Richmond Magazine has made its sobering overview of the arts center boondoggle available online — it’s an excellent, multi-sourced article that is far from a one-sided puff piece (you can get that here) or a rip job. It leaves few stones unturned.
Not only that, you can read Richard Foster’s investigative feature alongside expanded coverage that details exactly what kind of “entertainment” we can expect for Richmond’s multi-year, multi-million dollar subsidy to a secretive private organization (VAPAF a.k.a. RPAC a.k.a CenterStage Foundation) that has little or no experience in running an arts center.
Much of this has already been reported here at Save Richmond (with past denials from city officials and VAPAF/RPAC/CenterStage, natch), some of it is brand new, scandalous, stuff. Here is a small sampling of the kind of “serious fun” uncovered in Foster’s article and in the web extra:
- There are currently NO plans for the Carpenter Theatre/Center to feature the kind of diverse national fare it used to showcase before it was shut down four years ago after VAPAF squandered the historic theatre’s operating endowment.
- Replacing those diverse national attractions, Richmond can look forward to “family-friendly” events, such as “having the Richmond Symphony play themes from video games in front of large video screens with footage from the games.” [You couldn't make this up.]
- Oh, but worry not. There will also be African drumming.
- In the article, former Carpenter Center head Joel Katz says, “‘They’re running out of time. The greatest artists in the world and the most popular [performances] schedule sometimes three or four years in advance.’ And they may have trouble attracting some national touring shows, he says, because the newly remodeled Carpenter Theater will have 1,700 seats as opposed to the old Carpenter Center’s 2,000 seats.”
- The article outlines the project’s ongoing secrecy, and its cavalier approach to public accountability: “The ordinance that City Council passed in January giving control of the Landmark to RPAC made it clear that financial records would be subject to city audits, just not to residents. The ordinance defines the mayor-appointed RPAC as a ‘private entity’ and says its financial records are not subject to Freedom of Information Act requests.”
- The magazine forwarded a FOIA request and a call to the City Attorney’s office asking for the city code section that would allow the mayor to appoint a private body such as RPAC. The request was ignored.
- Even arts center supporter Dwight Jones, a candidate for Mayor, calls the FOIA restriction ‘over the top’ and says there needs to be ‘accountability in terms of the city’s commitment [to CenterStage].’
- No surprise, perhaps, but another mayoral candidate, City Council president Bill Pantele, doesn’t believe the project should have to be transparent to taxpaying citizens who will be footing the bill for decades. According to the article, Pantele “expresses frustration over why anyone would question RPAC taking over, [stating] that ‘the city’s been losing money on the Landmark Theater for many, many years on a completely transparent basis without a single person complaining about it.’
- Contrary to Pantele’s disingenuous statement above, the article reveals that Former Vice-Mayor and then-1st District Councilman John A. Conrad had questioned the financial, physical and operational management of the Landmark back in 2000. He even organized a task force to study the issues. Ho-hum — another lie from Bill Pantele on behalf of his biggest campaign contributors.
- The article shows that, even in the few areas where the arts center planners are required to publicly file financial statements, they have failed to do so. “Like all nonprofits, CenterStage Foundation is required to file an IRS 990 form disclosing key financial information like funds raised and salaries for executive directors. But the latest 990 available from CenterStage dates back to 2006.”
- The reason that VAPAF can still claim to be a private entity and not a public one is that they are counting their $17 million in Federal tax credits as private money, the feature article reveals. But another mayoral candidate, Paul Goldman, “argues that the historic tax credits are public money and that, subsequently, public money does make up the majority of the funds allocated for the CenterStage project. ‘I don’t think there’s been enough transparency,’ Goldman adds. ‘When you’ve got the majority of a project using public money — in my judgment, you need to have more, not less, public exposure.’” In the article, Chesterfield’s historic tax guru Dan Gecker says that historic tax credits can be counted as private money, but that someone has to front it. Anyone got a spare $17 million lying around?
- City councilman Bruce Tyler attempted to get community arts representatives (such as this writer) on the board of RPAC to represent arts supporters and community interest. This attempt was thwarted and the request was denied.
- The 15-member RPAC board currently has only one arts professional within its ranks… and that one professional has expertise in the visual arts, not the performing arts.
Richmonders should read these pieces in order to find out what local government is subsidizing, and shielding, in their name. And area arts professionals, artists and arts supporters should peruse these features in order to see firsthand just what local government and business leaders really think of competent and knowledgeable arts management, planning and booking (um, not much).
It says a lot about the leaders of this city that they are unable to come together to fund a cost of living increase to retired employees, and can’t live up to their promise to make area schools accessible to handicapped children, but they are able to put all their political differences aside in order to write an open-ended blank check to a private, secretive entity made up of area bigshots that has already wasted millions in public dollars… one that continues to hold ordinary taxpaying citizens in contempt.
Yes, you can tell a great deal about a community by looking at its priorities. Take a good hard look — this is some really ugly stuff, folks.