employs explosive gymnastics to evoke the
highly charged and emotional world surrounding young love and the rocky transition
from childhood to adolescence.
following through in its desire to script acrobatic movement, Dynamo Theatre
sought to collaborate with the director, Alain Fournier and Governor General Award
winning .author, Gilbert Dupuis. This collaboration lead to the creation of D6s6quilibre
The Challenge in 1991 and clearly affirmed the role that scripting could play in the
creation of acrobatic theatre. Fully exploiting the possibilities and nuances of a
powerful set design by Claude Goyette, D6s6quilibre - The Challenge transcends words
ill Pxpressing the the whirlwind of drives and passions experienced in adolescence.
DynaniO Theatre is a unique theatre company on the international stage, hhing
invented a powerful form of physical theatre rooted in acrobatic movement and
cl(iwn. With 10 productions and 11 years of creativity behind it, this widely acclaimed
(•nnihsrny has performed in theatres and festivals across Canada, the United States,
France, Helguim, Switzerland, and the United Kingdom.
\1�r11 -,'. 1991
Ia I'iuqui
t
MONROE COUNTY, FLORIDA
Request For Waiver
of
Insurance Requirements
It is requested that the insurance requirements. as specified in the County's Schedule of Insurance
Requirements, be waived or modified on the following contract.
Florida Keys Community College/
Contractor: Tennessee Williams Fine Arts Center Theatre
Contract for: 1993 - 94 Season
Address of Contractor: 5901 West College Road
Key West, FL 33040
Phone: 296-9081, Ext. 299
Scope of Work: Performances from 11-12-93 through 4-14-94
Reason for Waivcr: Contractor meets all of the criteria for Waiver of
Insurance Requirements
Signature of Contractor: E. Nelson Read
Approvcd_ Not Approved
Risk Management
Date
County Administrator appeal:
Approvcd:
Datc:
Not Approved:
Board of County Commissioners appeal:
Approvcd: Not Approvcd:
Mcclinb Dale:
WAIVER
, /�-f3