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Lee’s Summit Cultural Facilities Master Plan

table of contents

1. INTRODUCTION ...... 4 2. STUDY CONTEXT ...... 5 3. TRENDS IN CULTURAL PARTICIPATION ...... 7 4. THE MARKET FOR ARTS AND CULTURE ...... 10 5. EXISTING AND PLANNED CULTURAL FACILITIES ...... 12 6. USES + USERS ...... 17 7. COMMUNITY BENEFITS & IMPACTS ...... 22 8. CONCLUSIONS ...... 24 9. FACILITY RECOMMENDATIONS ...... 25 10. COMMUNITY ARTS AND MEDIA CENTER ...... 30 11. IMPROVE THE LEGACY PARK AMPHITHEATRE ...... 43 12. NEW OUTDOOR EVENT AND FESTIVAL SPACE ...... 45 13. DECENTRALIZED PROGRAM SPACE ...... 47 14. LARGE PERFORMANCE HALL ...... 49 15. ARTIST WORK/SELL SPACE ...... 51 16. ADVANCING THE PLAN ...... 53

APPENDIX A: STUDY INTERVIEW PARTICIPANTS APPENDIX B: MARKET DEMOGRAPHICS APPENDIX C: FACILITY INVENTORIES APPENDIX D: SURVEY RESULTS APPENDIX E: NEEDS ASSESSMENT COMPARABLE PROJECTS APPENDIX F: SPACE PROGRAM AND COST MODEL APPENDIX G: PRO-FORMA OPERATING BUDGET APPENDIX H: COMPARABLE COMMUNITY ARTS CENTERS

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1. introduction

The City of Lee’s Summit has hired Webb Management Services and ForeSite to develop a Cultural Facilities Master Plan, evaluating the space needs of the arts and cultural community in Lee’s Summit and the region, providing a preliminary space plan and capital budget for recommended facilities, and offering recommendations around the operations and sustainability of those facilities. Areas of research and analysis include:

! A discussion of the state of Lee’s Summit’s cultural community and resulting demand and opportunity for programming. ! A discussion of key trends in the arts and culture to provide context for the plan. ! The characteristics of Lee’s Summit market and its capacity and propensity to support additional arts and cultural programming. ! Building an inventory of the local and regional cultural facilities inventory, including indoor and outdoor performance space, visual arts space and local program space (that accommodates hands-on arts activities.) ! Interest on part of regional cultural organizations in bringing additional programming to Lee’s Summit. ! The potential for additional arts and cultural programming to support broader community goals around economic development, quality of life and more.

To inform this study effort, we have interviewed and surveyed local and regional arts organizations, artists, educators, political and business leadership, City personnel and residents. A complete list of individuals who participated in our initial interviews is appended to this memo as Appendix A.

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2. study context

Understanding the contextual issues around this work is key to developing realistic and viable recommendations.

Arts and Culture in Lee’s Summit Lee’s Summit is regarded as a community that has significant potential to benefit from additional arts and cultural activities. This vision has been proposed in a number of community plans, including Lee’s Summit 360. In 2004, City leadership established a strategic goal to conduct a feasibility study for a cultural arts facility. A Cultural Arts Citizens Task Force was created, and then the decision was made to create a Cultural Arts Plan, completed in 2007. In 2010, the City received a Creative Community Award from the Missouri Arts Council, recognizing Lee’s Summit for its arts potential.

The City is supportive of arts and culture in Lee’s Summit, particularly through administration of the Lee’s Summit Arts Council, composed of city-appointed representatives and managed through the Parks and Recreation department. The Arts Council’s primary activities include distribution of grants of up to $1,000 and promoting arts and culture in the community. Parks and Recreation is the primary producer of City arts programs and offerings, which occur downtown, at community centers, and City Hall.

Arts education offerings are one of the City’s strongest cultural assets. Each of the City’s three public high schools has performance and visual arts facilities, full-time faculty and programs. Courses and extra-curricular programs include orchestra, marching band, choir and vocal performance, drama, sculpture, ceramics, media, studio art and more. MCC-Longview is also based in Lee’s Summit and operates a Cultural Arts Center that houses a gallery, black box and dance studio. Additionally, the community is home to a number of private and nonprofit creative businesses and artists focusing on dance, music, and visual arts instruction.

A number of community arts organizations are based in Lee’s Summit, including the Lee’s Summit Symphony, Summit Art, and recently formed Summit Theatre Group. Locally, touring performing arts offerings are limited, due to the community’s proximity to established venues in Kansas City, Overland Park, and Independence and lack of suitable performance facilities.

The State of the Arts in the Region The region surrounding Lee’s Summit is culturally vibrant, with a mix of performing and visual arts in urban, suburban and rural communities that are well supported by organizations like the Arts Council of Metropolitan Kansas City, Arts Council of Johnson County, the Cultural Coalition of Eastern Jackson County, and the Raytown Arts Council. Kansas City is also home to state and regional arts service organizations including the Mid-America Arts Alliance.

Having invested significant resources in arts and cultural infrastructure that has led to the formation of cultural districts and construction of state-of-the art facilities, the region is well positioned to experience

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significant growth and innovation in the arts and cultural sector. The arts and cultural community has an established track record of developing projects and working collaboratively to fundraise for arts and culture. The result of years of planning and investment, a number of performing and visual arts institutions have opened in the past five years, providing the region with several high-quality facilities that have drastically altered the cultural landscape. The Bloch Building at the Nelson-Atkins Museum of Art, which opened in 2007, and the Nerman Museum at Johnson County Community College have established the region as a destination for contemporary, public and visual art. Most recently, the Kauffman Center for the Performing Arts, a $413 million world-class facility designed for theater, music, opera and dance, opened on September 16, 2011.

The advancement of cultural facilities, projects and districts is largely due to tremendous collaboration and support on part of the public and private sector. This success has benefited from several major capital campaigns as well as the creation of new revenue sources. For example, with the support of the Arts Council of Johnson County, the Johnson County government was able to establish a 1% for art program, which allows for 1% of the expense of county capital building projects to be set aside for public art.

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3. trends in cultural participation

In recent years, a number of macro-trends have been shaping demand for cultural programming and experiences on the part of all existing and potential arts audiences, visitors and participants.

! Technology and Boundaries of the Arts: The advent of new technology and its affect on the arts and cultural sector has dramatically changed the size and shape of the general cultural climate. Arts consumers don’t clearly define art, culture and entertainment anymore. There is a decreasing prevalence of institutions that use a narrow definition of art. Traditional, participatory, media and other art forms and creative industries are becoming blurred. At the same time, younger consumers are acclimated to multi-sensory engagement—they are used to watching, hearing and reading simultaneously. And they have higher satisfaction thresholds with expectation for immediate rewards and validation.

! Changing Consumer Behavior: There is an increased premium on flexibility as people’s lives become more complicated and we keep our options open until the last minute. As a result, arts organizations across the country are experiencing later and later sales patterns and are learning to rely less on advance ticket sales. In addition, people today have less free time, are less willing to spend time in their cars and are becoming more accustomed to an on-demand lifestyle. This was well documented in the survey conducted as a part of the 2007 Cultural Arts Plan, with nearly 50% of survey respondents indicating that “lack of time” was a reason that they don’t attend arts, cultural, or heritage events more frequently. Conversely, a 2009 survey conducted by the American Association of Museums found that most American museums reported an increase in attendance that year, likely due to visitors searching for more affordable activities closer to home, offering new or special exhibits with a high level of appeal, more aggressive local marketing, particularly to school groups, and the “desire for individuals to visit a quite, beautiful place in times of economic uncertainty”. Finally, arts and entertainment experiences are increasingly constructed around social groups and outings with friends, co-workers, alumni groups, families, church groups and more. In fact, the absence of social context has become a major barrier to participation. Arts groups are now in the business of creating social experiences for people, a part of which is art.

! Changing Patterns of Participation: All of these trends are changing the ways that arts groups attract and engage audiences and participants, and in turn, the ways that people personally participate in the arts. More recently, there has been a rise in self-directed, home-based living arts participation, including everyday creativity like gardening, writing, crafting, photography, film production, cooking, and decorating through fashion, home décor, and art collection. Access to online communities with international reach has supported this growth, leading to expansive blog networks, websites, social networks ( i.e. Kickstarter, Ravelry, Vimeo, Flickr and Etsy) connecting

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professional and amateur artists alike, providing instructions and how-tos, advice, product reviews, buyer to buyer platforms, user generated feedback and even financing for projects. However, as most of this activity occurs in personal time and space, there is a huge disconnect between this type of participation and arts organizations and funders. Also, consumers are demanding more intense, “hands-on” arts experiences. This is evidenced by higher rates of personal and ‘amateur’ participation in community theatre groups, choirs, dance and movement classes, art and music classes and more.

National data on arts participation, collected over the past several decades by entities like the National Endowment for the Arts and Urban Institute, also provide important context as we consider the future of arts and culture in Lee’s Summit. Key findings follow.

! Over the last 20 years, participation within traditional arts genres has remained relatively flat. This trend is likely affected by competition from the commercial entertainment sector.

! Participation by young adults in the arts and activities like literary reading and listening to classical and jazz music, is declining, likely due to influence of new technology on how young adults spend their leisure time. Percentage of U.S. Adult Population Participating in the Arts by Level of Educational Attainment ! The non-profit sector continues Graduate Jazz Degree + to grow, likely due to low Bachelor's Degree barriers to entry and an Some College Classical Music increase in the concentration of High School audiences that are less Opera discriminating than arts Musicals attenders once were.

Non-musical plays ! The non-profit sector as a whole Ballet is financially fragile and under

increasing pressure with limited Art Museums/Galleries

potential to improve 0% 10% 20% 30% 40% 50% 60% productivity.

! Overall, organizations face a never-ending cost squeeze which forces them to become more reliant on fundraising, more willing to seek operating efficiencies through collaboration, and more focused on education and innovative outreach programs as a means to attract funding and audiences.

! Educational attainment is by far the best predictor of arts attendance. The propensity to attend arts events among those who have completed college is at least three times greater than for those who have finished only high school; with each advanced level of education there is an increased probability of arts attendance.

! Income and age also matter, but not nearly as much; those with higher incomes and those who are over 45 are more likely to attend.

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! Race is not a predictor of whether a person is likely to attend the arts, but is a predictor of the genre of art likely to be attended.

! A significant proportion of adults also participate in the arts. One-third of adults took music lessons or classes at some point in their lives; 18% took some sort of visual arts class. More adults take visual art or music classes than other types of lessons or classes.

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4. the market for arts and culture

Market Definition A series of charts attached to this report as Appendix B compare key characteristics of the following geographical market segments:

1. The City of Lee’s Summit 2. The 30-mile Radius surrounding Lee’s Summit 3. The Kansas City Core Based Statistical Area (CBSA) 4. The US (for context when applicable)

We came to this definition by gathering information on attendance and participants from local arts organizations and discussions with City leadership and staff. Data used for this analysis comes from Nielsen Claritas, a marketing research resource company that provides up-to-date demographic data as well as future estimates based on Census data.

Market Characteristics The demographics and supporting research allow us to describe the market as having the following characteristics:

! Substantial Growth: Lee’s Summit experienced significant population growth (51.7%) between 1990 and 2000. That growth continued at a slower, but still significant rate (33.6%) between 2000 and 2011. Between 2011 and 2016, Census data suggests that the growth will stabilize, with an 8.2% projected increase.

The population in the surrounding 30-mile radius and the Kansas City CBSA experienced very different growth patterns from that of Lee’s Summit. From 1990 to 2000, these two areas grew approximately 12%, that rate increased to approximately 14.5% between 2000 and 2011. These areas are similar to Lee’s Summit in the fact that population growth is expected to level off between 2011 and 2016, increasing 5.1% within the 30-mile radius and 5% in the Kansas City CBSA.

! Highly Educated: The population of Lee’s Summit is highly educated as compared to the US as well as the 30-mile radius and Kansas City CBSA. Sixteen percent of Lee’s Summit residents have a graduate or professional degree as compared to 12% in the 30-mile radius, 11% in the Kansas City CBSA and 10% of the US population. Twenty-seven percent of Lee’s Summit residents have a bachelor’s degree as compared to 22% within the 30-mile radius, 21% in the Kansas City CBSA and 18% of the US population.

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! Affluent: Lee’s Summit households also have higher levels of affluence than the surrounding region and the US as a whole. Thirty percent of Lee’s Summit households earning $100,000 or more, compared to 19% in the 30-mile radius and 18% in the Kansas City CBSA and US.

! Young Families: Lee’s Summit’s is known as a family community, and the demographic data confirms this perception. Twenty-eight percent of the local population is under the age of 17, notably higher in proportion than national averages. A closer examination of the youth population indicates that 16% of the total population is aged 0 to 9 years, indicating the presence of young families. In fact, 41% of households identify as a married-couple family with children, and 11% of the population identify as a single household with children.

! Racially Homogenous: The population of Lee’s Summit is 88.5% white and although the population exhibits some growth in minority populations, that growth is slow. Lee’s Summit’s Black or African American population increased from 3% in 2000 to 5% in 2011 and is projected to stay at 5% through 2016. The Hispanic or Latino population increased from 2% to 3% between 2000 and 2016, and is expected to increase to 4% by 2016. The Asian population, which remained steady at 2% from 2000 to 2011, is projected to increase to 3% by 2016.

! Settled: With regard to home ownership, nearly 80% of the occupied housing units in Lee’s Summit are owner occupied, compared to 68% in the region and 66% in the US.

! Attractive to day-trippers: According to the Lee’s Summit Convention and Visitor’s Bureau, although Lee’s Summit is not traditionally a tourist destination; the City does have some day-trip traffic. Visitors come primarily from the Kansas City metro area to visit the area lakes, attend events downtown or go to area attractions like Paradise Park.

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5. existing and planned cultural facilities

In this chapter we consider the current inventory of cultural facilities serving Lee’s Summit and the region, including indoor and outdoor performance venues, teaching, program and rehearsal space, and exhibition space.

The inventory, included as Appendix C, considers the physical features and types of activity hosted within each space.

Indoor Performance Facilities For the purposes of this study, the inventory includes all indoor spaces in Lee’s Summit Facility Rating vs. Capacity regularly used for performance as well as more formal spaces within a 30-mile radius of Lee’s 4.0 Summit with 1,000-seats and fewer. For Lee’s LS Performance Summit facilities, we included spaces in Facilities 3.5 educational institutions, community centers and other places regularly used for public Region performance. The regional inventory includes 3.0 formal performance spaces used by both LS High professional and community groups, but does Schools not include informal spaces like schools and 2.5 0 200 400 600 800 1,000 churches. In order to make this distinction clear, the bubbles in the matrix have been color-coded 2.0 to separate formal regional facilities, high schools in Lee’s Summit, and other performance facilities in Lee’s Summit. 1.5

The condition and functionality of each performance facility has been rated using 8 1.0 variables. These include: 1. Facility condition 2. Staff and support 3. Theatrical functionality 4. Room acoustics 5. Customer amenities 6. Performer amenities 7. Atmosphere and character 8. Suitability for users

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Variables are rated on a scale of 1 to 4, higher being best. Building condition and staff and support categories carry the most weight. The following graphic compares capacity to rating, indicating that on average, facilities in Lee’s Summit have a lower rating than those in the region.

Within Lee’s Summit, local arts organizations and artists indicated using non-traditional venues, such as local churches, for performances and events. It is also important to note that the planned Arnold Hall project would establish an additional theatrical venue with a capacity of approximately 300 seats in Lee’s Summit.

The following map illustrates the locations of these facilities, indicating that a significant percentage of indoor performance venues are located in Kansas City, MO:

The inventory suggests the following about indoor performance facilities in and around Lee’s Summit:

! Seven facilities in Lee’s Summit are regularly used for performances, particularly for producing theatre, music and school or college events. These facilities range in capacity from 1,000-seat Lee’s Summit High School auditorium to a 100-seat small classroom/black box performance space in Lee’ Summit West High School.

! There are very few high-quality performance spaces that provide regular community access. Five of these facilities (71%) are located at educational institutions, facilities that generally offer limited access to outside users because of heavy internal use.

! Although the Gamber Center presents some level of arts and entertainment programming for its members, there is a noticeable lack of facilities presenting regional or national artists.

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! In the Kansas City metro region there are a number of high-quality performance venues, accommodating outside commercial and Broadway promoters, nonprofit performing arts organizations, and produced and presented events. Several of these facilities were recently constructed or renovated and overall are well maintained. Although not included in our inventory because of the large seating capacities in its spaces, the Kauffman Center for the Arts recently opened and houses two state-of-the art performance facilities with capacities of 1,800 and 1,600. This has altered the market for presenting in mid to large capacity venues and has provided a world-class home for the City’s major performance groups.

! Few small to mid-sized spaces are regularly available to outside users. Fifty percent of the facilities in the region are rarely made available and don’t have established rental rates or policies.

! 33% (7) regional facilities are associated with a higher education institution.

! 18% (4) of the regional facilities have fly space. Twenty-five percent (five) have film-screening equipment available for rental, though most facilities can accommodate the use of film if the renter brings their own equipment.

! 86% (19) of the regional facilities have fixed seating.

Outdoor Performance Facilities We also inventoried all outdoor performance facilities in Lee’s Summit and the region. The City of Lee’s Summit operates one outdoor venue, the Legacy Park Amphitheater. The City’s most popular cultural events and festivals occur on Green Street using a portable stage set-up in front of City Hall. Recent planning efforts for the Market Green project include multiple scenarios that would provide green space that is convertible into a performance venue. Regionally, there are three outdoor facilities, located in Kansas City (MO), Shawnee (KS), and Leawood (KS). This assessment of the competitive situation for outdoor facilities found the following:

! The regional amphitheaters range widely in quality, size, and activity levels. For example, the Starlight Theatre in Kansas City is a large, formal facility with its own producing and presenting activities while the Ironwoods Amphitheater has a temporary stage and does not have bathrooms.

! The Starlight Theatre and the Theatre in the Park are both managed by producing musical theatre companies. These musical theatre companies also serve as primary tenants and their production schedules tend to fill up the summer season.

! The Ironwoods Amphitheatre also has a primary tenant, the Leawood Stage Company, though the facility is still managed by the City of Leawood Parks Department. The Leawood Stage Company is a community theatre organization that mainly produces musical theatre.

! In addition to musical theatre, Starlight Theatre and the Ironwoods Amphitheater also play host to regular outdoor concerts. Starlight Amphitheatre presents its own series of nationally known artists (Janet Jackson, Peter Gabriel), while the Leawood Arts Council presents free concerts performed by local artists.

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These points lead us to conclude that regionally there is a lack of outdoor space that is regularly available for regional artists to use. Both the Starlight Theatre and the Theatre in the Park have few dates available because of their regular producing and presenting activity. The Ironwoods Amphitheater is also rarely available, as it has to be used either in tandem with the lodge facility located nearby or during a time with the lodge facility is empty.

Exhibition Facilities The facility inventory also includes a review of spaces in Lee’s Summit that exhibit art on a regular basis. Presently, Lee’s Summit has two formal exhibition spaces as well as several informal exhibition spaces.

The formal exhibition spaces are the Got Art Gallery, curated by Summit Arts, and the MCC-Longview Cultural Arts Center gallery. Both of these facilities/institutions offer a regular rotation of curated exhibits as well as participatory programs. They also have ample space to display three-dimensional artwork as well as larger scale works.

In addition to these two formal exhibition spaces, Summit Art, St. Luke’s East Hospital, and the City of Lee’s Summit work collaboratively to program public hallways and lobbies in City Hall, community centers and St Luke’s East Hospital with local and regional artwork.

Although these informal gallery spaces provide residents and visitors with unique access to local artwork, there are some shortcomings associated with these spaces. None of these informal exhibit spaces provide support and program facilities for participatory activities. Also, with the exception of Got Art Gallery, although art is prominently on display and for sale, the spaces are not suitable for connecting professional artists with potential buyers and serious collectors. Representatives from Got Art Gallery noted that their gallery has only recently started to build a reputation as a professional gallery that can attract destination visitors and art collectors.

Participatory Arts Spaces Lee’s Summit offers several spaces for participatory experiences, catering towards youth arts education. Our research revealed the following points:

! Six private businesses offer dance classes (4) or private music lessons (2). Potters Haven offers ceramics classes and parties. ! MCC-Longview Cultural Arts Center maintains a dance studio, primarily for its own classes and students. ! The City of Lee’s Summit offers all ages programming at the Gamber Center, Market Street Neighborhood Center, Potter’s Haven and Legacy Park Community Center. ! Got Art Gallery, which has had tremendous enrollment in their arts education programs, offers a number of programs and workshops in the back of its facility, but does not have a traditional art program. ! Anecdotally, we learned through our interview process that there are many private music instructors in Lee’s Summit, particularly vocal instructors, who teach out of their homes.

Although there are a number of both private and public entities offering some level of traditional arts instruction, there is a gap in the inventory of facilities that can accommodate new media instruction and

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technology, particularly film production, digital photography, graphic and web design, music production and broadcast. Also, there are few facilities that offer participatory programs for adults.

Meeting and Event Space Because arts and cultural facilities often earn additional revenue by providing space for meetings and special events, we researched the inventory of local event spaces. We identified a total of 11 facilities in Lee’s Summit that regularly host meetings and special events. ! These venues offer spaces that can seat anywhere from 25 to 400 guests. ! All of the venues have some sort of kitchen space available. Many offer full service catering packages with their event rentals. ! 83% of the facilities offer some level of support equipment (typically audio/visual) for an extra charge. ! Venues and spaces are available at a wide variety of price points. ! Several of the venues have unique and appealing character or charm. For example, three venues are located in historic buildings (Longview Mansion, The Stanley, Lone Summit Ranch) and one venue is located at a vineyard and winery (Stonehaus Farms).

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6. uses + users

One of the most compelling factors driving demand for new facilities and programming concerns potential uses and users.

Anecdotal Input The study process began with a series of one-on-one interviews with a cross-section of the Lee’s Summit community, including community local arts organizations, leadership, active citizens, business leaders and cultural leaders.

Following are several key themes and issues that emerged from those interviews concerning the need for cultural facilities and programs in Lee’s Summit.

! Arts groups are limited by the low quality and lack of space, relying heavily on the area’s three high school performing arts centers. Existing local arts groups, particularly the Lee’s Summit Symphony, are unable to grow their programming in quality and quantity because they are constrained by their current spaces.

! Local arts organizations and potential users continue to question if and how access to Arnold Hall will be provided, noting that the Martin City Melodrama is perceived as the primary user of the venue.

! Nonprofit operators of existing cultural spaces would like for City leadership to ensure that the existing arts and cultural facilities are sufficiently supported prior to pursuing the development of new facilities.

! There was some concern among representatives of local cultural organizations, who recognized the efforts of City leadership and staff to provide support for local arts organizations but questioned the development of a large cultural venue that was perceived as beyond the means of most local arts organizations.

! Through Parks and Recreation, the City produces three successful festivals and events on Green Street in the summer months. Programming includes local bands and performances on a stage set up in front of City Hall, attracting 3,000 to 7,000 visitors per event.

! Following national trends, demand for arts education and “hands-on learning” is significant, with high levels of participation in public schools and enrollment in nonprofit and private classes, lessons, and programs.

Survey In order to quantify specific demand for space, we surveyed visual and performing artists and organizations in Lee’s Summit and around the region. Our survey was sent to members of the Arts

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Council of Johnson County, the Arts Council of Metropolitan Kansas City, Lee’s Summit Arts Council, as well as many other individuals and organizations. We received a total of 57 responses. Complete results can be found in Appendix D.

The survey sample includes responses from 11 visual artists, 21 performing or media artists, 15 arts and cultural organizations, and 10 other members of the local and regional community. Almost half (49%) of the respondents are located or have a presence in Lee’s Summit and 63% have attended an arts and cultural event in Lee’s Summit. The majority (63%) have never rented, borrowed or utilized cultural facilities in Lee’s Summit. Survey respondents that have used Lee’s Summit facilities, used theaters in the local high schools, Got Art Gallery, and churches.

When asked if they thought new arts and cultural facilities are needed in Lee’s Summit, 84% of survey respondents said yes, citing the lack of facilities in Lee’s Summit and the region and the potential benefits to the community in terms of education, lifestyle, and economic impact.

Locally, performing artists and arts organizations feel somewhat limited by technical abilities of spaces, including poor sound systems and the lack of acoustically appropriate space and fly space. For arts organizations based in Lee’s Summit, there is a desire for a central location that can accommodate performances, rehearsals, and provide support space for storage and administration. Other areas of dissatisfaction include high rental rates and limited availability.

Several regional survey respondents expressed interest in facilities that would allow them to expand outreach efforts. These respondents indicated that they often provide these activities free of charge (and receive use of facilities free of charge) and are invited by other cities or municipalities into the community.

Facility Demand This first chart details demand for indoor performance and event space. Estimates are conservative, accounting for only survey respondents and interviewees who confirmed specific need for space. We had 72% of our survey respondents (41) indicate some level of interest in new indoor performance and event space. Note that in some cases, we had multiple representatives of an organization respond to the survey. In these instances, we used the smallest use estimate.

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User Demand: Indoor Performance + Event Facilities Desired Venue Performances Rehearsals Other Total Capacity 1 to 199-seat Facility Downtown Lee's Summit Main Street 4 4 35-50 Emaline Ballroom 4 4 200-300 Journeyman Theatre Company 72* 2 74 150 Kansas City Chorus of Sweet Adelines International 2 2 4 250, 500, 1,000 Octarium 3 3 6 150 or less Picasso Preschool 1 1 2 50 Puppetry Arts Institute 1 1 100 Signature Creations Studio 0 100 Quixotic Fusion 1 2 3 size doesn't matter TOTAL 84 8 6 98 200 to 599-seat Facility Christian Youth Theater, Kansas City 21 12 3 36 350 to 500 Kansas City Chorus of Sweet Adelines International 2 2 4 250, 500, 1,000 Kansas City Lyric Opera 2 1 3 500 Kansas City Young Audiences 0 250-300 Lee's Summit EDC 2 2 200 Lee's Summit Historical Society 2 2 4 350-400 Lyric Opera of Kansas City (Potentially) 1 1 2 500 Martin City Melodrama 100 50 2 152 250 Mid America Freedom Band 3 35 1 39 500 Nonprofit Nursery 15 5 2 22 250+ Paul Mesner Puppets, Inc. 1 1 450 Reece & Nichols 5 5 250-500 StoneLion Puppet Theatre 1 1 100 to 600 Summit Theatre Group 10 80 4 94 200 to 500 University of Central Missouri (Dept. of Theatre & Dance) 1 1 200 to 300 Quixotic Fusion 1 2 3 size doesn't matter TOTAL 161 188 20 369 600+ seat Facility 5 Star Jazz Band 5 2 7 1000 Heartland Men's Chorus 1 1 1000 Kansas City Heart of American Barbershop Chorus 2 2 1200 Kansas City Chorus of Sweet Adelines International 2 2 4 250, 500, 1,000 Lee's Summit R-7 Music Department 3 6 1 10 800-1,000 Lee's Summit Symphony Orchestra 4 24 28 700 to 1,000 Pleasant Lee Middle School Choirs 0 800-1,200 Quixotic Fusion 1 2 3 size doesn't matter Youth Symphony of Kansas City 2 30 1 33 1600 TOTAL 20 64 4 88 * (4) 3 to 4 week runs

User demand for indoor performance space is significant, particularly for facilities with capacities between 300 and 500. A number of professional and community producing theatre groups have expressed an interest in this space and would require a fly tower, high-quality acoustics, and a large stage. Several users are also interested in using a space with a flexible seating configuration.

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The following chart details user demand for local and performance artists for outdoor performance space.

User Demand: Outdoor Performance + Event Facilities Desired Venue Performances Rehearsals Other Total Capacity 5 Star Jazz Band 3 2 5 1000 Christian Youth Theater, Kansas City 5 2 7 300+ Downtown Lee's Summit Main Street 20 20 50-100 and 1,000+ Emaline Ballroom 2 2 500+ Jennifer Davis 2 2 150 Journeyman Theatre Company 1 1 200 to 300 Kansas City Chorus of Sweet Adelines International 0 1000 Lee's Summit Symphony Orchestra 1 1 1000 Lyric Opera of Kansas City 1 1 300 Martin City Melodrama 0 Mid America Freedom Band 1 1 2 300+ Quixotic Fusion 1 2 3 2,500+ StoneLion Puppet Theatre 1 1 3000 Summit Theatre Group 6 20 2 28 1,000 to 4,000 University of Central Missouri (Dept. of Theatre & Dance) 1 1 300 TOTAL USE DAYS 43 25 6 74

In addition to the demand listed on this chart, there is potential to increase the number of City-sponsored outdoor festivals, public concerts, and other events. We would conservatively estimate that the local market could support 8 to 10 additional dates for presented events in a well-equipped indoor or outdoor venue with capacity of 500 or more, if the City or another entity is willing to take on the risk of booking and presenting additional free or ticketed live events in a larger capacity indoor or outdoor space. This effort would require additional work on part of Parks and Recreation staff to facilitate the booking and event production or a partnership with an existing presenter or promoter and event expenses.

The next chart details demand flexible teaching, rehearsal, or program facilities.

User Demand: Teaching, Rehearsal, or Program Facilities Classes/Rehearsals/ Dimmensions or Type of Space or Use Workshops Other Events Total Capacity Christian Youth Theater, Kansas City Productions, workshops 260 260 50 X 50 Jennifer Davis Rehearsals 0 same dimensions as performance space Journeyman Theatre Company Rehearsals, auxiliary space 80 80 40-person capacity Kansas City Chorus of Sweet Adelines International Rehearsals 70 70 150-person capacity (2,485 sq ft) Lee's Summit Arts Council Program Space 0 Lee's Summit Historical Society 10 10 260-300 Lee's Summit Symphony Rehearsals 30 30 Lee's Summit Symphony Orchestra Musicians Lessons, Workshops 75 75 70 musicians Lee's Summit R-7 Music Department Rehearsals 4 4 8 500-600 Martin City Melodrama Rehearsals 0 Nonprofit Nursery 0 Octarium 15 15 Paul Mesner Puppets, Inc. Educational workshops 0 1,500 sq ft Pleasant Lee Middle School Choirs Expose students to new spaces 0 60-person capacity Puppetry Arts Institute 3 3 classroom size Quixotic Fusion 30* 30 20+ ft ceiling height and ability to rig Signature Creations Studio 30* 30 Summit Theatre Group 60 6 66 40 x 60 Tina Garrett & Co. 0 Youth Symphony of Kansas City 30 30 TOTAL HOURS OF USE 697 10 707 * This potential user responded that they would use facilities on a weekly basis, so we estimated 30 weeks of use per year, once a week.

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There were twenty organizations or individuals that expressed interest in using flexible teaching, rehearsal, or program facilities on our survey. From this chart, we can see that there is demand on the part of multiple users for space that can be used for large music ensemble rehearsals, theatre rehearsals, and classroom space for regular classes and workshops. Many of these potential users expressed a desire for water access, good acoustics, sound isolation, and projection or a/v equipment. Six of the users also expressed a need for a dance floor (sprung or marley).

And finally, there was limited specific demand for artist exhibition, studio, and retail space. Several survey respondents expressed interest in the concept of having these types of facilities available to the community, but very few specific users emerged. We had a total of 11 survey respondents self-identify as individual visual artists and 7 of those expressed tentative interest finding out more information about studio space. Despite having sent our survey out through the Red Star Studio, the Kansas City Artists Coalition, and the Arts Council of Greater Metropolitan Kansas City, we only received responses from visual artists located in Lee’s Summit, Overland Park, Greenwood, and Independence.

Additionally, several of the Lee’s Summit based user groups including the Lee’s Summit Symphony, Martin City Melodrama, and the Summit Theatre group indicated a long-term need for additional support spaces, particularly sufficient storage space for props, sets and musical instruments, and administrative offices.

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7. community benefits & impacts

To understand how the development of new cultural facilities might support community vision and goals, we reviewed a number of Lee’s Summit planning documents, including the following:

! Old Lee’s Summit Development Plan (2004) ! Market Study of Redevelopment Opportunities in Old Town Study Area Master Plan (2003) ! Cultural Arts Plan (2007) ! Lee’s Summit 360: Charting Tomorrow (2009) ! Downtown Parking Strategies (2005, 2007) ! Business development and retention strategy for downtown Lee’s Summit (2010) ! Lee’s Summit Arts Council Annual Work plan (fiscal 2012)

Key themes within these documents suggest that future planning should continue to include arts and culture as a means to deliver a high quality of life (including educational opportunities), achieving a sustainable downtown core, and attracting visitors. Specifically, arts and cultural facilities in Lee’s Summit should support the following goals:

! Enhance quality of life in Lee’s Summit and create a community that is “acclaimed as the ideal place to live, learn, work and play” 1. Cultural facilities could potentially attract and support professional artists through incentives, support the continuation and expansion of the Parks and Recreation Department’s cultural arts programming, and increase opportunities for community fairs, festivals, and concert series. Long term planning should eventually create a network of successful sustainable multidisciplinary cultural art spaces, museums, performance venues, and cultural districts that reflect the City’s diversity, creativity, and history.

! Support the development of cultural programming “targeted at appropriately sized venues closer to central downtown.”2 Anecdotal input and survey data from the Cultural Arts Plan also affirms that downtown is perceived by residents as the cultural hub of Lee’s Summit.

! Advance City and Economic Development Council strategic direction, attracting and maintaining skilled workers and businesses, providing a quality place to live and work, and strengthening community image. Already, Lee’s Summit is regarded as a community with outstanding education, recreation and other civic amenities. New cultural facilities in Lee’s Summit should expand on these amenities through direct programmatic offerings and indirectly serve as a means for attracting new corporations as well as food service establishments and creative firms.

1 Lee’s Summit 360: Charting Tomorrow 2 Old Lee’s Summit Development Plan

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! Create and sustain a vibrant cultural community with creative industries, firms, and arts organizations operating in Lee’s Summit, leading to a diverse set of professional and community arts organizations, participatory arts education programs, artists, and creative small businesses.

Additionally, City staff and leadership are at work on a number of development projects and initiatives that have potential to significantly change the face of the City and inspire future growth. The Cultural Facilities Master Plan should be developed with the following initiatives in mind:

! Arnold Hall: Located in downtown Lee’s Summit, endorsed by the Cultural Arts Plan, 360 Community Master Plan, and subsequent feasibility and economic impact studies, Arnold Hall would have significant direct and indirect economic impact in the community, increase offerings available to local and regional residents, provide a home for Martin City Melodrama and access to other groups. In the context of this report, it is imperative to confirm that these planned facilities satisfy the needs arts organizations, audiences and the community as a whole. Within the community, there is a certain level of skepticism that Lee’s Summit has the ability to fund cultural facilities with a public/private capital campaign, with Arnold Hall mentioned as an example of this challenge.

! Market Green: This planning effort would establish a permanent location for the City’s Farmers Market. The market green could function as an outdoor venue for performances, festivals and outdoor events. A market plaza would also be included in this project, and would be designed as supplemental space, and support space for performances and concerts.

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8. conclusions

This analysis and research has lead us to the following conclusions:

1. There is strong propensity for the local and regional market to support arts facilities, particularly for performances and participatory activities for all ages. Market data indicates that Lee’s Summit is highly educated and affluent and well positioned to respond to trends in cultural participation. 2. There is a lack of high-quality, affordable and accessible small and mid-size scale facilities in Lee’s Summit. Locally, the existing stock of facilities is limiting the growth of arts organizations as groups the high school performing arts centers, community centers, or churches. In contrast, Lee’s Summit’s proximity to Kansas City and several college and university campuses means that the regional market is highly competitive. 3. Locally, there is positive user demand for additional small-scale performance facilities, more permanent outdoor performance infrastructure and program spaces for rehearsal and education. There are a small number of organizations interested in large capacity performance space, primarily the Lee’s Summit Symphony and some regional performing arts groups interested in traveling to Lee’s Summit to perform once or twice a year. 4. The City’s existing arts and cultural community is composed of a number of community groups with limited resources and programming as well as private creative businesses and public programs produced by the City and area public schools. As a result, although there is demand for facilities, there is currently a limited set of local users with capacity to pay rent. 5. Arts and cultural facilities and infrastructure can support Lee’s Summit goals, particularly the continued development of a sustainable and unique downtown core, providing a high quality of living and amenities to residents, and positioning the community as attractive to potential residents and businesses.

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9. facility recommendations

1. Community Arts and Media Center As we’ve noted above, there are several areas of opportunity for new performance, exhibition and program space in Lee’s Summit. One way to meet these space needs while promoting activity downtown would be to establish a community arts and media center in the downtown area, potentially through adaptive reuse of an existing building.

In addition to drawing Lee’s Summit residents downtown, the creation of a central location where artists, art students, and audiences come together would also build the sense of community and help promote greater communication within the arts and cultural community.

A key to the success and sustainability of this type of center will be the flexibility of its spaces. Flexibility will allow the building to host a wide variety of activities, serving a diverse set of arts and cultural groups and keeping the building constantly animated. Also, greater flexibility will allow the building to continue to serve the needs of the Lee’s Summit arts and cultural community as it grows and changes over time.

Also, we see an opportunity to offer classes in new media, potentially digital photography or film for the youth of Lee’s Summit. Currently the public school curriculum offers two classes in graphic design and computer arts at the high school level and the Parks & Recreation department offers several classes in new media such as digital photography classes and video game design. We recommend additional classes in new media that could complement these offerings such as video, sound and filmmaking, editing, animation, graphic design, computer programming, podcasting and more.

Spaces and Programming at the Community Arts and Media Center Based on the space and programming needs identified in our interviews and survey results, we recommend several different types of spaces to serve a wide variety of purposes. Below is a brief description of those spaces, their characteristics, and the users they would serve or the programming they could offer.

! 300 to 350-seat performance space: To understand what size performance space would best serve the arts and cultural community in Lee’s Summit, we asked potential users to tell us their ideal seating capacity range in an online survey. Although requests ranged from 50 to 1,600, the largest number of respondents and the most frequent users of new performance facilities requested a mid-sized performance space of around 350 seats. Survey respondents who expressed use in a facility this size were primarily theatre organizations, including Martin City Melodrama, Summit Theatre, Nonprofit Nursery, and Christian Youth Theater. These users expressed an interest in a large stage, fly tower, high-quality acoustics, a flexible seating configuration (specifically cabaret style seating for Martin City Melodrama) and a stage floor suitable for dance (sprung floor or marley.)

In addition to use by existing arts and cultural organizations, a performance space like this would be well suited for presenting small-scale musical theatre and folk or jazz music events, a community interest identified in the 2007 Cultural Arts Plan.

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There were also a few survey respondents, primarily representatives of arts and cultural organizations or downtown businesses that expressed interest in using this space for meetings, lectures, or presentations.

This performance space should be equipped with technology that would allow meeting planners to add AV elements to their presentations and would allow community artists to incorporate new media into their performances.

! Exhibition Space: The assessment of local exhibition facilities identified a lack of formal exhibition space. Although thanks to recent efforts, residents of Lee’s Summit are exposed to the work of local artists in several public places, there are only two formal arts exhibition spaces, the Got Art Gallery and the gallery at MCC-Longview Cultural Arts Center.

To program this space, we recommend partnering with existing visual arts, cultural, or historical organizations in Lee’s Summit and the region.

! Flexible Rehearsal/Performance Hall: In our interviews and in our survey, the need for rehearsal space for both Lee’s Summit and regional organizations came up. Specific comments from our survey included, “Quality rehearsal space is hard to find” and “There are not near enough rehearsal spaces in the Kansas City area.” Although the Gamber Center and the Market Street Neighborhood Center both have movement/dance classrooms, these spaces are already overscheduled.

The users most interested in rehearsal space primarily included musical groups and theatre groups; therefore this space should have high-quality acoustics. Also, in order to allow for a smooth transition from rehearsal hall to stage for those users that want to perform in the 350-seat performance space, the size of the rehearsal hall should approximate the size of the stage in the 350-seat performance space. Additionally, the room could serve as an informal performance space for the arts and cultural groups in need of smaller capacity space.

! Media Labs: We also recommend including spaces that can accommodate the creation of new media artwork including projects that involve technology like video, film, and digital photography. Regular classes could be offered using the technology, the lab could be made available for rent, or community members could come together to participate in larger projects, such as the production of a film following important local issues.

! Visual Arts Classrooms: In researching the arts and cultural spaces currently available in Lee’s Summit, we discovered that there is a lack of high-quality classroom space available for participatory programs in traditional visual arts and in digital and new media.

! Public Area: We also recommend a large gathering space for use as a lobby during performances, a waiting area/meeting area for participants in rehearsals and classes, a

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space to accommodate receptions and special events, and a gathering place for the public. This public area should be open and accessible, encouraging people to drop in as they walk by or come early or linger after performances and classes. To that end, we recommend this public area include a small-scale café that can offer beverages and snacks during the day and evening to students, audiences, and passersby.

2. Improve the Legacy Park Amphitheatre We also recommend making improvements to the Legacy Park Amphitheatre. As referenced in our comments on facility demand, the Lee’s Summit Parks & Recreation Department has expressed interest in expanding its outdoor programming efforts, possibly partnering with interested local and regional arts organizations, or expanding programming to include more high-profile artists and ticketed events.

Also, there is potential for performances in the Legacy Park Amphitheater to pull audience members from outside of Lee’s Summit, as there are few smaller outdoor facilities in the region. The three other existing outdoor performance spaces offer musical theatre performances, but no stage plays and very few concerts.

The use of the Legacy Park Amphitheater for this additional outdoor programming makes sense for a number of reasons. First of all, the venue already exists and could be upgraded far more easily than building a new venue.

Secondly, the geographic location of Legacy Park would cap off the much-discussed cultural corridor running down 3rd Street between Legacy Park and Metropolitan Community College. Also, the amphitheater’s close proximity to the Legacy Park Community Center could allow for programs and events that use both spaces.

Specific improvements we suggest include: ! Covered stage, either temporary or permanent ! Open seating area that can be closed off for ticketed events ! Upgrades to the sound and lighting systems ! Backstage facilities ! On-site storage

3. New Outdoor Performance and Festival Space In addition to improving the existing amphitheater, we also endorse Entelechy’s recommended re-use of the historic Post Office/old City Hall first as a home for the farmer’s market, but also as a venue for outdoor concerts and festivals.

The proposed capacity of the Market Green lawn is too small to serve as a replacement venue for the current summer concert series, which regularly hosts 3,000 to 7,000 people. Instead, the Market Green could provide additional space to integrate into the current downtown festivals and concerts and could also be programmed for more intimate concerts, performing arts events and art fairs or displays.

4. Decentralized Program Space Although establishing a downtown hub is important in helping the City of Lee’s Summit and Downtown Lee’s Summit in their goal of growing a vibrant and active downtown, it is also important to offer activities

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that are convenient and accessible for everyone throughout the city. According to the Parks and Recreation department, the existing recreation centers primarily serve residents within a 5 to 7 mile radius of each center, suggesting that Lee’s Summit residents value having facilities that are geographically close to their homes.

In order to ensure that all Lee’s Summit residents are served, we recommend augmenting the Community Arts and Media Center with satellite arts and cultural spaces, offered in partnership with an organization that already provides decentralized community services, such as the Mid-Continent Public Library or the City of Lee’s Summit Parks and Recreation department.

These program spaces could be added to planned, new, or existing facilities and should include rehearsal rooms, wet and dry classrooms, and exhibition space.

5. Artist Work/Sell Space One concept that has been discussed in our interviews and was mentioned in the 2007 Cultural Arts Plan is the concept of artist studio space that can either function as live/work space or work/sell space. Many cities around the US have used this kind of development with great success to support their artistic community, draw artists to their area, revitalize neighborhoods and boost their creative culture. The degree of investment ranges from new development or adaptive reuse of entire buildings to the temporary use of vacant storefronts (pop-up space).

While we like the idea of affordable artist studios as a way to support artists and a tool for economic development, in testing the concept with local artists through one-on-one interviews and our survey, we have not identified significant demand for this kind of studio space in Lee’s Summit at this time. Of the 57 individuals who responded to our survey, although 13 supported the idea of artist studio space, only seven of those respondents expressed even tentative interest in actually using the space themselves. Also, in our initial interview process, we heard that most local artists prefer to work out of their homes.

Because we’ve had difficulty identifying significant demand for any kind of artist studio space, we do not recommend establishing permanent work/sell space at this time. Despite this lack of demand, if there is still support for the idea of artist work/sell space downtown, City leaders could facilitate the development of a program to create temporary pop-up open studios or galleries in existing, vacant spaces. Downtown property owners with vacant space would be connected with artists who have an interest in work or exhibition space. Some examples of these types of programs are included in Appendix E. Although many of these comparable programs address storefront vacancies, which are not an issue for Lee’s Summit, second-floor spaces have been used by the Pop-Up Art Loop initiative in Chicago; Orange Alert, a temporary exhibition in Orange Newburgh, NY; and the DUMBO Arts Festival in Brooklyn, NY.

The arrangement between the artists and the property owners typically allows artists free use of the space. In exchange, the artists cover the costs of utility bills and make minor cosmetic upgrades, such as cleaning the space and refreshing the paint. In addition to relieving the landlord of utility costs and the costs of minimal upgrades, the presence of the artists or their artwork makes the space appear attractive and vibrant to potential tenants. Also, the publicity associated with the display may attract the attention of potential tenants who might not have been aware of the space.

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In addition to drawing activity downtown and providing support for visual artists, a pop-up space program would introduce local and regional artists to the idea of working and selling their work in downtown Lee’s Summit, possibly paving the way for a more permanent facility in the long-term. It should be noted that while a program like this does not require a significant capital investment, the lack of existing demand indicates a need for an organized approach to marketing the program to artists.

Even though Lee’s Summit does not have a lot of ground floor vacancies in downtown, artists could partner with ground floor store owners as recommended in the 2010 Business development and retention strategy for downtown Lee’s Summit report, the Community Land Use + Economics Group. Placing visual art displays in storefront windows would give the artists exposure for their work and draw potential shoppers into the stores.

6. Large Performance Hall At this time, it does not appear that there is sufficient demand in Lee’s Summit to support a large self- sustaining performance hall (800 seats+.) Although there were some arts and cultural organizations that expressed an interest in a large performance space in our survey, notably the Lee’s Summit Symphony, ultimately there were only 88 total potential use days per year estimated by those organizations. Several of these projected use days represented tentative interest from regional organizations that might consider giving one or two performances a year in a large capacity hall.

If, however, the construction of a large performance hall were an important community goal, such a project would best be pursued as an element of a larger construction project. For example, if a new school, conference center, or library is built, additional funds could be raised above and beyond the initial project cost and invested in a high-quality large performance space. In exchange for this additional outside investment, the school, library, or conference center would guarantee a certain amount of access for community groups.

These conclusions and recommendations were shared with the Lee’s Summit Cultural Facilities Master Plan Leadership Committee in the fall of 2011. Their feedback on the initial work allowed us move into the second phase of work, providing further detail through the physical and business plans.

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10. community arts and media center

Facility Concept We have recommended the development of a community arts center in and for Lee’s Summit - a central location where artists, art students, and audiences come together would also build the sense of community and help promote greater communication within the arts and cultural community. It should include a series of flexible and affordable spaces for the creation, presentation and teaching of both the performing and visual arts, also including spaces and equipment supporting digital and electronic media.

Spaces and Programming We would recommend that the following spaces be included in the Center.

! 300 to 350-seat performance space: The largest piece of the Center should be a high- quality, flexible studio theater that supports a range of disciplines (music, theatre, dance, film, etc.) for a combination of local groups, touring programs and educational programs. There should be a large stage, a fly tower, high-quality acoustics, a flexible seating configuration (specifically cabaret style seating for Martin City Melodrama) and a stage floor suitable for dance (sprung floor or marley). The space should technically well equipped with sound, lighting and projection systems for the traditional performing arts, but also for film and high-end corporate meetings.

! Flexible Rehearsal/Performance/Event Space: To go with the theater there should be a second rehearsal, performance and special event space, able to operate as a rehearsal hall for the main theater and also able to operate independently as a less-formal performance space for smaller groups and an event spaces for Center-sponsored events, as well as outside rentals. The room must have the size to match the stage of the theater, plus some technical accommodations for smaller performance. Also, in order for the room to be an effective event space, it needs access to catering facilities.

! Exhibition Space: The Center should include high-quality exhibit space, potentially one large area dividable into two galleries. Each should have museum-quality lighting, good environmental controls and excellent security systems.

! Classrooms: We would also recommend the inclusion of classrooms (both wet and dry) for the teaching of performing and visual arts. These educational programs could be provided either directly by the Center or by outside renters.

! Digital Media Lab: We are very enthusiastic about the opportunity to include digital media spaces, equipment and programs in the Center, principally as a means to expand the creative potential of the Center and as a way to attract younger residents of Lee’s Summit to the building and its creative activity. The technology available in this lab is not just for children and youth. The technical facilities should be of a quality appropriate for professional artists to use as well.

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! Public Area: We also recommend a large gathering space for use as a lobby during performances, a waiting area/meeting area for participants in rehearsals and classes, a space to accommodate receptions and special events, and a gathering place for the public. This public area should be open and accessible, encouraging people to drop in as they walk by or come early or linger after performances and classes. To that end, we recommend this public area include a small-scale café that can offer beverages and snacks during the day and evening to students, audiences, and passersby.

Development Options We see four principal development options for the community arts center: ! New Construction: A new community arts center might be built in or near the downtown area of Lee’s Summit. The advantage to this approach is being able to plan, design and build a facility for this specific purpose. The disadvantage is that new construction is more expensive than renovating or adapting an existing structure to become a community arts center.

! United Methodist Church: One adaptive re-use possibility is the United Methodist Church building that will soon be for sale. It is a large property with three separate buildings, and there are good examples of former churches being converted into arts and cultural centers. Often these ventures are successful because the types of spaces needed in a church (sanctuary with good acoustics, classrooms, administrative space) lend themselves easily to artistic use with a minimum amount of construction. The challenge in this particular instance is the large size of the campus and the fact that it is a bit removed from the downtown core. Additionally, the size, configuration, and height of the spaces available in the religious facility would require significant work to convert to performing and visual arts uses. The most easily adaptable existing space is the original sanctuary with a small stage and partial balcony. Nevertheless, the United Methodist Church facility should remain an option worth considering as the master planning process continues.

! Arnold Hall: The other key redevelopment opportunity is Arnold Hall. The building is currently unused and has had the majority of its interior partitions removed. Making the structure useable for any performances, visual arts exhibits, or other community uses will necessitate the installation of a new mechanical system, upgraded electrical systems, and the provision for code compliant and accessible toilets. The building exterior is in generally good condition but will require replacement of the roof and work on the existing windows and doors. Building envelope insulation needs to be added to make the use of the building feasible and to reduce operating costs. It is likely that any work on the building exterior, and possibly some of the interior work, will need to meet Historical Preservation Requirements.

! Metropolitan Community College Longview Campus: As and when the college decides to upgrade its facilities, it might be a good partner to develop more and higher- quality arts and cultural facilities.

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Of these four alternatives, we have chosen to focus on the redevelopment of Arnold Hall, given the following:

! It is a building of historic significance to the community of Lee’s Summit. ! It is well located in the heart of downtown Lee’s Summit and locating cultural facilities at this site will increase activity in the downtown area. ! It has already been identified as a potential cultural venue, and much work has already been done on how it might be re-purposed for cultural use. ! There is available parking one block away at the City Hall parking structure in addition to on- street parking along 3rd Street. This reduces the need for significant areas of the site to be devoted to parking. ! There is significant development potential on the sites around the current structure. ! The adaptive re-use of existing structures is a more environmentally sensitive option.

The challenge with this option is that the current structure has limitations and constraints as a cultural venue. Specifically:

! The height of the roof and its truss structure limits the ability to present live events and film. The curved roof varies in height from approximately 11’ at the edges to 16’ at the highest point. The underside of the roof trusses are at approximately 10’ above the floor slab. ! Performance lighting for live events should ideally be at a minimum height of 16’ above the floor for the entire width of the space. ! Film or video presentations would ideally require a 15’ image so that text is easily readable from 80’ away. This is not possible within the constraints of the roof structure. Ideally the image would be placed 8’ above the floor to allow for a presenter to stand without blocking the image. ! The roof shape and its proximity to the hard floor plane is likely to generate significant flutter echo. This will be especially true, and most disruptive, for high-energy sources such as musical instruments and amplified sources. Spoken voice will likely not be a problem. The addition of some absorptive and some reflective, dispersive surfaces to the underside of the roof structure will improve acoustics so that acoustical performances by small ensembles and some amplified music can be successfully presented in the space. ! The low truss and roof height limits the degree to which seating platforms can be raked to provide adequate sightlines to the end of the room. Previous studies suggested removing portions of the concrete slab to lower portions of the floor creating stepped seating. Restructuring the floor will improve sightlines. The extent to which the floor can be lowered will be limited by the need to maintain the stage front at no more than 2’ to 3’ above the seating floor. The cost of restructuring the floor will be significant and will not alleviate other height concerns within the existing structure. ! Previous plans proposed making a proscenium opening in the south wall of the existing structure and building a stage south of the current building. The building configuration would limit the useable proscenium height to approximately 12’. A useable proscenium opening should be at least 18’ tall.

Our recommendation would be to build the Community Arts and Media Center around and including the current Arnold Hall structure. The existing structure might be best re-purposed as the rehearsal space, exhibition space and/or lobby and food service space.

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The other key advantage of this option is that we also see the opportunity to re-use Arnold Hall in the short-term, before the larger effort of building a new Community Arts and Media Center is undertaken. In the following section we outline a series of relatively inexpensive steps to make the Hall usable for a range of programs for key groups like the Summit Theatre Group and the Martin City Melodrama. This work does not go as far as was suggested in recent plans, because we believe that the building will never make a great theater and it would be better to save that investment for a new theater in the community arts center. Nevertheless, there are a series of improvements that make the Hall adequate for a range of groups and uses in the short-term. This short-term plan is a good idea for the following reasons:

! It will respond to the needs of key Lee’s Summit groups without having to wait for the development of the full Community Arts and Media Center. ! It represents a continuation of the effort to re-animate Arnold Hall, which has been ongoing for several years. ! It will bring activity to downtown Lee’s Summit. ! It will draw attention and support to the larger project to be built around the Hall.

Space Program A space program was developed listing the spaces that can be anticipated for a fully-outfitted for the Community Arts and Media Center. The program is organized into four component pieces that could be implemented concurrently or in phases as funds are allocated and become available. The program components consist of: ! Component A- Arnold Hall Renovation The renovated building would house a large gallery/exhibit space of 1,800 net square feet, a small lobby with public toilets, a gallery prep room and storage areas. The total area of Arnold Hall is approximately 6,000 net square feet. ! Component B- 300 to 350 Seat Theater Facility This facility primarily houses the flexible theater with a full stagehouse, dressing rooms and other backstage support areas. It includes a public lobby with a small café and catering kitchen facility. The theater facility is programmed to total 18,000 net square feet, which results in a total building area of 29,000 gross square feet. ! Component C- Studios and Gallery This program component contains the large multi-purpose/rehearsal room, the digital media lab, a second gallery/exhibition space, three learning spaces, changing areas, and the administrative offices for the entire Community Arts and Media Center. The Studio component is programmed at 13,000 net square feet and a resulting 20,000 gross square foot total building area. It is recommended that Components B and C be developed at the same time.

Conceptual Cost Model A conceptual cost model was developed for the three program components listed above. The cost model is based on data derived from other community arts projects and adapted to anticipate bidding conditions in the Lee’s Summit region. The cost model is not a detailed cost estimate based on a specific design but rather an approximation of general costs that can be anticipated for facilities of this type. Factors such as the final design, the desired level of finishes, the type of equipment that is installed, and the bidding climate all impact the actual cost of the project.

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The cost model for each program component was developed to indicate both Construction Cost, the amount of the general contractor’s cost, and Total Project Cost that anticipates all costs associated with the project. The Total Project Cost includes furnishings, construction contingency funds, professional fees, and the owner’s administrative costs. Estimated budgets for equipment normally associated with arts centers; such as rigging, performance lighting, and audio/visual equipment are included in the Construction Cost. The cost of each component has also been calculated to include foreseeable annual escalation of construction costs. In the current economic climate, anticipating cost escalation is an educated guess at best. The cost model includes a 4% per year escalation rate, which is commonly used for current estimating purposes.

The conceptual cost model suggests the following potential costs for each of the components:

! Component A- Arnold Hall Renovation Construction Cost assuming bidding in January 2013: $1,000,000 Total Project Cost assuming bidding in January 2013: $1,200,000

! Component B - 300 to 350 Seat Theater Facility Construction Cost assuming bidding in January 2014: $12,600,000 Total Project Cost assuming bidding in January 2014: $15,200,000

! Component C- Studios and Gallery Construction Cost assuming bidding in January 2014: $7,300,000 Total Project Cost assuming bidding in January 2014: $8,900,000

Programming the Community Arts Center Here are the principal types of programs that a fully developed Community Arts and Media Center in Lee’s Summit should accommodate:

1. Live Presenting: Buying and presenting touring arts and entertainment programs will be an important element of the Center’s operation. Presented events can support the mission of the building by providing the community with the opportunity to see and hear well-known and exciting artists. Presented events can have a direct and positive impact on the awareness and support for the Arts Center. Also the revenues associated with presenting can improve the financial performance of the Center without overwhelming the use of the theater or the outdoor space. The challenge with presenting is having the ability to choose and access the right shows and promote them effectively such that a small set of performances has a positive impact on the operation and the community. In addition, this new venue in Lee’s Summit must compete for touring programs with existing presenting venues in throughout the metropolitan Kansas City area on the basis of its capacity, functionality, staff skills and the perceived attractiveness of the market.

2. Film Presenting: There is a strong opportunity to present film in the Center, either in the theater or the multi-purpose room. This could involve a weekly series through the winter and more active and varied series in the summer.

3. Exhibitions: There should also be an active program of exhibitions in the Center, with shows curated by Center staff in either or both of the two galleries or rented out to local/regional visual arts groups for their own programs. There might also be some provision for a major touring

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exhibition each year which could have more of a populist appeal, say for example an exhibit that includes the work of well-known artists with a connection to Lee’s Summit.

4. Media Center Programs: The Media Center has been conceived as a membership-based organization that provides access to new media onsite, rental of equipment to go offsite, and the opportunity to take classes and participate in larger projects, say the production of a film following important local issues. It would ideally be open and active all–day every-day, but this level of activity would likely take some time to build up. It is critically important that the Center be accessible and affordable for local youth, providing them the opportunity to use, create and collaborate with new media.

5. Performing Arts Rentals: As was established in previous chapters, we see outside demand for facilities coming from local and regional nonprofit arts organizations. The issue with many of these groups is their lack of human and financial resources, such that their success in the Center depends on affordable access and active staff support of their programs. The other key for these groups is their need to schedule dates well in advance in order to prepare and promote the event.

6. Outreach + Education Programs: We see a significant opportunity for the Center to develop and partner to offer educational programs in the. Programming might include school trips, after- school programs, evening and weekend programs, and camps in areas such as dance, theatre, music and visual arts instruction.

Community and Private Events: The Center should also be available for rent to community and private groups for special events and meetings, with rents scaled accordingly. The Center should be seen as a high-quality venue for Town Hall meetings, candidate forums, community group meetings, corporate retreats, small trade shows, weddings, reunions and so on. Professional staff and the provision of high-end food service will drive this activity, which should be a net contributor to the financial bottom line.

7. Community Gathering: Finally, the Center should be viewed as a community center, a place where people meet and congregate. To that end, we encourage the inclusion of a café and open doors that allow people to come onto the grounds and into the building at all times of the day. Here the issues of access and security must be carefully balanced.

All of these elements of programming are important to the life of the Center. Each one will develop at a different pace, and each one is served by different physical spaces. There will be conflicting needs for space, and there will be seasonal peaks and valleys in demand. Managing these forces will thus become the most important part of the job of the head of the Center.

Community Arts Center Governance Arts centers such as what we’ve recommended in Lee’s Summit can be governed and operated in different ways. Specifically:

1. 501(c)3 corporations are often formed or co-opted to manage arts centers. They vary in size and focus, acting as producers, presenters or as service organizations facilitating the activities of other groups. Often it is some combination of the three. In all cases, these organizations are mission-driven. The benefit of this model relates to its orientation towards public service. As 501(c)3 organizations, the operations of these Centers are relatively transparent, which allows for greater public accountability. As mission-driven organizations, they often have significant

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community impact, including arts education and outreach programs. Their nonprofit status also allows for a strong fundraising infrastructure, which can reduce their reliance on earned revenue and provide greater curatorial flexibility; this flexibility can ultimately benefit the quality and availability of arts programs in the community.

The most significant downside of this operating model is the lack of a guaranteed source of contributed income. Nonprofit-run facilities must compete each year with a range of charitable organizations in the nonprofit sector. With fluctuations in the economy and in the policies and commitment of philanthropists and corporate sponsors, there is always a degree of risk with this approach. One regional example of this operating model is the new Kaufmann Center in downtown Kansas City, which is being run by a 501c3 set up expressly for this purpose.

2. User-run facilities represent a slight variation on the nonprofit-run model. Here we have the principal users of the facility as the operator, as opposed to a nonprofit created specifically for the purpose of operating the facility. This is an attractive model when there is one user that dominates the hall or complex. Regional examples would be the Unicorn Theatre and the Barn Players Theatre. We see this as a less viable option given that the community arts center will be much more than one space dominated by one use and user.

3. Commercially-run facilities are more common for larger facilities, and come in different forms. In one case, there is a for-profit entity that owns and operates a facility for a profit. Another approach involves a facility that is owned by either the public sector or a nonprofit organization entering into a management agreement with a commercial organization, allowing the commercial organization to run the facility and share in the operating results. In both of these cases, the commercial operators present (and occasionally produce) entertainment programming. Operating expenses and revenues vary significantly from year-to-year depending on the level of risk exposure taken by these organizations and the success of their programs.

A commercial operating model is not a viable option for the Center given its size and nonprofit user base.

4. Many cultural facilities are operated by schools and colleges, and not just those on a campus. There are more examples these days of educational institutions running community facilities, bringing their particular expertise in programming and facility management in return for access for their programs. UMKC and MCC Longview and Johnson County Community College all operate regional facilities that are essentially dominated by their own programs.

5. Government-run facilities are generally managed by a department or agency of local government. The principal benefit of a government-controlled operation is the relative guarantee of public funding to support ongoing operations. The vehicle for such support may vary, including enterprise taxes, hotel/motel tax funds and/or line-item budget allocations, but the assurance of annual public sector support provides a significant operating cushion. Management’s orientation toward public service can provide significant benefits to local cultural organizations in terms of cost and scheduling. Also, management’s access to resources that often extend to the operation of other facilities can also help keep costs down.

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The challenge with government-run cultural spaces is that it is a harder to convince private funders to donate capital and operating funds to a tax-collecting government department or agency. But local governments are rarely willing or able to be the sole supporter of cultural venues, which leads many groups to set up a separate foundation charged with leading the private sector fundraising effort to build and sustain the Center. For Lee’s Summit, the Gamber Center is the best precedent for this model.

For the new community arts center, we would recommend that the City operate the building, but that a separate 501(c) 3 foundation be established to bring private sector support to the project. The operations of the new facility would be supervised by the Parks & Recreation Department with the Executive Director reporting to the Parks & Recreation Administrator. The foundation would have a separate board of directors responsible for all fundraising activities

Staffing and Operating the Community Arts Center Having established how the Center may be governed, we now move on to how the organization is structured and staffed. The following organization chart shows a combination of full-time and part-time staff to operate the building. Full-time positions are highlighted in blue, while part-time and contract positions are highlighted in purple.

We would estimate that eight full-time positions would be needed, with additions to support programming, marketing, ticketing and technical functions, particularly those associated with the theater. This staffing size is on par with comparable regional and national institutions. It is important to note that these personnel will be supported by part-time and contract labor to provide services related to food and beverage, membership development, grant-writing, technical labor, volunteer management, facility operations and bookkeeping.

Here are brief job descriptions for some of the key personnel:

Executive Director: The manager of the Center, responsible for administering the facility on a day-to-day basis, overseeing programming, operations and staff, preparing annual budgets and capital improvement plans, monitoring performance, overseeing all activities and rentals, negotiating supplier contracts and maintaining the physical plant. Representing the role and

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purpose of the Center with the City is also a critical responsibility, as is the management and support of the Foundation. We would suggest that this position should be filled at least one year before the facility re-opens, to assist with planning, construction, commissioning, and preparation for operations.

Development Director: The Center’s frontline fundraiser with direct responsibility for fundraising from the public and private sector, the organization and execution of special events, an the pursuit of grants and donations from various sources, also working with the Foundation board to pursue various public and private sector sources.

Programs and Partnership Director: A key position responsible for a range of programs and partnerships that bring the building to life. This individual would be setting the calendar of events, negotiating and managing users, helping to promote presented events, guiding the development of education programs and generally managing the experience of Center users.

Technical Director: In charge of backstage operations of performance spaces, and the technical aspects of production in the facility. He/she is charged with backstage maintenance; the safe and responsible use of stage equipment and facilities; scheduling all crew calls including load-ins, changeovers, show calls and load-outs; and coordinating with front of house activities. The position requires experience with stage, sound, lighting, mechanical rigging and electronics systems, as well as theatrical equipment set-up, operation, and maintenance. The position should be in place at least six months before the building opens.

Marketing + Ticketing Manager: Manages institutional, season and program marketing, also managing the ticket office. This employee is accountable for a high daily volume of cash and credit transactions, working closely with a bookkeeper to prepare daily audit reports and maintain accurate records and account balances. The position also works closely with renting organizations to coordinate their ticketing needs. This staffer should be on the job at least three months before the Center opens.

Next, we review some of the other elements of operating policy for the Center.

Utilization and Access: The key to success for the Center is to make it as busy as possible with the range of programs and activities described in the previous chapter. Here, the challenge is managing demand and scheduling of the programmable spaces. In that regard, we would stress the following: ! All the types of activity previously listed must be recognized as important. The facility management team must do its best to balance access and demand among these groups. ! Explicit policies must be in place addressing how facilities are booked, including how far in advance dates can be secured, rental rates, scheduling priority, cancellation fees and other charges. ! Rental rates should be scaled to favor some combination of local and nonprofit groups as renters.

Resident Organizations: We would recommend that one or more community-based organizations have the opportunity to seek classification as resident organizations once expanded facilities open. Resident groups gain preferred rental rates and status for booking in exchange for bringing a certain

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amount of activity and benefit to the venue. These groups can guarantee a relatively consistent level of activity to attract users, students, audiences, and other visitors and build an image of the facility through consistent use, supporting ongoing marketing and fundraising efforts.

We generally favor a process where organizations qualify as residents through an open application process. In such a process, the criteria by which these organizations are selected should be published, and might include some of the following:

! Level of programming: The organization agrees to bring a significant portion of their annual activity to the facility. Specific levels of use may be required within policies and criteria for resident groups. ! Mission: The organizational mission is worthy and consistent with the goals of the Center and the City of Lee’s Summit. ! Quality: The organization creates work of quality (however that is defined) that will enhance the image and reputation of the facility. ! History: The organization has a track record of growth and financial stability. ! Organizational Development: The organization has made a commitment to organizational development that will bring their administrative skills and resources to a high level.

Ticketing: The project should take advantage of new technologies in ticketing, including online services, in order to serve users and audiences and to collect data with which to market the facility and its programs once expanded spaces open. The building could develop its own web page with a ticketing function that sells tickets online both for Center programs and for outside renters. The actual box office at the Center could also be expanded to take on the role of community ticket outlet for a range of off-site and other City-sponsored programs.

Food Service: To the extent that space allows, the Center should include professional food service capabilities, including high-quality concessions, catering facilities available to a group of approved caterers, and a small café open for extensive hours to drive the idea of the Center as a community gathering place. In the organizational chart on the previous page and within the coming budget, we assume that the café is run internally, but it would also be worth considering the contracting out of the management of the café and concessions to a local food service provider through some sort of competitive process.

Volunteer Opportunities: Though the Center must have a professional staff, we would encourage the development of a volunteer labor force. Local volunteers often play an important role in supporting the operation of arts and entertainment facilities. Additional human resources are helpful to the organization, but volunteers can play an even more important role as ambassadors, grassroots marketers, and even financial supporters for the organization. Staff should identify opportunities for volunteers in such areas as ushers for performances, tour guides for the facility, gallery monitors, greeters, teaching assistants and roving helpers. This body of volunteers should be closely coordinated and perhaps integrated with volunteer operations of key user groups. We would also stress the importance of treating volunteers like employees in terms of how they are trained, monitored, and evaluated.

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Sustaining a Community Arts Center Attached as Appendix G is an Excel workbook that projects activity and financial performance for the community arts center. This is a multi-year budget that starts in 2013 and extends through 2017. That gives us the opportunity to look at the shorter-term option of doing some renovation of Arnold Hall to make it work for some types of events in 2013 and 2014, then building the rest of the Community Arts and Media Center around it. Having said that, the longer-term version of the budget is still relevant if other development options are pursued.

The Community Arts Center activity profile and pro-forma operating budget starts with assumptions about the spaces to be programmed, for what periods they will be rented, and what rental rates will be initially applied. We have proposed three sets of rental rates – one for a set of resident organizations given preferential access and less expensive rent, then other nonprofit and community organizations, and finally commercial (or private) users. Then we show how those rents escalate by 3% per year.

The second part of the spreadsheet projects activity in all of the spaces. We first suggest how Arnold Hall might be used for some live events in 2013 and 2014 before the new community arts center opens in 2015. Presenting means that the building operator buys programming to present in the venues. The operator pays the fees for artists or a touring exhibit, markets the event and collects admissions revenues. Sometimes these direct revenues exceed direct costs and sometimes they don’t, but all of this activity should directly relate to the mission of the facility and operating entity.

The pro-forma shows live and film presenting initially for the theater and multi-purpose room. For all of these presented events, we project the number of events, attendance levels and average ticket price in order to suggest gross revenues.

The other part of the activity profile is the projection of rental demand and income. These estimates are derived using information gleaned from the initial visioning process, where demand for various types of spaces was tested and research was conducted to understand unmet demand within the market. Rental rates are then applied to suggest rental income over these first four years. As stated above, estimates are conservative to begin with but increase as time goes by. For two galleries, exhibit rentals are more likely to be in terms of weeks including time for installation and de-installation. For the galleries we also include rentals for special events. And in the multipurpose room and learning spaces, we suggest shorter-term rentals for live, educational and special events.

For all of the spaces, we also make an assumption about days of use for facility-based programs, essentially internally produced education programs. There is no direct revenue for this use of the space, but it allows us then to show the total level of utilization for each space for each year.

Earned Income The next section of the budget focuses on earned income. A lot of this information, specifically in terms of rental income and presenting, comes directly from the activity spreadsheet. Then there are user fees, representing the additional necessary charges to renters for use of the box office, technical labor, house staff, cleaning and so on. At the bottom of the spreadsheet is a section called Ratios and Formulas, which shows how user fees are calculated as a percentage of rent, as well as the other formulas driving projections of revenues and expenses.

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The next source of earned income is programming, which includes the media lab and then other education programs. We suggest that the media lab can earn income through the sale of memberships, classes and camps. Then we imagine three additional education programs, assuming that one has a high fee and low participation, one has a more modest fee and more participants, and a third has a very low fee and many participants.

There is a facility-wide membership program, much like national and regional organizations, which provides special benefits and discounts to those who purchase one of a variety of membership packages that are valid for one year.

In the food service area, we propose net income from the operation of a small café as well as live event concessions, film concessions and catered events. These operations can be run internally or contracted out to a third party, including a local restaurant operator.

Finally, we show a small amount of income from program advertising and then an additional historic preservation fee to ticket buyers, a practice that is common to sustain cultural spaces.

Contributed Income The second income category includes grants, sponsorship and donations from the public and private sector. These specific sources have not been tested, so projections should be considered more of a scenario as to how funding might work as opposed to our sense of how it should work. This first key is that government support, likely local, is initially vital, with private sector sources growing over time. There is a separate line item for education funding to highlight the fact that it tends to come from different sources than core operating support.

In the first two years of the full Community Arts and Media Center, we include allocations from the capital budget to support operations. And starting in 2013 we show significant income from endowment, based on a principal amount that starts at $1,000,000 and grows to $3,000,000 generating 5% a year.

Operating Expenses Finally, we project operating expenses, beginning with staffing needs. There are full-time, part-time and then event-based staff, with those costs building in the year prior to opening and escalating as facilities are added (as described earlier.) This is a reasonable compliment of staff, and personnel costs have been benchmarked with comparable facilities.

The second most important expenses relate to programming, most importantly the direct costs of live, film and exhibition presenting, and then the cost of the media lab and educational programs which are added later on. Sections on the costs of fundraising and marketing are also included. The marketing costs here are related to the marketing of the building and institution as a whole. Marketing costs for programming are bundled into the previously mentioned direct event costs. There are also direct costs associated with ticketing and food service, which grow over time. Administrative expenses are not insignificant given the size of staff and growing programs. And then there are core occupancy costs, the largely fixed costs of keeping the building open and safe.

The final cost is a line item for the subsidy of rent so that in some instances, the operator can provide even cheaper access to the space for select users. Here is a summary of the budget:

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Op. Budget Summary 2012 2013 2014 2015 2016 2017 Earned Income 0 282,199 306,680 956,754 1,073,501 1,187,484 Contributed Income 35,000 125,000 200,000 650,000 630,000 562,000 Total Income 35,000 407,199 506,680 1,606,754 1,703,501 1,749,484 Operating Expenses 26,875 359,595 463,615 1,595,818 1,661,551 1,726,235 Operating Result 8,125 47,604 43,065 10,936 41,950 23,248 Cont. to Capital Fund 0 0 0 10,000 20,000 20,000 Final Result 8,125 47,604 43,065 936 21,950 3,248 Earned Inc./Op. Expense 0% 78% 66% 60% 65% 69%

Overall, we are suggesting that the short-term project of improving Arnold Hall will require a moderate level of contributed income to balance the budget. And the larger community arts center project will drive the operating budget up to $1.6 million, one half of which should be supported with earned income.

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11. improve the Legacy Park Amphitheatre

Facility Concept We have also recommend making improvements to the Legacy Park Amphitheatre. We see the opportunity for the Lee’s Summit Parks & Recreation department to expand its outdoor programming, and to make this venue available to nonprofit and commercial renters.

Specific improvements might include: ! Covered stage, either temporary or permanent ! Open seating area that can be closed off for ticketed events ! Backstage facilities ! On-site storage ! Additional infrastructure for electrical and plumbing service

Improvements and Conceptual Cost Model for Amphitheater Improvements The anticipated improvements to the Legacy Park Amphitheater include: ! An open stage approximately 30’ x 45’ to accommodate up to a full orchestra. ! A technical structure for deploying temporary performance light fixtures and speakers. ! A permanent of demountable canopy or shell to enclose the top and possibly the back of the stage area. ! A small structure to include a box office, box office storage, and public toilets. ! A second small structure or set of structures at the stage that includes small changing rooms, a backstage waiting area for performers, and a small amount of backstage storage. ! Additional infrastructure for electrical and plumbing service.

The conceptual cost model for the potential improvements totals $720,000 for Construction Cost and $900,000 for Total Project Costs. The model does not include the costs for any performance equipment. It is anticipated that all equipment will be brought onto the site from other locations.

Programming and Operating Recommendations We would approach the programming and operation of the amphitheater in an incremental fashion. As it is adjacent to Legacy Park recreation facilities, it would most logically be operated by the City of Lee’s Summit through the deployment of existing and part-time resources.

The programming goal for the amphitheater should be to bring interesting and culturally significant events to the City and to provide local cultural groups with a reasonable outdoor facility for their programs. Implicit in this goal is the idea that the amphitheater should not become a major venue for commercial entertainment (i.e. concerts). It does not have the potential nor the infrastructure to

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accommodate the much larger capacities needed for these events, and its location in a residential neighborhood would inevitably lead to noise issues.

Pro-forma Operating Budget The second part of Appendix G is a pro-forma operating budget for the upgraded Legacy Park Amphitheater, based on a possible capacity of 3,500 and the improvements suggested above.

We suggest 5 live presented events a year, an additional 10 film screenings and then another 10 rental performances, with that activity growing slowly through the next three years. For the presented live events, we project a conservative capacity sold and an average ticket price of $15. Film attendance and ticket prices are even lower. For rentals, we have proposed nonprofit and commercial rates based on a 24-hour rental of the facility that includes use of a basic package of equipment. There are some additional user fees based on security and cleaning costs, and we assume some new food service capability in which the facility shares some of the revenue (this would allow for an outside provider).

All staff for the venue would be part-time (here the opportunity is for the City to deploy seasonal staff) to the venue. We have added a small marketing and administrative budget, as well as some core occupancy costs. Overall, we project operating expenses starting at $350,000 a year and growing to $500,000 in the fourth year. Earned income starts off at $300,000 but grows to $530,000, meaning that the facility is essentially self-supporting by the fourth year of operation as the level of activity and capacity utilization increase.

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12. new outdoor event and festival space

Facility Concept In addition to improving the Legacy Park Amphitheater, we have recommended additional outdoor event space for the City, an idea that came out of Entelechy’s recommended re-use of the historic Post Office/old City Hall first as a home for the farmer’s market, but also as a venue for outdoor concerts and festivals. Since the end of our first round of work, that particular idea has been discouraged by Council, but we would still endorse a broader plan for outdoor event space near the downtown area as a place for larger community events.

As with the Addison Circle Park project described in Appendix E, the goal here is to create a large open space for the community’s everyday use that then transforms into a large-capacity civic gathering space for festivals and special events.

To achieve their objective, planners should focus on shaping spaces and the land to create good sightlines for outdoor performances, and to allow for the placement of tents for events, food and beverage vendors. Then, the there are infrastructure requirements, including electrical and water supply, to support major concerts and other community events.

Such a project need not include permanent structures, but will require the basic systems (power and water) that will allow for east set-up, operation and take-down of potable tents, stages, washrooms and other support facilities.

Using City Hall plaza and surrounding areas for outdoor events and festivals has several potential benefits: ! This area is currently used for some annual events and new uses would reinforce this perception in the community. ! The downtown location and proximity to the new Community Arts and Media Center reinforce the presence of the arts in the center of the community. ! Necessary support and storage facilities can be provide at the adjacent City Hall and the new Community Arts Center. ! City Hall parking can provide near-by parking for smaller events.

Improvements and Conceptual Cost Model for Outdoor Event and Festival Space The potential improvements to the Outdoor Event and Festival Space include: ! A demountable stage approximately 20’x40’ consisting of 25 4’x8” platform units ! A demountable technical structure for deploying temporary performance light fixtures and speakers ! A demountable canopy or shell to enclose the top and possibly the back of the stage area ! A portable box office. This could be a small construction-style trailer adapted and finished to serve a temporary box office. A portable offstage waiting area for performers. This could be a

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second small construction-style trailer adapted and finished to serve as a temporary offstage waiting area ! Additional infrastructure for electrical and plumbing service

The conceptual cost model for the potential purchases associated Outdoor Event and Festival Space totals $350,000 for Construction Cost and $450,000 for Total Project Costs. The model does not include the costs for any performance equipment. It is anticipated that all equipment will be brought onto the site from other locations.

Programming and Operating the Space We do not see the need for a detailed programming and operating plan for the event plaza, but we would make several suggestions:

! As with Legacy Park, it would make the most sense to have the Parks and Recreation Department manage the space and set up events. Outside promoters and event planners can be contracted on an as-needed basis, but the City should remain in control of what is programmed. ! We do not see this as a rental opportunity, but rather a place that the City can program at their discretion and subject to available funding. Possible events include a Taste of Lee’s Summit, a weekend arts festival, a weekly summer series of outdoor movies on a big screen, a 4th of July celebration, an annual book sale, fundraising walks and runs for local and national charities; and children’s events and festivals.

The objective is to organize and execute a series of events that build a stronger sense of community, support the economic development of the downtown and create a positive image of Lee’s Summit in the region.

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13. decentralized program space

Facility Concept Here, the idea is to support the offering of activities that are convenient and accessible for everyone throughout the city with satellite arts and cultural spaces, offered in partnership with organizations that already provide decentralized community services, such as the Mid-Continent Public Library or the City of Lee’s Summit Parks and Recreation department.

Already the Mid-Continent Library system offers some craft classes in different branches including quilting, holiday crafts, junk drawer sculpture, and teen writer’s workshops. Specifically, the Lee’s Summit branch regularly presents film events and story time events and hosts informal fiber arts gatherings. The Lee’s Summit Parks & Recreation Department also offers classes in visual and performing arts at its Gamber Center and Market Street Neighborhood Center as well as Potter’s Haven and Abundant Moments Photography.

The principal opportunity we see is for a suite of cultural spaces to be inserted into new libraries, rec centers and senior centers, as and when these projects are under development. The challenge, then, is for cultural advocates to see and recognize the opportunity to propose these spaces into a larger project, and then to present the information that clearly defines the physical and operational requirements for these additional spaces.

Space Program and Conceptual Cost Model for Decentralized Program Space The decentralized program spaces will vary according to the facilities with which they are associated and the specific needs of different neighborhoods in Lee’s Summit. A potential sample program for these spaces consists of: • An 800 net square foot art studio/multi-use space • Storage for the studio (200 net square feet) • A washroom for cleanup of arts supplies (120 net square feet) • A small office for a person or persons conducting activities in the studio (120 net square feet)

The total area for the studio and its anticipated components totals approximately 1,500 square feet. This assumes that typical support spaces such as lobby, public toilets, mechanical spaces, janitor’s closets will be provided as part of the larger facility.

The conceptual cost model of the decentralized arts program space suggest that a suite of spaces as described above would add approximately $340,000 to the Construction Cost of a facility.

Operating Issues It is difficult to get too specific about the operating characteristics of these sets of cultural spaces, but we are able to offer several thoughts.

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It probably makes the most sense for Parks and Recreation to take responsibility for programming these spaces, but for the operator of the larger building to manage the space itself. So, for example, it there is a rehearsal room, meeting room and classroom at a new library branch, Parks and Rec should enter into an agreement with the Library District to have a certain level of access to these rooms in order to offer a range of programs within their seasonal catalogue of programs offered in Lee’s Summit.

The more difficult question is how and by whom should these spaces by rented out to local artists, arts organizations and teachers? Here again it will depend on the specific situation. In a Parks and Rec facility, it would be a straightforward situation with the operating staff managing rentals. Libraries tend to prefer to manage rentals on their own, so they might wish to manage this activity themselves. In a school situation, we would propose that Parks and Rec seek a master agreement that allows them to control access and then run the rentals to outside groups given compliance with a set of school policies on what is allowed and what must be paid for.

We would not expect these sets of cultural spaces to generate substantial net operating revenues, but it does seem realistic to assume that they can be operated with only minimal annual funding support as long as the physical maintenance of the space is taken care of as a part of the larger building and that staff costs associated with the scheduling of programs and rentals are managed within a larger enterprise. That then leaves the direct costs of programming and event management to be offset by rental income and programming revenues.

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14. large performance hall

Facility Concept At this time, Lee’s Summit does not have enough local or regional demand to support a large self- sustaining performance hall (800 seats+). Although there were some arts and cultural organizations that expressed an interest in a large performance space in our survey (notably the Lee’s Summit Symphony), ultimately there were only 88 total potential use days per year estimated by those organizations. And a number of these projected use days represented tentative interest from regional organizations that might consider giving one or two performances a year in a large hall.

Under these circumstances, the best way for the community to gain a new larger performance hall is to wait for another project requiring a new auditorium and then pursue a partnership within that project. In that regard, we see several possibilities:

• There has been some discussion about the need for a regional conference center that could well include an auditorium. • Also in the longer-term it is likely that the regional Library Board will look for a location for a new library. • Eventually, the School district will proceed with the development of an additional High School.

When one of these other projects materializes, an approach can be made by community cultural leaders seeking to form a partnership that would lead to the inclusion in the project of a larger hall having the acoustical qualities and theatrical functionality that make it viable for local cultural programming and touring arts and entertainment. Here are the steps we would recommend once a possible partnership is identified:

The approach – The first key step is making an approach to the potential partner that is credible and compelling. This means having the right community leaders involved in the delivery of a message that asserts the possibility of a partnership of mutual benefit. And the invitation should not be to proceed directly to the joint development of a building, but only to start a dialogue that considers such a possibility.

Definition of needs – The next step is for the two partners to consider and then express physical and operational requirements in a new auditorium. This starts with an exploration of how and by whom the auditorium would be used, and then some thinking of the physical and operating requirements of those programs.

Calculation of program and cost over baseline – Once the uses, sizes and spaces for auditorium users have been expressed, the group can then develop a space program and budget for the hall and support areas. Here, what matters is defining the incremental space and cost associated with the partnership. So, for example, if the school was considering building a 500-seat cafetorium costing $6

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million and the arts partners would encourage and 800-seat hall with a proper stage and raked seating that costs $12M, the central issue is how to justify and then fund the additional $6 million cost.

Comparables – One of best ways to proceed with these partnerships is to look at other models and precedents for such partnerships, and how these other partners came together to build a new hall. We have seen and worked on a number of these over the years. If the conference center partnership advances, the group should research and visit the Charles W. Eisemann Center for Performing Arts and Corporate Presentations in Richardson TX. If the library option proceeds, there are many options around the country of mid-size performance spaces included in libraries. Recent examples are in Parker and Aurora Colorado. And if the school partnership is the one to emerge, we would suggest visits to the Eccles Theater and High School in Park City UT or Goderich High School or at Fond-du-Lac High School in Wisconsin.

Negotiation – Once it has been determined that there are reasonable models for this venture, the partners can begin the negotiation process, addressing such issues as how much each group will contribute to the capital costs and ongoing operating support, levels and policy for access, and the role of each group in the development of the auditorium. Here, we would recommend a two-step process, the first being the development of a Memorandum of Understanding (MOU) that articulates deal-points in a straightforward manner that will get the project going. And then, as the project is heading towards design and construction, there should be a more formal and legally binding agreement that formalizes the arrangements. In our experience, the basis of the deal between the two partners is “pay to play,” meaning that the role of the cultural partners is to actively participate in the fundraising effort to build and sustain the improved hall and, in so doing, they earn a guaranteed level of access to these facilities.

Fundraising – With an MOU in place, fundraising can begin for the auditorium. An updated physical plan and business plan should also be in place at this time.

Planning and Design – At a point when sufficient funds have been committed to the project, the planning and design process can begin, hopefully with representatives of the cultural partners having a role and voice through this process.

Operations – Finally, once construction is underway, the partners will formalize and set up operating policy, procedures and staff resources to ensure that the building is ready to be programmed as soon as it opens.

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15. artist work/sell space

Facility Concept The final concept that emerged in our first round of work and was mentioned in the 2007 Cultural Arts Plan is the need for artist studio space that can either function as live/work space or work/sell space. Many cities around the US have used this kind of development with great success to support their artistic community, draw artists to their area, revitalize neighborhoods and boost their creative culture. The degree of investment ranges from new development or adaptive reuse of entire buildings to the temporary use of vacant storefronts (pop-up space).

We have not recommended permanent work/sell space at this time, but rather temporary or pop-up open studios or galleries in existing, vacant spaces. Downtown property owners with vacant space would be connected with artists who have an interest in work or exhibition space. In addition to drawing activity downtown and providing support for visual artists, a pop-up space program would introduce local and regional artists to the idea of working and selling their work in downtown Lee’s Summit, possibly paving the way for a more permanent facility in the long-term.

Physical and Operating Plans It is difficult to develop specific physical and business plans for these particular facilities, but we thought it might be helpful to lay out a scenario on how a set of work/sell studios might proceed as a project. This is based on work we recently completed in Truckee California where, like Lee’s Summit, there is an attractive though under-developed downtown core and a community of working artists.

The plan we would propose is to assemble up to 10,000 square feet of space that might be re-purposed into a set of studios and support space. Let’s assume 10 studios at 500 sf each, a lobby/café, a classroom, a common gallery and store, and support space, all adding up to 11,050 gross square feet. Hopefully there is some ground floor space within the facility, but certainly a second floor location on Main Street is acceptable as long as there is a visible entrance.

The key element of the plan is setting up a nonprofit organization to recruit and organize the artists, manage the space and seek funding support. This is not a large organization with significant staff requirements, but more of a cooperative in which the participating artists are expected to be actively involved in the building and its programs. Per the attached pro-forma, the facility makes money by charging rent to artists (here starting at $16/sf), taking a commission on sales, operating the very small café, and then running classes hopefully taught by the participating artists.

We would suggest three part-time staff to operate the venue, keep it clean and manage the café. Then there are the direct costs of programs and the café, some administration and core occupancy costs. Total operating costs start at just over $150,000, and with earned income close to $140,000, the annual funding requirement starts at $15,000 and potentially reduces over time.

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We are attracted to this concept because it is a meaningful way to respond to the needs of the visual arts community in Lee’s Summit, and also because of the potential economic development impacts of animating the downtown area with this creative activity.

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16. advancing the plan

All of these projects make sense for Lee’s Summit, but not all of them are likely to proceed immediately. In order to maintain the momentum created by this study, we recommend that City Council create a task force to carefully review these findings and continue to advance the planning process. The primary goals of the task force should be to prioritize projects, seek project partners, and make recommendations around funding options.

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appendix a: study interview participants !

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! Appendix A: Study Participants Interview Participants Allan S. Gray II City Council, District 2 Ben Martin Summit Theatre Group;Lee's Summit Arts Council Bob Klausing Lee's Summit West High School - Visual Art Brad Cox LSMBA Brad Rackers Lee's Summit West High School - Theater Brian Whitley City Council, District 2 Carolyn McKnight University of Central Missouri - Summit Center Chris Munce Kantorei of Kansas City Daren Fristoe Lee's Summit Economic Development Council David Gale New Longview Foundation/Gale Communities Debbie Starke Eastland Community Foundation Dr. Syrtiller Kabat Lee's Summit Arts Council Fred Grogan Metropolitan Community College - Longview Gary Fruits Lee's Summit Symphony Orchestra Gina Seibel Lee's Summit Chamber of Commerce Harlan Brownlee Arts Council of Metropolitan Kansas City Paul Tyler Arts Council of Metropolitan Kansas City Jeannine Akins Lee's Summit North High School - Visual Art Jennifer Behymer Got Art Gallery Jim Devine Lee's Summit Economic Development Council Kathy Hofmann District 1 Kathy Smith Lee's Summit Historical Society Kurt Pycior Pycior + Co Mark Dunning Director of Codes, City of Lee's Summit Marly McMillen Parks and Recreation Board Megan Crook Mid-America Arts Alliance Micah Hensley Lee's Summit High School - Theater Nancy Bruns Lee's Summit Chamber of Commerce Paul Morales Lee's Summit R-7 Schools Paul Shrout Lee's Summit Symphony Orchestra Paula Belser Park Board Phillip Hanson Truman Heartland Community Foundation Randy Rhodes Mayor, City of Lee's Summit Ryan Morehead Lakeside Theatre Group Ryan Sullivan Lee's Summit High School - Vocal Music Sarah Shore Downtown Lee's Summit Main Street Sharon Quigley City of Lee's Summit Shayne Daniel Lee's Summit North High School - Theater Steve Arbo City Manager, City of Lee's Summit Teddy Jackson Summit Arts Tede Price Assistant Superintendent of Recreation Services Tom Lovell Parks & Recreation Adminsitrator Trisha Drape Lee's Summit Arts Council

Survey Participants Members of the Arts Council of Metropolitan Kansas City Subscribers to the Lee's Summit Arts Council Mailing List Members of the Arts Council of Johnson County Members of the Raytown Arts Council Individual artists in Lee's Summit and Kansas City !

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! appendix b: market demographics

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Population Growth 120,000 1990 2000

100,000 2011 2016

80,000

60,000

40,000

20,000

0 Lee' Summit

Population Growth 2,500,000 1990 2000 2011 2,000,000 2016

1,500,000

1,000,000

500,000

0 30-mile Radius Kansas City CBSA

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Educational Attainment

Lee's Summit

30-mile Radius Graduate or Prof Degree Kansas City, MO-KS CBSA USA

Bachelor's Degree

Associate Degree

Some College, No Degree

High School Graduate (or GED)

0% 5% 10% 15% 20% 25% 30% 35% !

Household Income Distribution

Lee's Summit $150,000 or more 30-mile Radius Kansas City, $100,000 to MO-KS CBSA $149,999 USA

$75,000 to $99,999

$50,000 to $74,999

$25,000 to $49,999

Less than $24,999

0% 5% 10% 15% 20% 25% 30% !

! "! Median Household Income $80,000 USA

$70,000 Kansas City, MO-KS CBSA 30-mile Radius $60,000 Lee's Summit

$50,000

$40,000

$30,000

$20,000

$10,000

$0 2000 2011 2016 !

Age Distribution

Lee's Summit

Age 65+ 30-mile Radius

Kansas City, MO-KS CBSA USA

Age 55 to 64

Age 35 to 54

Age 18 to 34

Age 17 and under

0% 5% 10% 15% 20% 25% 30% 35% ! !

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The Market Today: Young and Old Population Segments 30.00% USA

Kansas City, 25.00% MO-KS CBSA 30-mile Radius

Lee's Summit 20.00%

15.00%

10.00%

5.00%

0.00% Age 55+ Age 17 and younger !

Age Distribution (Young Adult Segments)

Lee's Summit

30-mile Radius Age 35 to 44 Kansas City, MO-KS CBSA USA

Age 25 to 34

Age 21 to 24

Age 18 to 20

0% 2% 4% 6% 8% 10% 12% 14% 16% !

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'Empty Nester' and 'Retiree' Population Trend: Lee's Summit 20% 65 to 74 years 18% 55 to 64 years

16% 45 to 54 years

14%

12%

10%

8%

6%

4%

2%

0% 2000 2011 2016

Young Population Trend: Lee's Summit

20% 18 to 24 years 18% 10 to 17 years

16% 0 to 9 years

14%

12%

10%

8%

6%

4%

2%

0% 2000 2011 2016 ! !

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'Empty Nester' and 'Retiree' Population Trend: 30-mile Radius

16% 65 to 74 years

55 to 64 years 14% 45 to 54 years 12%

10%

8%

6%

4%

2%

0% 2000 2011 2016

Young Population Trend: 30-mile Radius

16% 18 to 24 years

14% 10 to 17 years

0 to 9 years 12%

10%

8%

6%

4%

2%

0% 2000 2011 2016 ! !

! "! 'Empty Nester' and 'Retiree' Population Trend: CBSA 16% 65 to 74 years

14% 55 to 64 years

45 to 54 years 12%

10%

8%

6%

4%

2%

0% 2000 2011 2016

Young Population Trend:CBSA

16% 18 to 24 years

14% 10 to 17 years

0 to 9 years 12%

10%

8%

6%

4%

2%

0% 2000 2011 2016 ! !

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! "! Racial Composition

Lee's Summit

Other 30-mile Radius

Kansas City, MO-KS CBSA USA Black or African American

Asian

Hispanic or Latino

White

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% !

Trend in Racial Composition: Lee's Summit 6% Asian

Black or African 5% American Hispanic or Latino 4%

3%

2%

1%

0% 2000 2011 2016 ! !

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! "! Language Spoken at Home

Lee's Summit

Other Language 30-mile Radius

Kansas City, MO-KS CBSA USA

Spanish

IndoEuropean Language

Asian Pacific Islander Language

English

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% ! !

Home Ownership

Lee's Summit

30-mile Radius

Kansas City, MO-KS CBSA Renter Occupied USA

Owner Occupied

0.0% 10.0% 20.0% 30.0% 40.0% 50.0% 60.0% 70.0% 80.0% 90.0% ! !

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! Indoor Performance Facility Inventory (under 1,000 seats): Facility Ratings

Capacity of Activity* Types Building Condition Staff and Support Theatrical Functionality Room Acoustics Customer Amenities Amenities Performer Atmosphere/Character Users Suitability for Rating Lee's Summit 1 Lee's Summit High School 1,000 5 2 2 3 2 1 2 1 2 1.9 2 Lee's Summit North High School 850 5 2 2 3 2 1 2 1 2 1.9 3 Lee's Summit West High School - Performing Arts Center 850 5 4 2 4 2 1 3 1 2 2.5 4 Gamber Center 200 8 4 2 2 1 2 1 2 2 2.2 5 MCC-Longview Cultural Arts Center 180 7 4 2 2 2 2 3 2 3 2.6 6 Lee's Summit West High School - Black Box 100 4 3 2 3 2 1 2 1 2 2.1

Region City 1 Folly Theater Kansas City, MO 1,078 8 2 3 4 3 3 3 4 3 3.0 2 UMKC Spencer Theatre (Kansas City Rep) Kansas City, MO 630 2 3 2 4 3 3 3 3 2 2.8 3 UMKC White Recital Hall Kansas City, MO 620 2 3 2 3 3 2 2 3 2 2.5 4 New Theatre Restaurant Overland Park, KS 617 2 3 4 4 3 3 3 2 1 3.0 5 Bell Center, MidAmerica Nazarene University, Mabee Hall Olathe, KS 541 6 4 2 3 3 3 3 3 3 3.0 6 JCC: White Theatre Overland Park, KS 500 7 4 2 2 3 2 2 2 1 2.4 7 Gem Theater Kansas City, MO 500 5 3 2 4 3 3 3 4 3 3.0 8 Atkins Auditorium- Nelson-Atkins Museum of Art Kansas City, MO 500 6 4 2 2 2 3 2 4 1 2.6 9 Crown Center: American Heartland Theatre Kansas City, MO 442 6 4 2 3 2 3 2 2 2 2.6 10 Carlsen Center, JCCC Polsky Theatre Overland Park, KS 400 6 3 3 4 4 3 3 3 2 3.1 11 Copaken Stage (Kansas City Rep) Kansas City, MO 320 1 4 2 4 3 3 3 3 2 3.0 12 Silent Unity Chapel Unity Village, MO 300 2 3 3 2 4 3 2 3 2 2.8 13 Crown Center: Coterie Theatre Kansas City, MO 260 1 4 3 4 3 3 2 2 2 3.0 14 Crown Center: Off Center Theatre Kansas City, MO 250 6 4 3 2 3 3 3 3 2 3.0 15 Union Station: H&R Block City Stage Kansas City, MO 200 5 4 2 3 2 3 2 4 2 2.8 16 UMKC Grant Hall Recital Hall Kansas City, MO 170 2 3 2 3 3 2 2 3 2 2.5 17 Unicorn Theatre Kansas City, MO 150 1 3 2 2 2 2 2 3 2 2.3 18 Barn Players Theatre Mission, KS 120 2 4 2 2 3 2 2 3 2 2.6 19 Carlsen Center, JCCC Bodker Black Box Overland Park, KS 100 2 3 3 2 3 2 3 3 2 2.7 20 Unity Village Fillmore Chapel Unity Village, MO 100 2 3 3 2 4 3 2 3 2 2.8 21 Bell Center, MidAmerica Nazarene University, Sunderland Theatre Olathe, KS 75 2 4 2 2 2 2 3 3 2 2.6 22 Carlsen Center, JCCC Recital Hall Overland Park, KS 55 5 3 3 1 3 3 3 3 2 2.7

Notes Variables are rated on a scale of 1 (poor) to 4 (excellent). Building Condition and Staff and Support categories receive the most weight. Facilities were rated by consultants and based on conversations with facility managers, tours and internet research. * Types of Programs & Activity cooresponds to 'Indoor Performance Facility Inventory:Programs & Activity'

Webb Management Services Indoor Performance Facility Inventory: Programs & Activity

Producing Presenting Activity Rentals Theatre School/College Music Dance Comedy Festivals Arts Events Film Broadway Comedy Dance Music Theatre Family Lectures Performing Private/Civic Outside Other Capacity Promoter

Lee's Summit 1 Lee's Summit High School 1,000 1 1 1 1 1 2 Lee's Summit North High School 850 1 1 1 1 1 3 Lee's Summit West High School 850 1 1 1 1 1 4 Gamber Center - Shenendoah Room 200 1 1 1 1 1 1 1 1 5 MCC-Longview Cultural Arts Center 180 1 1 1 1 1 1 1 6 Lee's Summit West High School 100 1 1 1 1 Percent of facilities with Programs & Activity 100% 83% 83% 33% 0% 17% 17% 0% 17% 0% 17% 0% 0% 17% 83% 100% 0% 0%

Region City 1 Folly Theater Kansas City, MO 1,078 1 1 1 1 1 1 1 1 2 UMKC Spencer Theatre (Kansas City Rep) Kansas City, MO 630 1 1 3 UMKC White Recital Hall Kansas City, MO 620 1 1 4 New Theatre Restaurant Overland Park, KS 600 1 1 5 Bell Center, MidAmerica Nazarene University, Mabee Hall Olathe, KS 541 1 1 1 1 1 1 6 Jewish Community Center: White Theatre Overland Park, KS 500 1 1 1 1 1 1 1 7 Gem Theater Kansas City, MO 500 1 1 1 1 1 8 Atkins Auditorium- Nelson-Atkins Museum of Art Kansas City, MO 500 1 1 1 1 1 1 9 Crown Center: American Heartland Theatre Kansas City, MO 442 1 1 1 1 1 1 10 Carlsen Center, JCCC Polsky Theatre Overland Park, KS 400 1 1 1 1 1 1 11 Copaken Stage (Kansas City Rep) Kansas City, MO 320 1 12 Unity Village Unity Village, MO 300 1 1 13 Crown Center: Coterie Theatre Kansas City, MO 260 1 14 Crown Center: Off Center Theatre Kansas City, MO 250 1 1 1 1 1 1 15 Union Station: H&R Block City Stage Kansas City, MO 200 1 1 1 1 1 16 UMKC Grant Hall Recital Hall Kansas City, MO 170 1 1 17 Unicorn Theatre Kansas City, MO 150 1 18 Barn Players Theatre Mission, KS 120 1 1 19 Carlsen Center, JCCC Bodker Black Box Overland Park, KS 100 1 1 20 Unity Village Fillmore Chapel Unity Village, MO 100 1 1 21 Bell Center, MidAmerica Nazarene University, Sunderland Theatre Olathe, KS 75 1 1 22 Carlsen Center, JCCC Recital Hall Overland Park, KS 55 1 1 1 1 1 Percent of facilities with Programs & Activity 50% 41% 32% 0% 0% 0% 14% 0% 5% 9% 36% 18% 9% 5% 41% 50% 32% 27%

Webb Management Services Indoor Performance Facility Inventory: Facility Features

Types of Space Features

Capacity Allowed Alcohol Equipment Film/ Projection Parking seating Flexible Space Rehearsal or Program Gallery Space Fly Other Event Space Lee's Summit Lee's Summit High School 1,000 1 1 1 1 Lee's Summit North High School 850 1 1 1 1 1 1 Lee's Summit West High School 850 1 1 1 1 1 Gamber Center 200 1 1 1 1 1 1 1 MCC-Longview Cultural Arts Center 180 1 1 1 1 1 1 Lee's Summit West High School Black Box 100 1 1 1 1 Percent of facilities with Facility Features 17% 83% 100% 50% 100% 50% 33% 100%

Region City Folly Theater Kansas City, MO 1,078 1 1 1 1 UMKC Spencer Theatre (Kansas City Rep) Kansas City, MO 630 1 1 1 UMKC White Recital Hall Kansas City, MO 620 1 1 1 1 New Theatre Restaurant Overland Park, KS 600 1 1 1 1 1 Bell Center, MidAmerica Nazarene University, Mabee Hall Olathe, KS 541 1 1 1 1 JCC: White Theatre Overland Park, KS 500 1 1 1 1 1 Gem Theater Kansas City, MO 500 1 1 1 1 1 1 Atkins Auditorium- Nelson-Atkins Museum of Art Kansas City, MO 500 1 1 1 1 Crown Center: American Heartland Theatre Kansas City, MO 442 1 1 Carlsen Center, JCCC Polsky Theatre Overland Park, KS 400 1 1 1 1 Copaken Stage (Kansas City Rep) Kansas City, MO 320 Silent Unity Chapel Unity Village, MO 300 1 1 1 Crown Center: Coterie Theatre Kansas City, MO 260 1 1 1 Crown Center: Off Center Theatre Kansas City, MO 250 1 1 Union Station: H&R Block City Stage Kansas City, MO 200 1 1 1 1 UMKC Grant Hall Recital Hall Kansas City, MO 170 1 1 1 1 Unicorn Theatre Kansas City, MO 150 Barn Players Theatre Mission, KS 120 Carlsen Center, JCCC Bodker Black Box Overland Park, KS 100 Unity Village Fillmore Chapel Unity Village, MO 100 1 1 1 Bell Center, MidAmerica Nazarene University, Sunderland Theatre Olathe, KS 75 Carlsen Center, JCCC Recital Hall Overland Park, KS 55 Percent of facilities with Facility Features 55% 23% 64% 14% 27% 23% 18% 50%

Webb Management Services Outdoor Performance Facility Inventory: Facility Ratings

Capacity & Activity* of Programs Types Building Condition Staff and Support Theatrical Functionality Room Acoustics Customer Amenities Amenities Performer Atmosphere/Character Users Suitability for Rating Lee's Summit Legacy Park Amphitheater 3,500 3 1 2 1 1 1 1 3 2 1.5

Region City Starlight Theatre Kansas City, MO 8,000 6 3 4 4 2 4 4 4 3 3.5 Theatre in the Park Shawnee, KS 4,500 6 3 2 2 2 2 2 4 2 2.4 Ironwoods Amphitheater* Leawood, KS 2,000 5 3 2 1 1 1 1 3 1 1.8 *The City of Leawood is working on plans to upgrade this facility.

Notes Variables are rated on a scale of 1 (poor) to 4 (excellent). Building Condition and Staff and Support categories receive the most weight. Facilities were rated by consultants and based on conversations with facility managers, tours and internet research. * Types of Programs & Activity cooresponds to 'Outdoor Performance Facility Inventory:Programs & Activity'

Webb Management Services Visual Arts and Cultural Facility Inventory: Facility Features Space Space Visual Art Exhibition Exhibition Sculpture Retail Commercial Other Program/Work Other Performance/Event

Lee's Summit City Hall 1 1 Gamber Center 1 1 1 1 Got Art Gallery 1 1 1 1 Legacy Park Community Center 1 1 1 MCC-Longview Cultural Arts Center 1 1 1 St. Luke's East Hospital Gallery 1

Percentage of Facilities with Features 100% 50% 17% 67% 50%

Webb Management Services Program Space: Facility Features

Program Spaces Pottery Room/Area Pottery Arts Classroom Multi-purpose Space Studio Rehearsal/Movement Piano Space Performance

Lee's Summit 1 Gamber Center 1 1 1 1 1 2 Got Art Gallery 1 3 Heart of America Dance Centre 1 1 4 Heartland Music Academy & Supply 5 Legacy Music 1 6 Legacy Park Community Center 1 1 7 Market Street Neighborhood Center 1 1 8 MCC-Longview Cultural Arts Center 1 1 1 1 9 Mindy's Dance Center 1 10 Monica's School of Dance 1 11 Potter's Haven 1 12 Steppin' Out- The Studio Percent of Facilities with Program Space 8% 17% 33% 58% 33% 17%

Webb Management Services Facility Inventory: Meeting and Special Event Space Space 1 [Banquet Capacity] Space 2 [Banquet Capacity] Space 3 [Banquet Capacity] Space 4 [Banquet Capacity] Space Spaces Divisible Rooms/Additional Meeting Rooms Breakout Outdoor Space Facilities Kitchen Required In-House Caterer Can be Served Alcohol Rent Equipment for Parking Dedicated 1) (Space Base Price Lowest 1) (Space Base Price Highest Meeting and Banquet Facilities Lone Summit Ranch 400 1 1 1 1 1 1 1 $500 $1,500 Emaline Ballroom 300 1 1 1 1 $1,650 $2,500 Unity Village 300 150 60 40 1 1 1 1 1 1 1 Chapel Ridge Banquet Center 250 1 1 1 1 $400 $1,800 Legacy Park Community Center 250 1 1 1 1 1 1 $420 4/hrs for residents* $1,250/12 hours for non-residents MCC-Longview 250 100 72 20 1 1 1 1 1 1 Stonehaus Farms 225 48 1 1 1 1 1 $300/hr $2,000/4 hrs Longview Mansion 200 1 1 1 1 1 no base rental rate, packages tailored to individual needs The Stanley 200 1 1 1 1 John Knox Pavillion 200 150 100 100 1 1 1 1 1 1 Lakewood Oaks Golf Club 200 1 1 1 1 1 $700 (weddings) $1,000 (weddings) Gamber Center 200 120 80 25 1 1 1 1 1 1 $450 4/hrs for residents $1,600/12 hours for non-residents 42% 42% 58% 100% 25% 92% 83% 100% *Divided rooms available for $40 an hour

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! Zoomerang | Lee's Summit Cultural Facilities Master Plan: Resul... http://app.zoomerang.com/Report/PrintResultsPage.aspx

Lee's Summit Cultural Facilities Master Plan Results Overview

Date: 11/2/2011 6:19 AM PST Responses: Completes Filter: No filter applied

First, we'd like to ask THREE quick questions about you and/or your organization.

1. Are you a:

Visual Artist 11 19%

Performing or 21 37% Media Artist

Art or Cultural 15 26% Organization

Other, please 16 28% specify

Next, we'd like to ask THREE questions about Lee's Summit and its potential to accommodate new arts activity and facilities.

4. In the past have you ATTENDED arts and cultural events in Lee's Summit?

Yes 36 63%

No 21 37%

Total 57 100%

36 Responses

5. In the past, have you rented, borrowed or utilized arts and cultural facilities in Lee's Summit?

Yes 21 37%

No 36 63%

Total 57 100%

22 Responses

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6. Do you think new arts and cultural facilities are needed in Lee's Summit?

Yes 48 96%

No 2 4%

Total 50 100%

49 Responses

Finally, we’d like to ask a few questions about the facilities you currently use and about facilities you might need in the future.

How many different facilities do you or your organization use on an annual basis? (Please include all of the 7. space you use for creating, teaching, administration, exhibition, rehearsal, performance, other programs, etc.)

1 14 25%

2 12 21%

3 12 21%

4 8 14%

5 2 4%

6 or more 13 23%

9. Are you generally satisfied with the condition of these spaces?

Yes 41 72%

No 16 28%

Total 57 100%

38 Responses

10. Are you satisfied with the rental rates for these spaces?

Yes 32 56%

No 10 18%

Not Applicable 24 42%

11. Are you satisfied with the availability of these spaces?

Yes 41 72%

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No 16 28%

Total 57 100%

29 Responses

12. Do you have any interest in utilizing new INDOOR PERFORMANCE facilities in Lee's Summit?

Yes 41 72%

No 16 28%

Total 57 100%

45 Responses

14. Which of the following facility features do you require (or prefer)? Please check all that apply.

Fly tower 10 24%

Flexible seating 14 34% configuration

Dance floor (marley or sprung 10 24% floor)

Large stage 27 66%

Film projection 18 44% equipment

Large lobby and/or 22 54% reception area

High-quality (unamplified) 31 76% acoustics

None of the above 2 5%

Other, please 14 34% specify

16. Do you have interest in utilizing OUTDOOR PERFORMANCE facilities in Lee's Summit?

Yes 21 37%

No 36 63%

Total 57 100%

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18. Which of the following facility features do you require (or prefer)? Please check all that apply.

Covered seating 7 33%

Dance floor (marley or sprung 4 19% floor)

Fixed stage 14 67%

Film projection 5 24% equipment

Audio visual 8 38% equipment

Dressing rooms and backstage 12 57% ammenities

None of the above 2 10%

Other, please 7 33% specify

20. Do you have an interest in utilizing new EXHIBITION facilities in Lee's Summit?

Yes 26 46%

No 31 54%

Total 57 100%

31 Responses

22. Which of the following facility features do you require (or prefer)? Please check all that apply.

Climate control 22 85%

Flexibility/Moveable 13 50% walls

Projection 14 54% equipment

Temporary storage 14 54%

Retail outlet 7 27%

Security 12 46%

None of the above 1 4%

Other, please 8 31% specify

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23. Do you have an interest in utilizing new ARTIST STUDIO facilities in Lee's Summit?

Yes 14 25%

No 43 75%

Total 57 100%

27 Responses

24. Which type(s) of artist studio space do you have interest in using?

Live/Work 3 23%

Work Only 7 54%

Work and Retail 9 69%

Other, please 3 23% specify

25. Do you have an interest in utilizing FLEXIBLE MEETING/EVENT FACILITIES in Lee's Summit?

Yes 23 40%

No 34 60%

Total 57 100%

26 Responses

As it pertains to meeting/event facilities, which of the following facility features do you require (or 27. prefer)? Please check all that apply.

Catering kitchen 15 65%

On-site food 4 17% service

Tables and chairs 23 100%

Ability to serve 14 61% alcohol

Projection and/or 18 78% A/V equipment

None of the above 0 0%

Other, please 4 17% specify

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Do you have an interest in utilizing FLEXIBLE TEACHING, REHEARSAL OR PROGRAM FACILITIES in Lee's 29. Summit?

Yes 24 42%

No 33 58%

Total 57 100%

25 Responses

As it pertains to teaching, rehearsal or program facilities, which of the following facility features do you 31. require (or prefer)? Please check all that apply.

Kiln 3 12%

Water access 13 54%

Dance floor (marley or sprung 7 29% floor)

A facility suitable for unamplified 16 67% acoustics

Sound isolation 12 50%

Projection and/or 11 46% A/V equipment

On-site storage 14 58%

None of the above 1 4%

Other, please 2 8% specify

33. Do you have a need for any other kinds of space? (i.e. Admin, shop, storage, etc.)

Yes 13 23%

No 44 77%

Total 57 100%

14 Responses

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! appendix e: needs assessment comparable projects ! ! Community Media Centers

Community Media Center Grand Rapids, Michigan

The Community Media Center started as a public access television station, the Grand Rapids Cable Access Center in 1981 and became a role model for the transformation from a traditional public access television station to a multi- disciplinary Community Media Center.

The non-profit center provides training in radio, television, media and information technology as well as access to all the necessary equipment. The center also has a special program to assist non-profits with information technology needs and traditional and new media marketing tools.

With the successful completion of its $1.2 million capital campaign in 1997, the Community Media Center integrated its services under one roof for the first time in a renovated historic 1920s neighborhood library. In 2005, the Media Center acquired the Wealthy Theatre, a struggling historic theater, with a plan to transform the space into a technically advanced theater for community use. A subsequent $2.4 million campaign helped pay off the debts associated with the acquisition and raise additional funding to upgrade the Media Center’s other programs. In January 2011 the Community Media Center launched another campaign to celebrate the Wealthy Theatre’s Centennial. The campaign will raise funds for 30 separate projects related to further technological upgrades as well as increasing the energy efficiency of the theater.

Appalshop Whitesburg, Kentucky

Appalshop is a non-profit multipurpose media arts center located in the heart of the Appalachian coalfields. The center was founded in 1969 as the Community Film Workshop of Appalachia, a project of the US government’s War on Poverty intended to teach vocational skills to poor and minority youth. Since that time, artists working through Appalshop have been exploring the history, culture and social issues of Appalachia through film, video, recorded music and drama, theatre, photography, radio, and print.

The physical space has now grown to encompass a media arts center with audio/radio equipment, a darkroom, a 150-seat theater, an exhibition gallery, screening room and class/meeting space. Appalshop’s annual budget is almost $2 million and the organization operates with a staff of 27.

! "! Current programs include a community radio station, training and technical assistance programs specifically targeting youth, social justice organizers and prison constituents, traditional music events and a traveling theatre company among other projects.

Adaptive Reuse for Community Arts Centers

Brewery Arts Center Carson City, Nevada

In 1975, the Carson City Arts Alliance spearheaded the purchase of the former 1865 Tahoe Brewery building to convert the space into an arts center with exhibition space, studio space for local artists, and a 100-seat theater. In 2001, the Brewery Arts Alliance purchased the adjacent St. Teresa of Avila Catholic Church, originally built in 1871 and converted it into a 400-seat theater.

The Brewery Arts Center now houses a grand ballroom that seats 100 for banquet-style seating, a 300-seat performance hall, flexible performance space seating 120, an artisan store and café,

The BAC operates two charter cable channels, a children’s theatre company, a summer stock producing theatre, a presenting series of concerts, and many visual and performing arts classes for children and adults. The BAC’s is a non-profit entity that leases its facilities from the City of Carson City. Its annual operating budget is approximately $1 million a year.

St. Lawrence Arts Portland, Maine

Originally built in 1897, the St. Lawrence Congregationalist Church was registered as a national landmark on the National Register of Historic Places in 1979. In 1986, the congregation dissolved and deconsecrated the church. The building sat empty for several years until the Friends of the St. Lawrence Church, a 501(c)(3) formed for the purpose of preserving the church, purchased the building and began renovations in 1996.

Renovations were made over the next several years, including adding a 110-seat theatre for Acorn Productions, a producing theatre company in half of the former Parish Hall. This theater also serves as an exhibition space, with an exhibition of work by a local artist that rotates on a monthly basis. The St. Lawrence Parish Theatre exists primarily as a rental space, hosting concerts, film screenings, theatre performances, and special events. The Good Theater, a local producing theatre company, is designated as a theater in residence.

Friends of the St. Lawrence has a Board of Directors and three staff members who manage the building and fundraising activities on an annual budget of $140,000.

! "! The St. Lawrence Arts Center is current engaged in a fundraising for Phase II of its renovation plans. This construction project will rebuild and renovate the former sanctuary and turn it into a 400-seat performance hall used primarily for music with support spaces, a function room, and administrative space attached. Construction is slated to begin in 2013.

Spirit Square Blumenthal Performing Arts Center! Charlotte, North Carolina

The Historic First Baptist Church was built in 1909 and housed one of the city’s most influential congregations until the early 1970s. When that congregation moved to a new facility, a group of local citizens saved the building and opened the Spirit Square Center for Arts and Education (SSCAE) in 1976. The nonprofit SSCAE operated the building for nearly twenty years, using the former sanctuary as a performance space and other spaces for classrooms. In 1997, the Spirits Square Center for Arts and Education nonprofit was dissolved and the property became part of the Blumenthal Center for the Performing Arts.

The former sanctuary serves as the central performance space, the 730-seat McGlohon Theatre. Other spaces in the building include the 182-seat Duke Energy Theater, a multi-purpose/black box theater, three dance studios, two visual arts studios, and a ceramics studio.

Belger Arts Center Kansas City, Missouri

Located in the Crossroads Arts District, the Belger Building was likely built around 1905. In 1946, Belger Cartage Service purchased the building from Kansas City Power & Light for use as a machine shop for maintenance of its transportation fleet.

In 2000, the Belger family, looking for a way to preserve its collection of decorative and fine arts, formed the John & Maxine Belger Foundation. The Belger family converted the third floor of the Belger building to office and exhibition space, retaining the second floor for company offices.

In May 2010, Red Star Studios, an incubator organization for visual artists, moved into the first floor space, which previously had been split between exhibition space and truck storage. Red Star Studios plans to relocate to a larger space in the coming year and at that point, the Belger Art Center will reclaim the first floor for additional exhibition space. !

! "! Outdoor Festival and Performance Venue

Addison Circle Park Addison, Texas

Completed in 2003 at a cost of $7.5 million, Addison Circle Park is located at the center of a new community in the Dallas suburbs. Addressing a need for outdoor space that can serve as a downtown civic center and also accommodate Town festivals. Town administrators posed a challenging planning and design problem: To create an inspiring and beautiful 10-acre park ideal for the community’s everyday use, that then transforms into a civic gathering space for festivals of over 100,000 people.

Design firm Sasaki Associates worked with the community to establish a detailed program for the outdoor space and plan for its future mixed-use development. Within this program, Sasaki aimed to create a series of visual and tactile experiences, such as the sound of trickling water while sitting under a shady grove, children splashing in fountains, walking the dog or jogging along the paths through trees, and participating in Town festivals.

To achieve their objective, designers focused on shaping spaces and the land to create good sightlines for outdoor performances, to organize ticket-holders, and to allow for the placement of tents for events, food and beverage vendors. They worked to create an infrastructure, including electrical and water supply, to support major concerts for 12,000 people, Shakespeare in the Park, and other 500-1000 person concerts and events.

The result includes more than 372,000 square-feet of open lawn, plaza and garden spaces that provide a variety of venues for performances, special events and festivals, as well as the daily recreational needs of local residents. Features include three distinct performance venues, parking for more than 2,100 cars, ticket booths and public restrooms, a covered pavilion with seating capacity for 200 guests, a concession kitchen, fields for active recreation, walking trails and water and electrical hookups located throughout.

In addition to serving as a civic gathering place for Addison’s residents, these features allow the Park to host an array of events each year including a series of performances by Shakespeare Festival of Dallas; Taste Addison, a weekend of food and music featuring more than 50 of Addison’s best restaurants and national talent; ARTFEST, featuring artwork from hundreds of artists plus a children’s area, music, food and auctions; Cinema in the Circle, a weekly summer series of outdoor movies on a big screen; and Addison Oktoberfest, an authentic re-creation of the Münich Oktoberfest with food and music. Other events include 4th of July celebrations, a 3- day annual book sale, fundraising walks and runs for local and national charities; and children’s events and festivals.

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As the centerpiece for Addison’s continuing urban development, Addison Circle Park is a landmark in the region, attracting almost one million people each year to support the town’s economy.

Participatory Arts Programs and Spaces in Libraries

Clayworks Cooperative Studio Coventry Village Library Cleveland Heights, Ohio

Since 1983, Clayworks, a pottery cooperative, has rented the basement space in the Coventry Village Library. Clayworks was initially drawn to the space because it had a large gas-fired kiln located in the basement, originally installed when the building served as a community arts center. The Clayworks space provides exhibition space for its members and allows members to teach classes in pottery making, ceramics, sculpture, and glazing for adults, children, and families.

Clayworks pays monthly rent to the library. In addition, when the gas kiln had to be replaced in 2004, Clayworks paid for the kiln while the library paid for structural upgrades necessary to secure the proper permits (the original kiln had been grandfathered in).

Fayetteville Public Library Fayetteville Stories Community Film Contest and Filmmaker’s Institute Classes Fayetteville, Arkansas

In October 2011, the Fayetteville Public Library announced a contest for short documentary films about the Fayetteville experience. The competition is open to anyone with the exception of production companies and has three age categories for judging: youth, adult, and 50 or older. The top prize is $1,000 and the film’s inclusion as an extra feature on a DVD of a professional documentary commissioned by the Fayetteville Library.

In order to assist community members interested in participating in the contest, the library is offering a series of four classes in filmmaking called the Filmmaker’s Institute this fall. The topics cover topics like pre-production, camera operation, lighting and audio basics, and editing.

! "! Temporary Work/Sell/Exhibition Space

No Longer Empty New York, New York

Founded in 2009, No Longer Empty (NLE) is a nonprofit organization dedicated to arranging temporary site- specific public art exhibitions using vacant spaces. The process begins when representatives of NLE are invited into a property. They consider the property, research the neighborhood, and then either commission new work or select relevant existing works to fill the space. Activities such as children’s workshops and panel discussions are developed for each exhibition. !

Examples of recent projects include an exhibition in shuttered 3-story belt factory, a project that transformed the exteriors of buildings as well as a second floor gallery as part of a neighborhood arts festival, and exhibitions in the yet-to-be- leased retail spaces of two brand new residential development projects.

Storefronts Seattle Seattle, Washington

First launched in September 2010, Storefronts Seattle (SS) is a program of the City of Seattle, funded through several City departments, neighborhood groups, business improvement associations, and merchant’s associations. The mission of Storefronts Seattle is to activate empty spaces with art, revitalizing neighborhoods and providing local artists with spaces to support their work.

Storefronts Seattle signs a month-to-month lease for $1 a month with interested building owners and agrees to pay utilities, insurance, and manages any other paperwork required to use the space. The program will also pay for up to $250 in repairs per space. Then, Storefronts goes through its roster of 100 approved artists and programs a combination of installations, open- studio space, or other creative enterprises like pop-up stores or educational activities.

Past projects include a ceramics and drawing installation paying homage to the Wild West; the Adventure School, a space offering lectures, workshops, and activities; and an exhibition of artwork by Asian, African, Latino, Native American, and Pacific Islander Heritage. !

! "! Pop-Up Art Gallery (PUG Projects) Newburgh, New York

Located in the Hudson Valley, PUG projects has been presenting temporary exhibitions in vacant or transitional spaces in the area.

One example of a PUG Project is the Orange Alert exhibition, held in November 2010. Orange Alert presented the work of five artists from the area that were widely known outside the region, but rarely exhibited in /1 Newburgh.

!!"#$%&'(&$)*+,-$./0(&'/$$$$12345#"46"22$$$$777,849:;<=,0(> The exhibition was held in the second floor of a restored warehouse in downtown Newburgh and was supported with grants from Orange County Tourism and the County of Orange. !"#$"%#&'()$*+",-".)/0()12/2) +*34)//))$*4)/11) 3&5*$6&()$474) 8109:1::) ;."" !"#$"%#&' City’s attorney advises tax cap in no longer valid BY MICHAEL KITCH two-thirds of the board of mayor and alder- mental appropriations and bond issues, it !"#$%&"' !"#$%&'()*&$+&*%,$-.) men to override the limit the cap imposes enacted specifi c statutes prescribing them. Laconia Design Collaborative LACONIA — City attorney Judith on the increase in the annual city budget. The new Republican super-majorities Whitelaw yesterday confi rmed that the The justices found that the statutes gov- in both the N.H. House and Senate are (#)$$*(' New Hampshire Supreme Court deci- erning the municipal budget process (RSA expected to deal with the court’s decision sion that the property tax cap adopted by 49-C:23) and the conduct of meetings (RSA in 2011 by enacting legislation that would Laconia, New Hampshire voters of Manchester last year is contrary 49-C:12, I) stipulate that boards of alder- expressly authorize municipalities to enact +,"-.&%/' to state law also renders the Laconia tax men and city councils conduct business property tax caps by majority votes. cap unlawful. by simple majority votes. They noted that Like the Manchester ordinance, Laconia’s The justices ruled that the tax cap violates when the Legislature intended to require tax cap requires a super-majority of two- %,0' state law by requiring a super-majority of two-thirds majorities, such as for supple- !""#(&)*+&,#$%&"#'( 12**.&%/' 4"&%'56+,,6' In 2010, a downtown Laconia property owner and a group3$*&#.' of 1+&-/,'6$3('

BY GAIL OBER *&(6'$7'#"3&6"*' four local artists launched a collaborative pop up gallery !"#$%&'()*&$+&*%,$-.) LACONIA — After &83+$9,8,%6' listening to a presen- tation by administra- 3+&$+&6&,('7$+' project. The property owner offered the artists use of thetors, the School Board last night said it will :;<<=<: have it’s revised policy on bullying ready for a BY MICHAEL KITCH space as a studio and gallery for free. In exchange, the artistsfi rst reading by Dec. 21. !"#$%&'()*&$+&*%,$-.) Redrafted to be LACONIA — The city’ consistent with New Capital Improvement Hampshire’s new law Program (CIP) Commit- on bullying in schools, tee last night placed the paid for heat and electricity and redecorated the space, Board Chair Bob Das- reconstruction of the satti said he expects to Main Street bridge, where hold public input and Beacon Street East and information sessions Beacon Street West join including applying a fresh coat of paint. before then. Main Street at the Win- Policy Committee nipesaukee River, as its Chair Chris Guilmett highest priority for the said the subcommit- 2011-2012 budget. tee is working with a Moynihan said that sample bullying policy Dubois & King, Inc. consult- put out by the New !"#$%&'())$*&+%$,-.&/,&0"1/2("&(3&34/52&4$*$&5(-4&"*-(3-&6"*17&8$*9$3:&$;")(2(2<&3/)$&/,&4$*&5/*9&(2&"&5(2=/5&/,&-4$&2/5>1%/3$=& ing engineers, inspected Hampshire School ?@2=("%&?4/AB&8$*9$3&"2=&"&<*/@A&/,&/-4$*&"*-(3-3&"*$&5/*9(2<&-/&C&%%&-4$&D"1"2-&/*&A%"(2&3-/*$,*/2-&5(2=/53&=/52-/52&5(-4&"*-5/*9& and evaluated the bridge Board Association and /*&"--*"1-(D$&3$"3/2"%&=$3(<23B&+0"1/2("&E"(%7&?@2&A4/-/FG=")&E*"A14/. and reported in June. They The artists moved in of May in that year and stayed throughhas tweaked the it to be end of a year, when a paying found that the main abut- Laconia-specifi c. ments and much of the The new law also !"#$%&#''$()$%(&#*"+,-$.((/+,-0$1(2,*(2, substructure, apart from redefi nes bullying as BY ADAM DRAPCHO them a deal they couldn’t pass up. He allowed them one pier at the center, are tenant, an interior designer who was initially attracted byany presence single or multiple of the!"#$%&'()*&$+&*%,$-.) artists, tomoved use the space as a studiointo and gallery the for free, sound. Director of Public acts directed against LACONIA — Over the course of this year, a they’d only have to pay for their heat and electric- Works Paul Moynihan said another student said symbiotic relationship has developed between ity. In exchange, the artists gave the space a fresh the entire superstructure Middle School Assis- owners of downtown Laconia buildings and busi- coat of paint and a new look. of the bridge — the deck, space. The property owner was so pleased by the arrangementtant Principal Chris that nesses andhe a group asked of local artists looking the for a artists,The work was noticed, nowand Sawyer was pleased rails and sidewalks — Ennis. place to market their work. to report that the space was nice enough to attract must be replaced and a pier He said if it causes The partnership began in May, when four local a paying tenant, an interior designer, who will at the center of the bridge emotional distress, if artists – Marcy Yerkes, Marcia Haughey, Jeri move in after the fi rst of the year. Sawyer liked the removed. He estimated calling themselves the Paintbox Studio and Gallery, to moveit interferes intowith edu- anotherBothamley and Mary Lou storefront John – moved into a arrangement property so much he asked the artists,of doing the cost of the project at cation, if it creates a storefront at 54 Canal Street. The storefront, like business as the Paintbox Studio and Gallery, for $2.5-million, of which the hostile environment several others in downtown, was vacant at the another round, this time in the storefront at 50 state bridge aid program or if it causes a sub- time, and building owner Robert Sawyer offered !""#!-$#.!%#$%&"#'( will pay 80-percent. his that would soon be vacated. The four artists initially involved!""#/011'-$2#$%&"#'( in the project have now expanded !""#+-,#$%&"#') The Meltaway Best Food Ever 9 * see our coupon inside 2.79 OIL COMPANY Fuel Oil to a group calling themselves the Laconia Design Collaborative (LCD) and they are now working 10 day cash price 490 Laconia Rd (Rte 3), Tilton NH 729-0003 64 Primrose Dr. North, Laconia 524-1421 subject to change with three other property owners in the downtown area to fill additional vacant spaces.

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! appendix g: pro-forma operating budget ! Lee's Summit Arts Facilities Master Plan Operating Budgets

LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 SPACES AND RATES Usable Square Feet Capacity Rental Period Renter Type Theater 4,200 350 Daily Resident $500 3% $515 3% $530 Nonprofit $625 $644 $663 Commercial $781 $805 $829 Multipurpose Room 4,500 225 in 2013 and 2014 Four-hours Resident $225 3% $232 3% $239 3% $246 3% $253 150 in 2015 and beyond Nonprofit $281 $290 $298 $307 $317 Commercial $352 $362 $373 $384 $396 Gallery #1 1,800 Weekly Nonprofit $500 3% $515 3% $530 Commercial $400 3% $412 3% $424 Gallery #2 900 Weekly Nonprofit $300 3% $309 3% $318 Commercial $350 3% $361 3% $371 Learning Space #1 900 Two-hours Resident $40 3% $41 3% $42 Nonprofit $50 $52 $53 Commercial $63 $64 $66 Learning Space #2 900 Two-hours Resident $40 3% $41 3% $42 Nonprofit $50 $52 $53 Commercial $63 $64 $66 Learning Space #3 900 Two-hours Resident $40 3% $41 3% $42 Nonprofit $50 $52 $53 Commercial $63 $64 $66

ACTIVITY BY SPACE THEATER Presenting Live Performances 10 5% 11 5% 11 Average Capacity Sold 75% 72% 73% Attendance 2,625 2,646 2,817 Average Ticket Price $30.00 3% $30.90 3% $31.83 Presented Perfs Box Office $78,750 $81,761 $89,653 Event Days 9 9 10 Prep Days 2 2 2 Total Use Days 11 12 12

Film Screenings 10 5% 11 5% 11 Use Days 10 11 11 Average Capacity Sold 50% 51% 52% Attendance 1,750 1,874 2,007 Average Ticket Price $10.00 3% $10.30 3% $10.61 Film Box Office $17,500 $19,305 $21,287

Internal Programming Days of Use 25 35 45

Rentals Residents Performances 35 5% 37 5% 39 Ave. Cap sold 67% 64% 65% Attendance 8,208 8,232 8,779 Event Days 33 35 37 Prep Days 33 35 37 Total Use Days 67 70 73 Total Rent Paid $33,250 $35,960 $38,891

Nonprofits Performances 25 5% 26 5% 28 Ave. Cap sold 67% 64% 65% Attendance 5,863 5,880 6,270 Event Days 24 25 26 Prep Days 24 25 26 Total Use Days 48 50 52 Total Rent Paid $29,688 $32,107 $34,724

Commercial Performances 15 5% 16 5% 17 Ave. Cap sold 67% 64% 65%

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Attendance 3,518 3,528 3,762 Event Days 14 15 16 Prep Days 14 15 16 Total Use Days 29 30 31 Total Rent Paid $22,266 $24,080 $26,043

All Uses & Users Performances 95 100 105 Attendance 21,963 22,160 23,635 Use Days 189 207 226 Rent Paid $85,203 $92,147 $99,657

MULTIPURPOSE ROOM Presenting Live Performances 10 5% 11 5% 11 5% 12 5% 12 Average Capacity Sold 60% 61% 62% 63% 64% Attendance 1,350 1,441 1,538 1,641 1,750 Average Ticket Price $25.00 3% $25.75 3% $26.52 3% $27.32 3% $28.14 Presented Perfs Box Office $33,750 $37,109 $40,791 $44,827 $49,250 Event Days 10 11 11 12 12 Prep Days 3 3 3 3 3 Total Use Days 13 13 14 14 15

Film Screenings 10 5% 11 5% 11 Use Days 10 11 11 Average Capacity Sold 50% 51% 52% Attendance 750 803 860 Average Ticket Price $12.00 3% $12.36 3% $12.73 Film Box Office $9,000 $9,928 $10,948

Internal Programming Days of Use 25 30 35 40 45

Rentals Residents Events 70 5% 74 -25% 55 5% 58 5% 61 Ave. Cap sold 60% 60% 60% 60% 60% Attendance 9,450 9,923 4,961 5,209 5,470 Event Days 18 19 20 21 21 Prep Days 18 19 20 21 21 Total Use Days 36 38 40 42 42 Total 4-hour blocks 108 114 120 126 126 Total Rent Paid $24,300 $26,420 $28,644 $30,979 $31,908

Nonprofits Events 50 5% 53 -25% 39 5% 41 5% 43 Ave. Cap sold 60% 61% 62% 63% 64% Attendance 6,750 7,206 3,662 3,907 4,167 Event Days 50 53 39 41 43 Prep Days 25 26 20 21 22 Total Use Days 75 79 59 62 65 Total 4-hour blocks 225 236 177 186 195 Total Rent Paid $63,281 $68,439 $52,869 $57,178 $61,838

Commercial Events 10 5% 11 25% 13 5% 14 5% 14 Ave. Cap sold 60% 61% 62% 63% 64% Attendance 1,350 1,441 1,221 1,302 1,389 Event Days 10 11 13 14 14 Prep Days 5 5 7 7 7 Total Use Days 15 16 20 21 22 Total 4-hour blocks 45 47 59 62 65 Total Rent Paid $15,820 $17,110 $22,029 $23,824 $25,766

All Users Performances 140 147 129 135 142

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Attendance 18,900 20,010 12,132 12,863 13,637 Use Days 139 146 168 185 200 Rent Paid $103,402 $111,968 $103,542 $111,981 $119,512

Galleries #1 & #2 Ticketed Exhibition Install/De-install Days 14 14 14 # of Days 21 21 21 Daily Tickets Sold 150 5% 158 5% 165 Average Admission Price $5.00 3% $5.15 3% $5.30 Admissions Revenues $15,750 $17,034 $18,422

Gallery #1 Internal Programming Days of Use 50 55 60

Nonprofit Exhibitions Total Use Days 28 28 28 Total Exhibit Weeks 3 3 3 Install/De-install Weeks 1 1 1 Number of Exhibit Rentals 2 3% 2 3% 2 Total Rent Paid $4,000 $4,244 $4,502

Private Events Total Use Days 10 11 11 Total Four-hour Rentals 10 5% 11 5% 11 Total Rent Paid $4,000 $4,326 $4,679

All Users Total Use Days 123 129 134 Total Rental Weeks 18 18 19 Total Rent Paid $8,000 $8,570 $9,181

Gallery #2 Internal Programming Days of Use 50 55 60

Nonprofit Exhibitions Total Use Days 28 28 28 Total Exhibit Weeks 3 3 3 Install/De-install Weeks 1 1 1 Number of Exhibit Rentals 3 3% 3 3% 3 Total Rent Paid $3,600 $3,819 $4,052

Private Events Total Use Days 10 11 11 Total Four-hour Rentals 10 5% 11 5% 11 Total Rent Paid $3,500 $3,785 $4,094

All Users Total Use Days 123 129 134 Total Rental Weeks 18 18 19 Total Rent Paid $7,100 $7,604 $8,146

Learning Space #1 Internal Use Days of Use 50 55 60

Resident Total Use Days 100 5% 105 5% 110 Total 2-hour blocks 200 210 221 Total Rent Paid $8,000 $8,652 $9,357

Nonprofits Total Use Days 50 5% 53 5% 55 Total 2-hour blocks 100 105 110 Total Rent Paid $5,000 $5,408 $5,848

Commercial Total Use Days 25 5% 26 5% 28 Total 2-hour blocks 25 26 28 Total Rent Paid $1,563 $1,690 $1,828

All Users Total Use Days 225 239 253 Total 2-hour Rentals 325 341 358

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Total Rent Paid $14,563 $15,749 $17,033

Learning Space #2 Internal Use Days of Use 50 55 60

Resident Total Use Days 100 5% 105 5% 110 Total 2-hour blocks 200 210 221 Total Rent Paid $8,000 $8,652 $9,357

Nonprofits Total Use Days 50 5% 53 5% 55 Total 2-hour blocks 100 105 110 Total Rent Paid $5,000 $5,408 $5,848

Commercial Total Use Days 25 5% 26 5% 28 Total 2-hour blocks 25 26 28 Total Rent Paid $1,563 $1,690 $1,828

All Users Total Use Days 225 239 253 Total 2-hour Rentals 325 341 358 Total Rent Paid $14,563 $15,749 $17,033

Learning Space #3 Internal Use Days of Use 50 55 60

Resident Total Use Days 100 5% 105 5% 110 Total 2-hour blocks 200 210 221 Total Rent Paid $8,000 $8,652 $9,357

Nonprofits Total Use Days 50 5% 53 5% 55 Total 2-hour blocks 100 105 110 Total Rent Paid $5,000 $5,408 $5,848

Commercial Total Use Days 25 5% 26 5% 28 Total 2-hour blocks 25 26 28 Total Rent Paid $1,563 $1,690 $1,828

All Users Total Use Days 225 239 253 Total 2-hour Rentals 325 341 358 Total Rent Paid $14,563 $15,749 $17,033

Activity & Rental Summary FY2013 FY2014 FY2015 FY2016 FY2017 Total Presented Live Performance Attendance 1,350 1,441 4,163 4,287 4,567 Total Presented Film Attendance - - 2,500 2,678 2,867 Total Ticketed Exhibit Attendance - - 3,150 3,308 3,473 Total Resident Performance Attendance 9,450 9,923 13,169 13,441 14,248 Total Nonprofit Performance Attendance 6,750 7,206 9,524 9,787 10,438 Total Commercial Performance Attendance 1,350 1,441 4,738 4,830 5,151 Total Attendance 18,900 20,010 37,244 38,331 40,744 Total Live Event Box Office $33,750 $37,109 $119,541 $126,589 $138,903 Total Film Box Office $0 $0 $26,500 $29,233 $32,235 Total Admissions Revenue $0 $0 $15,750 $17,034 $18,422 Total Rent Collected $103,402 $111,968 $247,532 $267,550 $287,594 Total Income from Activity & Rental $137,152 $149,077 $409,324 $440,405 $477,154 CPI ESCALATION RATE 3% 3% 3% 3%

LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR PRO-FORMA OPERATING BUDGET 2012 % Change 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 EARNED INCOME Box Office Live Events 33,750 37,109 119,541 126,589 138,903 Film Screenings - - 26,500 29,233 32,235 Exhibition Admissions - - 15,750 17,034 18,422

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017

Rental Income Theater 0 0 85,203 92,147 99,657 Multipurpose Room 103,402 111,968 103,542 111,981 119,512 Gallery #1 0 0 8,000 8,570 9,181 Gallery #2 0 0 7,100 7,604 8,146 Learning Space #1 0 0 14,563 15,749 17,033 Learning Space #2 0 0 14,563 15,749 17,033 Learning Space #3 0 0 14,563 15,749 17,033

User Fees Technical Labor 31,020 33,590 74,260 80,265 86,278 Equipment Rental 20,680 22,394 49,506 53,510 57,519 Event Staff 10,340 11,197 24,753 26,755 28,759 Event Cleaning 10,340 11,197 24,753 26,755 28,759

Programming Media Lab Membership 0 0 5,000 6,180 7,638 Classes 0 0 1,000 1,082 1,170 Camps 0 0 1,250 1,352 1,462 Equipment Rental 0 0 1,500 1,622 1,754 Education Programs Program #1 0 0 2,500 2,704 2,924 Program #2 0 0 2,500 2,704 2,924 Program #3 0 0 2,500 2,704 2,924

Food Service Live Event Concessions (net) 18,900 20,611 33,518 35,345 38,723 Film Concessions (net) 0 0 3,978 4,389 4,839 Income from Catered Events (net) 0 0 16,000 21,115 21,748 Café Sales (Gross) 0 0 50,000 70,813 72,937

Box Office Ticketing Fees from Presented Events 2,633 2,894 8,612 9,135 10,024 Ticketing Fees for Resident Organizations 9,214 9,965 13,621 14,320 15,636 Ticketing Fees for Other Organizations 15,795 17,367 29,506 31,147 34,215

Membership Income Annual Membership Income 0 0 150,000 185,400 229,154

Miscellaneous Income Program Advertising 2,500 5% 2,625 25% 3,281 5% 3,445 5% 3,618 Historic Preservation Fee 23,625 25,763 49,391 52,356 57,323

Total Earned Income 282,199 306,680 956,754 1,073,501 1,187,484

CONTRIBUTED INCOME Government Grants 35,000 50,000 100% 100,000 100% 200,000 -10% 180,000 -10% 162,000 Individual Giving 5,000 100% 10,000 100% 20,000 100% 40,000 25% 50,000 Corporate Sponsorships/Giving 5,000 100% 10,000 100% 20,000 100% 40,000 25% 50,000 Foundation Grants 5,000 100% 10,000 100% 20,000 100% 40,000 25% 50,000 Special Events 5,000 100% 10,000 100% 20,000 100% 40,000 25% 50,000 Education Program Funding 5,000 100% 10,000 100% 20,000 100% 40,000 25% 50,000 Allocation from Capital Budget 200,000 100,000 Endowment Income 50,000 50,000 150,000 150,000 150,000 Total Contributed Income 35,000 125,000 200,000 650,000 630,000 562,000

TOTAL INCOME 35,000 407,199 506,680 1,606,754 1,703,501 1,749,484

OPERATING EXPENSES Full-time Personnel Executive Director 45,000 50% 67,500 3% 69,525 3% 71,611 Director of Programs 50,000 3% 51,500 3% 53,045 Development Director 50,000 3% 51,500 3% 53,045 Technical Director 45,000 3% 46,350 3% 47,741 Media Lab Manager 40,000 3% 41,200 3% 42,436

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Education Director 45,000 3% 46,350 3% 47,741 Administrative Assistant 30,000 3% 30,900 3% 31,827 Ticketing/IT Manager 40,000 3% 41,200 3% 42,436 Salary Sub-Total 0 0 45,000 367,500 378,525 389,881 Benefits 0 0 11,250 91,875 94,631 97,470 Sub-total 0 0 56,250 459,375 473,156 487,351

Part-time Personnel Building Manager 30,000 3% 30,900 F&B Manager 35,000 3% 36,050 3% 37,132 Gallery Manager 30,000 3% 30,900 3% 31,827 Café Staff 30,000 3% 30,900 3% 31,827 Grantwriter 25,000 3% 25,750 3% 26,523 Volunteer Manager 20,000 3% 20,600 3% 21,218 Bookkeeper 25,000 3% 25,750 3% 26,523 Ticket Office Staff 25,000 3% 25,750 25% 32,188 3% 33,153 3% 34,148 Sub-total 0 55,000 56,650 197,188 203,103 209,196 Benefits 0 5,500 5,665 19,719 20,310 20,920 Sub-total 0 60,500 62,315 216,906 223,413 230,116

Event-based Staff Technical Labor 20,000 5% 21,000 25% 26,250 5% 27,563 5% 28,941 Event Staff 20,000 5% 21,000 25% 26,250 5% 27,563 5% 28,941 Event Cleaning 20,000 5% 21,000 25% 26,250 5% 27,563 5% 28,941 Sub-total 0 60,000 63,000 78,750 82,688 86,822

Programming Costs Direct Costs of Live Events 0 28,688 31,543 101,610 107,600 118,068 Direct Costs of Film Events 0 0 19,875 21,925 24,177 Direct Costs of Exhibitions 40,000 5% 42,000 5% 44,100 Media Center Direct Program Costs 0 0 1,125 1,217 1,316 Education Program Direct Costs 0 0 3,750 4,056 4,386 0 28,688 31,543 166,360 176,797 192,046

Fundraising Expenses Professional Development 1,000 3% 1,030 100% 2,060 3% 2,122 3% 2,185 Miscellaneous 1,000 3% 1,030 100% 2,060 3% 2,122 3% 2,185 Hospitality (meals & travel) 2,500 3% 2,575 100% 5,150 3% 5,305 3% 5,464 Individual Membership 2,500 3% 2,575 100% 5,150 3% 5,305 3% 5,464 Corporate Membership 5,000 3% 5,150 100% 10,300 3% 10,609 3% 10,927 Board Development 2,500 3% 2,575 100% 5,150 3% 5,305 3% 5,464 Special Events 5,000 3% 5,150 100% 10,300 3% 10,609 3% 10,927 Sub-total 0 19,500 20,085 40,170 41,375 42,616

Box Office Network Maintenance 4,725 5,153 9,878 10,471 11,465 Postage 3,780 4,122 7,902 8,377 9,172 Ticket Printing 189 206 395 419 459 Supplies 945 1,031 1,976 2,094 2,293 Credit Card Fees 844 928 3,651 3,896 4,278 Ticketing Service (net) 14,175 15,458 29,634 31,414 34,394 Sub-total 0 24,658 26,897 53,437 56,670 62,060

Food Service Café COGS 0 0 25,000 35,406 36,468 Sub-total 0 0 0 25,000 35,406 36,468

Administration Institutional Promotion/Advertising 5,000 100% 10,000 100% 20,000 3% 20,600 3% 21,218 Printing & Publications 5,000 100% 10,000 100% 20,000 3% 20,600 3% 21,218 Office Equipment/Systems 5,000 100% 10,000 100% 20,000 3% 20,600 3% 21,218 Office Supplies/Services 2,500 100% 5,000 100% 10,000 3% 10,300 3% 10,609 Legal/Accounting 5,000 100% 10,000 100% 20,000 3% 20,600 3% 21,218 Volunteer Management 1,250 100% 2,500 100% 5,000 3% 5,150 3% 5,305 Professional Development 2,500 100% 5,000 100% 10,000 3% 10,300 3% 10,609

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 IT 5,000 100% 10,000 100% 20,000 3% 20,600 3% 21,218 Telephone 1,250 100% 2,500 100% 5,000 3% 5,150 3% 5,305 Miscellaneous 1,250 100% 2,500 100% 5,000 3% 5,150 3% 5,305 Sub-total 3,375 33,750 67,500 135,000 139,050 143,222

Occupancy Costs Utilities 33,750 34,763 143,222 147,518 151,944 Repairs and Maintenance 18,750 19,313 79,568 81,955 84,413 Service Contracts 11,250 11,588 47,741 49,173 50,648 Building Supplies 7,500 7,725 31,827 32,782 33,765 Cleaning Supplies 3,750 3,863 15,914 16,391 16,883 Technology Services 12,500 3% 12,875 100% 25,750 3% 26,523 3% 27,318 Performance Equipment R&M 12,500 3% 12,875 100% 25,750 3% 26,523 3% 27,318 Trash Hauling 5,000 3% 5,150 100% 10,300 3% 10,609 3% 10,927 Security System 12,500 3% 12,875 100% 25,750 3% 26,523 3% 27,318 Sub-total 11,750 117,500 121,025 405,820 417,995 430,534

Rental Subsidy Program 11,750 15,000 15,000 15,000 15,000 15,000

Total Operating Expenses 26,875 359,595 463,615 1,595,818 1,661,551 1,726,235

Operating Result 8,125 47,604 43,065 10,936 41,950 23,248

Contribution to Capital Reserve 10,000 20,000 20,000

Final Result 8,125 47,604 43,065 936 21,950 3,248

Earned Income as % of Op Expenses 0% 78% 66% 60% 65% 69% RATIOS AND FORMULAS Escalation Rate 3% 3% 3% 3% 3% User Fees as a % of Rent Technical/Event Labor 30% 30% 30% 30% 30% Equipment Rental/Maintenance 20% 20% 20% 20% 20% Event Staff 10% 10% 10% 10% 10% Event Cleaning 10% 10% 10% 10% 10%

Media Lab Media Lab Memberships Sold 100 20% 120 20% 144 Average Price $50 3% $52 3% $53

Media Lab Classes (hours delivered) 200 5% 210 5% 221 Average Fee/Hour $5 3% $5 3% $5

Media Lab Camp (hours delivered) 500 5% $525 5% $551 Average Fee/Hour $2.50 3% $2.58 3% $2.65

# Equipment Items Rented 100 5% $105 5% $110 Average Rental Rate $15.00 3% $15.45 3% $15.91

Other Education Programs Education Program #1 (hours delivered) 10 5% 11 5% 11 Average Price $250 3% $258 3% $265

Education Program #2 (hours delivered) 100 5% 105 5% 110 Average Price $25 3% $26 3% $27

Education Program #3 (hours delivered) 1,000 5% 1,050 5% 1,103 Average Price $2.50 3% $2.58 3% $2.65

Food Service Concession Net per Live Theater Attender $1.00 3% $1.03 3% $1.06 3% $1.09 3% $1.13 Concession Net per Film Attender $1.50 3% $1.55 3% $1.59 3% $1.64 3% $1.69 Café Gross Sales/Day $250 3% $258 3% $265

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Days Open 200 275 275

Catered Events Outdoor Catered Events 12 15 15 Fee/per Event $1,000 3% 1,030 3% 1,061 Multipurpose Room Catered Events 8 11 11 Fee/per Event $500 3% $515 3% $530

Membership Income Average Membership Fee $300 3% 309 3% 318 # of Members 500 20% 600 20% 720

Endowment Income Principal $ 1,000,000 $ 1,000,000 $ 3,000,000 $ 3,000,000 $ 3,000,000 ROR (after inflation) 5% 5% 5% 5% 5%

Food Service Expenses Café COGS as a % of Gross Income 50% 50% 50%

Box Office Revenues Ticketing Fee for Resident Organizations Online $1.50 3% 2 3% 2 3% 2 3% 2 Telephone $0.75 3% 1 3% 1 3% 1 3% 1 Walk-up $0.25 3% 0 3% 0 3% 0 3% 0 Tickets Sold for Resident Organizations 9,450 9,923 13,169 13,441 14,248 Online 50% 50% 50% 50% 50% Telephone 20% 20% 20% 20% 20% Walk-up 30% 30% 30% 30% 30% Ticketing Fee for Other Organizations Online $3.00 3% $3.09 3% $3.18 3% $3.28 3% $3.38 Telephone $1.50 3% $1.55 3% $1.59 3% $1.64 3% $1.69 Walk-up $0.50 3% $0.52 3% $0.53 3% $0.55 3% $0.56 Tickets Sold for Other Organizations 8,100 8,647 14,263 14,617 15,589 Online 50% 50% 50% 50% 50% Telephone 20% 20% 20% 20% 20% Walk-up 30% 30% 30% 30% 30% Ticketing Fee for Presented Events Online $3.00 3% $3.09 3% $3.18 3% $3.28 3% $3.38 Telephone $1.50 3% $1.55 3% $1.59 3% $1.64 3% $1.69 Walk-up $0.50 3% $0.52 3% $0.53 3% $0.55 3% $0.56 Tickets Sold for Presented Events 1,350 1,441 4,163 4,287 4,567 Online 50% 50% 50% 50% 50% Telephone 20% 20% 20% 20% 20% Walk-up 30% 30% 30% 30% 30%

Historic Preservation Fee Charge/ticket sold $1.25 3% $1.29 3% $1.33 3% $1.37 3% $1.41

Box Office Expenses Total Tickets Sold 18,900 20,010 37,244 38,331 40,744 Cost/Ticket Sold Network Maintenance $0.25 3% $0.26 3% $0.27 3% $0.27 3% $0.28 Postage $0.20 3% $0.21 3% $0.21 3% $0.22 3% $0.23 Ticket Printing $0.01 3% $0.01 3% $0.01 3% $0.01 3% $0.01 Supplies $0.05 3% $0.05 3% $0.05 3% $0.05 3% $0.06 Ticketing Service (net) $0.75 3% $0.77 3% $0.80 3% $0.82 3% $0.84

Credit Card Fees 3% 3% 3% 3% 3%

Benefits Full-time 25% 25% 25% 25% 25% 25% Part-time 10% 10% 10% 10% 10% 10%

Direct Event Cost as % of Revenues Live Events 85% 85% 85% 85% 85% Film Events 75% 75% 75% 75% 75%

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LEE'S SUMMIT COMMUNITY ARTS CENTER MULTI-YEAR ACTIVITY FORECAST 2013 % Change 2014 % Change 2015 % Change 2016 % Change 2017 Occupancy Costs Total Gross Square Footage 15,000 15,000 60,000 60,000 60,000 Direct Costs/Square Foot Utilities $2.25 3% $2.32 3% $2.39 3% $2.46 3% $2.53 Repairs and Maintenance $1.25 3% $1.29 3% $1.33 3% $1.37 3% $1.41 Service Contracts $0.75 3% $0.77 3% $0.80 3% $0.82 3% $0.84 Building Supplies $0.50 3% $0.52 3% $0.53 3% $0.55 3% $0.56 Cleaning Supplies $0.25 3% $0.26 3% $0.27 3% $0.27 3% $0.28 Op. Budget Summary 2012 2013 2014 2015 2016 2017 Earned Income 0 282,199 306,680 956,754 1,073,501 1,187,484 Contributed Income 35,000 125,000 200,000 650,000 630,000 562,000 Total Income 35,000 407,199 506,680 1,606,754 1,703,501 1,749,484 Operating Expenses 26,875 359,595 463,615 1,595,818 1,661,551 1,726,235 Operating Result 8,125 47,604 43,065 10,936 41,950 23,248 Cont. to Capital Fund 0 0 0 10,000 20,000 20,000 Final Result 8,125 47,604 43,065 936 21,950 3,248 Earned Inc./Op. Expense 0% 78% 66% 60% 65% 69%

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ACTIVITY FORECAST AND PRO-FORMA OPERATING BUDGET FOR LEGACY PARK AMPHITHEATER 2014 % Change 2015 % Change 2016 % Change 2017 ACTIVITY Capacity Rental Period Renter Type 3,500 Daily Nonprofit $3,500 3% $3,605 3% $3,713 3% $3,825 Commercial $5,250 $4,506 $4,641 $4,781

Presenting Live Performances 5 6 7 8 Average Capacity Sold 30% 25% 30% 35% Attendance 5,250 5,250 7,350 9,800 Average Ticket Price $15.00 3% $15.45 3% $15.91 3% $16.39 Presented Perfs Box Office $78,750 $81,113 $116,964 $160,631 Event Days 5 6 7 8 Prep Days 0 0 0 0 Total Use Days 5 6 7 8

Film Screenings 10 11 12 13 Use Days 10 11 12 13 Average Capacity Sold 50% 45% 50% 55% Attendance 17,500 17,325 21,000 25,025 Average Ticket Price $5.00 3% $5.15 3% $5.30 3% $5.46 Film Box Office $87,500 $89,224 $111,395 $136,727

Rentals Nonprofits Performances 5 6 7 8 Ave. Cap sold 60% 55% 60% 65% Attendance 10,500 11,550 14,700 18,200 Event Days 5 6 7 8 Prep Days 5 6 7 8 Total Use Days 10 12 14 16 Total Rent Paid $35,000 $43,260 $51,984 $61,193

Commercial Performances 5 6 7 8 Ave. Cap sold 60% 55% 60% 65% Attendance 10,500 11,550 14,700 18,200 Event Days 5 6 7 8 Prep Days 3 3 4 4 Total Use Days 8 9 11 12 Total Rent Paid $39,375 $40,556 $48,735 $57,368

All Users & Users Performances/Events 25 29 33 37 Attendance 43,750 45,675 57,750 71,225 Use Days 33 38 44 49 Rent Paid $74,375 $83,816 $100,719 $118,561

Op. Budget Summary FY2014 FY2015 FY2016 FY2017 Income 307,125 328,422 421,344 528,282 Operating Expenses 356,750 370,941 430,864 500,449 Operating Result (49,625) (42,520) (9,520) 27,833 Income/Op. Expense 86% 89% 98% 106%

Activity & Rental Summary FY2014 FY2015 FY2016 FY2017 Total Presented Live Performances 5 6 7 8 Total Presented Live Performance Attendance 5,250 5,250 7,350 9,800 Total Presented Film Screenings 10 11 12 13 Total Presented Film Attendance 17,500 17,325 21,000 25,025 Total Attendance 22,760 22,586 28,362 34,838 Total Live Event Box Office 78,750 81,113 116,964 160,631 Total Film Box Office 87,500 89,224 111,395 136,727 Total Admissions Revenue 166,250 170,336 228,359 297,358 Total Rent Collected 74,375 83,816 100,719 118,561

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PRO-FORMA OPERATING BUDGET FOR ARTIST WORK/SELL FACILITY 2014 % Change 2015 % Change 2016 % Change 2017

REVENUES Rental Income $62,500 $64,375 $66,306 $68,295 Commission on Items sold $45,000 $46,350 $47,741 $49,173 Café Sales $50,000 $52,500 $55,125 $57,881 Program Revenues $6,000 $6,798 $7,638 $8,523 Total $163,500 $170,023 $176,810 $183,873

EXPENSES PT Personnel Facility/Retail Manager $37,500 3% $38,625 3% $39,784 3% $40,977 Custodian $25,000 3% $25,750 3% $26,523 3% $27,318 Café Manager $20,000 3% $20,600 3% $21,218 3% $21,855 sub-total $82,500 3% $84,975 3% $87,524 3% $90,150 Benefits 15% $12,375 $12,746 $13,129 $13,522 $94,875 $97,721 $100,653 $103,672

Operations Café Cost of Goods Sold $20,000 $21,000 $22,050 $23,153 Program Expense Teachers $1,800 $2,039 $2,292 $2,557 Materials $900 $1,020 $1,146 $1,278 $22,700 $24,059 $25,487 $26,988

Administration Institutional Promotion/Advertising $5,000 3% $5,150 3% $5,305 3% $5,464 Printing & Publications $2,500 3% $2,575 3% $2,652 3% $2,732 Insurance $5,000 3% $5,150 3% $5,305 3% $5,464 Office Equipment/Systems $2,500 3% $2,575 3% $2,652 3% $2,732 Office Supplies/Services $2,500 3% $2,575 3% $2,652 3% $2,732 Telephone $3,000 3% $3,090 3% $3,183 3% $3,278 Miscellaneous $1,500 3% $1,545 3% $1,591 3% $1,639 $22,000 $22,660 $23,340 $24,040

Occupancy Utilities $22,100 $22,763 $23,446 $24,149 Repairs and Maintenance $8,288 $8,536 $8,792 $9,056 Building Cleaning $2,500 3% $2,575 3% $2,652 3% $2,732 Trash Hauling $1,500 3% $1,545 3% $1,591 3% $1,639 Cleaning/Building Supplies $2,500 3% $2,575 3% $2,652 3% $2,732 Miscellaneous $1,000 3% $1,030 3% $1,061 3% $1,093 $37,888 $39,024 $40,195 $41,401

Total $177,463 $183,464 $189,675 $196,101

Annual Funding Requirement $13,963 $13,441 $12,865 $12,228

RATIOS AND FORMULAS CPI Escalator 3% 3% 3%

% of Budget Covered by Earned Income 92% 93% 93% 94%

Space Number Net Area Studios 10 5,000 5,000 5,000 5,000 5,000 Lobby/Café 1 1,000 Classroom 1 750 Store/Gallery 1 1,000 1,000 1,000 1,000 1,000 Support Space 750 Total net Square Footage 8,500 Gross Square Footage 11,050 11,050 11,050 11,050 11,050 Studios Average Rent ($/nsf/year) $12.50 3% $12.88 3% $13.26 3% $13.66 Gallery/Shop Retail Sales/nsf/year $150 3% $154.50 3% $159.14 3% $163.91 Commission on Sales 30% 30% 30% 30%

Lobby/Café Average Daily Sales $200 5% $210.00 5% $220.50 5% $231.53 COGS 40% 40% 40% 40% Annual Days of Operation 250 250 250 250

Program Revenue Number of Programs 10 11 12 13 Average Durations (weeks) 12 12 12 12 Average Students/Program 10 10 10 10 Average Fee/Student/Program $60 3% $61.80 3% $63.65 3% $65.56 Techer Cost - % of Revenue 30% 30% 30% 30% Overheads - % of Revenue 15% 15% 15% 15%

Occcupancy Costs Cost/sf Utilities $2.00 3% $2.06 3% $2.12 3% $2.19 Repairs and Maintenance $0.75 3% $0.77 3% $0.80 3% $0.82

Op. Budget Summary FY2014 FY2015 FY2016 FY2017 Total Revenue 163,500 170,023 176,810 183,873 Operating Expenses 177,463 183,464 189,675 196,101 Operating Result (13,963) (13,441) (12,865) (12,228)

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! appendix h: comparable community arts centers ! Bloomington Center for the Arts Bloomington, Minnesota

Opening Year 2003

Building History The City of Bloomington developed the Bloomington Center for the Arts as part of a larger project, the Bloomington Civic Plaza. The Civic Plaza is also the location of City Hall and the Police Department.

Project Cost $7.2 million in new construction ($8.8 million in 2011)

Governance and The building is owned and managed by the City of Bloomington. The Operation Parks & Recreation Department manages the building.

Physical Components 2 exhibition galleries, 366-theater, 120-seat black box theater, rehearsal hall, dance studio, 5 classrooms, administrative space

Producing and The City presents a musical series of local artists. Presenting Activity

Other Primary Tenants The building has administrative space for eight resident arts and cultural organizations. These resident organizations conduct most of their activities in the Center for the Arts. Educational Activity All education activity is provided by resident organizations.

City Contribution FY10: $592,159

Earned Income Approximately $140,000 from ticket sales and rentals annually

Other Income Investment Income from a $1 million endowment

Staffing 1 full-time Center for the Arts Manager, 1 part-time assistant, and building attendants

Operating Budget $600,000 annually

! "! Fairfield Community Arts Center Fairfield, Ohio

Opening Year 2005

Building History The building opened in 2005 as part of a mixed-use City development intended to serve as the cultural and commercial center of Fairfield.

Project Cost $10 million in new construction ($11.6 million in 2011)

Governance and The building is owned by the City of Fairfield and managed by the Operation Parks & Recreation Department. The center serves as the home of all Parks & Recreation Department programs.

Physical Components 250-seat theater, art gallery, arts and craft studio, dance studio, classroom, multi-purpose room.

Producing and The City presents two to four theatre and musical events annually. Presenting Activity

Other Primary Tenants The local community theatre nonprofit organization, the Fairfield Footlighters, uses the theater for all of its productions.

Educational Activity The City offers classes and camps for children in visual arts, dance, and music as well as visual arts workshops and ballroom dance classes for adults.

City Contribution $200,000 to $300,000 annually.

Earned Income In FY11, 46% cost recovery, with a goal of 60% cost recovery in FY12.

Other Income None

Staffing The Parks & Recreation Department hired 3 additional staff members when the building opened, a Community Arts Center Manager, a Theatre Tech, and a Senior Programmer. Operating Budget $1.2 million annually

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! "! Center for the Arts of Greater Manassas/Prince William County Manassas, Virginia !

Opening Year 2002

Building History This historic building was originally built as a candy factory in 1908. In 1998, the owner donated the building to the City of Manassas. In 2002, after some restoration work, the City leased to Center for the Arts of Greater Manassas.

Project Cost $2 million in restoration work ($2.5 million in 2011)

Governance and The facility is owned by the City and leased to the Center for the Arts, a Operation nonprofit governed by a 22-member board.

Physical Components gallery, classrooms, administrative space, flexible theater space (approximately 180-seats theater style).

Presenting or The Center presents a children’s series and curates gallery Producing Activity exhibitions. The Center also produces community theatre through its theatre company, Rooftop Productions.

Other Primary Tenants None

Educational Activity Classes and workshops in visual arts, writing, theatre, and ballroom dancing for children and adults.

Contributed Income FY10: $316,000

Earned Income FY10: $191,000

Other Income Investment Income- $3k, Other Income- $8k

Staffing 6 full-time staff Key positions include Executive Director, Theatre Arts Director, Gallery Director, and Education Director

Operating Budget FY10: $537,000

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! "! Lawrence Arts Center Lawrence, Kansas

Opening Year 2002

Building History The Lawrence Arts Center was established in 1975 through a public and private partnership. Initially housed in a city-owned historic library building, over time, LAC outgrew its space. In 2002, the Lawrence Arts Center moved into its newly constructed home. Project Cost $7.2 million in new construction ($9 million in 2011)

Governance and The building is owned and operated by the Lawrence Arts Center, Operation which is a 501(c)(3) organization with a 19-member board of directors.

Physical Components 300-seat main theater, 80-seat black box, gallery space, arts and craft studios, dance studios, classroom, gift shop.

Producing and LAC presents an annual film series and produces dance and theatre Presenting Activity performances through its education programs.

Other Primary Tenants Although there are no resident groups, there are many arts and cultural organizations that rent the facilities on a regular basis.

Educational Activity LAC offers visual arts, dance, and drama classes for all ages. LAC also has its own arts-based preschool for children ages 3-5.

City Contribution $90,000 in operating support, $25,000 for scholarships.

Earned Income $950,000

Other Income $350,000 in grants and donations

Staffing 13 full-time staff Key positions include Executive Director, Director of Programs and Partnerships, Exhibition Program Director, and Artistic Director of Performing Arts Operating Budget $1.4 million annually

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