In their Own Words: A Return to the Stage with Kansas City’s Big Three Performing Arts Organizations
The curtain is up, once again!
In 2011, Kansas City’s Kauffman Center for the Performing Arts opened to national and international accolades: for the architecture and design, for the audience experience, for the acoustics – every detail of our shining jewel of a performing arts hall was widely discussed and applauded. With its own series of traveling shows and three resident performing arts companies, it’s no exaggeration to say that the Kauffman Center played a huge role in Kansas City’s transformation into an arts destination in its own right. Over the years since, there weren’t many weekends when you’d find the Kauffman Center’s lauded stages dark; that is, not until spring of 2020, when a hush descended over the hall and live music and performance art were abruptly silenced.
Over the long and strange nearly two years that have passed since, the performing arts have had to adapt and show resiliency in a way that few other industries have, with the obvious exception of restaurants and hospitality. But, as with all things: there is light at the end of the tunnel. As audiences begin to gather in the halls and lobbies at the Kauffman Center again this fall, it seemed like the opportune time to take a step backstage with our very own Lyric Opera, Kansas City Ballet, and Kansas City Symphony, the aforementioned companies in residence and Kansas City’s big three classical performing arts organizations, to talk about how far they’ve come and where they are going next.
From the Lyric Opera: Andrew Garton, Vice-President of Orpheus KC (formerly known as Young Friends)
From the Kansas City Ballet: Whitney Huell, company member
From the Kansas City Symphony: Susie Yang, associate principal cellist
Question: It’s hard to believe how long it’s been since the Kauffman Center shut its doors at the beginning of the pandemic. Can you describe what you felt in March 2020 when it first became apparent that we may not see live performances on stage for some time?
AG: We were set to see the Sunday Matinee of Lucia di Lammermoor on March 15, 2020, when the show was shuttered mid-production due to the pandemic. Orpheus KC hosts a Sunday Brunch before every matinee; we went ahead with that get together, and the discussion was all of us naïvely thinking it would be a few week blip. Ever the optimist, I’ve continued to see the light at the end of the tunnel throughout.
WH: Honestly, I was scared. I was actually more concerned with not being in the studio everyday working on the craft I know and love. It was so difficult to fathom breaking a routine I’ve known all my life. When the remainder of 2020 season was cancelled the realization of not performing for a while kicked in. I felt lost. It was a big change for all of us because there were so many unknowns.
SY: I remember that moment quite clearly. I had just played a quartet concert in the Nelson-Atkins Museum and we went out to a packed restaurant in Martini Corner. The Kansas City Symphony was in the middle of an opera run that week and we got a text the day after that quartet concert about the cancelling of the opera concerts. It felt sudden, unbelievable and scary. At the time I didn’t think it was going to last as long as it did. I just thought it was a precaution. I started teaching my private students online and assured them we would be back in person by late summer of 2020. Boy, was I wrong!
Question: Organizations and people had to adapt tremendously in the wake of the pandemic. What adaptations are you most proud of for your organization? For yourself personally?
AG: Orpheus KC, in its efforts to bring new audiences to the art of opera, is keenly focused on building a sense of community where folks that have never attended the Lyric Opera can plug in and feel at home. Prior to the pandemic, that mission and our revenue solely relied on in-person activities. The pandemic and virtual fatigue forced us to get creative in crafting online engagement of which people wanted to be a part, allowed us to partner with and highlight local businesses, and create additional small-group experiences that let our membership build more meaningful relationships. I think I’m most proud and most impressed that Orpheus KC has been busier than ever during the pandemic.
WH: Kansas City Ballet adapted quickly. Safety protocols were swiftly implemented which I believe were very successful in allowing us to return to work. Personally, I was proud of how I utilized my time in quarantine. My apartment became my studio equipped with a subfloor, Marley [editor’s note: a type of roll-out vinyl dance floor] and a ballet barre. I took ballet class almost every day. I chose to focus on what I could control… my body, my technique. I really tried to improve myself during that time.
SY: I am proud of the Kansas City Symphony for supporting their musicians during the entire pandemic. We had full health insurance the entire time and for the remainder of our 19-20 season, we were paid 100% of our salary. When we did take a cut early in our 20-21 season, it was minimal. Also, we had many Zoom meetings during that time to really brainstorm ideas for a potential season of no concerts. Finally, we did some great recordings on stage to be put out online for our audiences and eventually, purchased a trailer to bring the music to all the various communities in Kansas City. That trailer is of course, the Mobile Music box [editor’s note: which you have likely seen performing at parks and events all over the metro]!
For myself personally, I learned how to create outdoor concert opportunities for myself and learn new skills like editing videos for social media or designing flyers. I had Zoom recitals for my private students and did a special Bach project in Loose Park with a KC Ballet dancer, Cameron Thomas. It was definitely hard times and keeping busy was important to me.
Question: What does it mean to you to be back on stage/see members of your organization back on stage this fall after such a long hiatus from live performances?
AG: I’ve got tickets to the Lyric Opera Goes to Hollywood: In Concert on Sunday, November 14, and seeing a full scale production on the stage of the Kauffman again for the first time in almost two years … it is a blend of excitement, elation, and sense of being overwhelmed that you get from the anticipation of a homecoming for a loved one you haven’t seen in a long, long time.
WH: It was the greatest gift to be back onstage alongside my peers. There is really nothing like it. I was overcome with emotions of gratitude and happiness. It was wonderful performing for an audience and seeing my coworkers faces again!
SY: It means so much to me to be performing live in front of our amazing audience. I definitely thrive on the energy of our audiences and it was just very touching to be back in our hall with them all.
The Nutcracker makes a return this season.
Question: What show or shows are you most excited about this year?
AG: I am highly anticipating The (R)evolution of Steve Jobs in March 2022. Modern, English-language operas are always so outside the box of what you normally think operas should be; they are always an adventure. Beyond that, an opera exploring tech, faith, human connection, and a corporation that has defined our lives over the last decade, is sure to be fascinating and make opera relevant for any attendee.
WH: I was most excited about performing Serenade which was seen in the latest Celts program. This ballet was one that was previously cancelled due to the pandemic so I was eager to get the chance to do it for our return to the Kauffman Center stage. I’m also looking forward to The Nutcracker. I really missed it.
SY: I am excited about all of our shows this season because I am that ecstatic about coming back live! But, I am most excited about Beethoven 9 for our season finale. I was looking forward to that when it was going to be our season finale in our 19-20 season. It is a grand and amazing symphony with chorus and solo singers.
Question: The classical performing arts scene in Kansas City is on par with that found in many larger metropolitan areas. What do you think makes [your organization] stand out compared to peer organizations?
AG: I think what makes Kansas City so unique is that we do have so many world-class performing arts organizations and they all play well together and cheer one another on. I’m a fan of and encourage everyone to go explore any and all of the major arts organizations in Kansas City, I just happen to love a good aria. Opera is such a singular experience, and each production so entirely unique, I think everyone should try on a few to see how they like it. I’m fairly confident you’ll fall in love.
WH: Our company is committed to artistic excellence and it shows. The dancers live to dance and that resonates onstage.
SY: I honestly think that our audience makes a huge difference. There is a lot of local pride in our city and I find our audience to be very loyal, supportive, and enthusiastic. They bring an electric energy into our hall. The hall also sets us apart. It really creates a more intimate experience and it looks and sounds amazing.
Question: Last but not least: some people have never seen a ballet/opera/symphonic concert. If you had one piece of quick advice for a first-timer, what would it be?
AG: Prepare to be awed and you need not speak Italian. Opera is the unique venue where all elements of the performing arts come together – singing, acting, dancing, scenic design, costumes, [and] orchestration. It is a tapestry of the top talent in every one of those fields. Plus, you’ll be blown away when you realize every performer is singing without a microphone, and every chair is equipped with a translator at eye level so you don’t need to know other languages. And your friends at Orpheus KC will be there to meet you in the Lobby before the show and at intermission.
WH: Enjoy! Art speaks to everyone.
SY: Turn off your cell phone and be excited!
