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    Sadder Math

    New survey shows the devastating impact COVID-19 has on Dallas arts and culture

    Lindsey Wilson
    Aug 28, 2020 | 1:49 pm
    Caroline Bowman in the national tour of Frozen
    The national tour of Frozen was canceled due to COVID-19.
    Photo by Deen Van Meer

    Nearly two months after a trio of Dallas arts advocacy organizations conducted a survey to see how much the COVID-19 pandemic has affected the Dallas nonprofit arts and culture community, they're back with another one — and the results are staggering.

    The latest survey shows that coronavirus losses have doubled to $67.77 million, with 1,219 jobs lost since the March 13 shutdown.

    That is $34.12 million — more than double the $33.65 million in losses reported in the first survey period through May 31. Some of the increase is due to the larger number of participating organizations (91 compared to the original 57), but 86 percent of that increase was from the 52 groups who participated in both surveys, and $29.5 million in just the past two months.

    "All of these organizations are just struggling to hold on," said Terry D. Loftis, TACA president and executive director, in a release. So far, TACA has distributed $592,500 in emergency COVID relief grants to 70 groups. "The philanthropic community is certainly working to step up and help, but these losses are staggering. And given the rate they are growing, we've got a huge challenge to overcome."

    This second survey was once again conducted by the Arts Community Alliance (TACA), Dallas Arts District (DAD), and Dallas Area Cultural Advocacy Coalition (DACAC).

    While many businesses in Dallas have reopened, capacity limits and social distancing have kept arts and cultural organizations from resuming live, in-person experiences. This has meant canceling or postponing thousands of programs, performances, and classes.

    Survey results show more than 2,155,000 in lost or deferred attendance, and the revenue losses show the 91 organizations have lost, on average, 25 percent of their budgets since March 13.

    The human toll is climbing, as well; 1,219 people have been furloughed or laid off through July 31, up from 649 at the end of May. Full-time staff members made up 189 of these, while 1,030 were part-time.

    These new job losses had been anticipated as funds from the forgivable Payroll Protection Program loans under the federal CARES Act began running out in June and July. These funds had allowed organizations to keep paying employees for two months. Fifty groups said their loans had expired, forcing cuts in their workforce.

    Some of those remaining staff members also saw their pay get cut. At least a third of the groups have implemented salary reductions to reduce expenses.

    "It's really pretty simple. Everyone is trying to find enough cash so we can live to fight another day," says Joanna St. Angelo, president of the grassroots arts advocacy group DACAC. "We are turning to donors, patrons, foundations, and corporations. Perhaps the federal government will include the arts in another stimulus package, or maybe the city can find just a little bit more. We are checking under every couch cushion to see what we can find."

    The groups participating in the survey reflect the vibrant diversity of the Dallas arts community today: dance, theater, music, visual arts, performing arts centers, literary arts, and more. Some are based downtown and in the Dallas Arts District, but many more are located throughout the city. They include the city's historic institutions and new and emerging groups, with 24 identifying as ALAANA (African, Latinx, Asian, Arab, Native American) and seven that focus on LGBTQ experiences.

    Of the 91 organizations, 52 participated in both surveys and 34 new organizations participated for the first time. Five completed the first survey only but their losses are included in the total.

    Despite the daunting numbers, the survey indicates some optimism for reopening soon. Of the respondents, 38 percent have plans to safely reopen by the end of the year while 42 percent say they are targeting the first two quarters of 2021.

    "This community is creative and resilient, two things that are critical to surviving a crisis like this," says Lily Weiss, executive director of the Dallas Arts District, in a release. "I'm convinced we will find ways to get back in front of our audiences and out into the community — and do it safely.

    "The arts will play an important role in the recovery of our economy and healing of our community, and I'm optimistic Dallas will find the resources to help us do that. There's too much at stake."

    theateroperamuseumsdancereportsconcerts
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    Dance Off

    Texas ballet company turns Timothée Chalamet dig into genius promotion

    Brianna Caleri
    Mar 13, 2026 | 1:12 pm
    Timothée Chalamet
    Courtesy
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    It was a shot fired from Austin that rang out around the art world: In a recent CNN/Variety Town Hall featuring actors Timothée Chalamet and Matthew McConaughey, Chalamet offered an assessment of ballet and opera that immediately went viral.

    During the onstage conversation at the University of Texas at Austin, Chalamet said, "I don't want to be working in ballet or opera, or you know, things where it's like, 'hey, keep this thing alive, even though like no one cares about this anymore.' All respect to the ballet and opera people out there. I just lost 14 cents in viewership."

    Chalamet immediately seemed to experience a twinge of regret, awkwardly adding, "But um...damn, I just took shots for no reason." He also sang a note and hid his face behind the cards he was holding.

    Stars of the art forms, from Andrea Bocelli to Misty Copeland, immediately began to leap (jeté, if you will) to the the defense of opera and ballet.

    In a genius marketing move, Austin's hometown ballet company is taking the unique opportunity to turn a hot topic into a promotion for its next production: Ballet Austin is inviting anyone named Timothée, Timothee, or Timothy to claim a free ticket to its upcoming world premiere of Marie Antoinette: Vampire Queen of Versailles, running March 27-29 at the Long Center for the Performing Arts.

    "Timothée… you were in Austin? We were literally down the street," a Ballet Austin post says. "Austin has brisket. Austin has music. Austin also has ballet."

    All Timothées and folks with similar names will have to do to claim a ticket is send a message to Ballet Austin on social media and show identification. Everyone else who wants to see the supernatural show where "the line between victim and villain blurs" will have to purchase a ticket ($25-$125) at balletaustin.org.

    Ballet Austin Marie Antoinette: Vampire Queen of Versailles Ballet Austin isn't afraid to add some edge to classic stories. Photo courtesy of Ballet Austin

    Even if Chalamet's words were dismissive, he's obviously not wrong about the relative distribution of public interest between the classical arts and major films like Marty Supreme, the late 2025 film he stars in and is busy promoting. The film's commercially successful release set a record for A24, an already renowned studio.

    Chalamet brought up ballet and opera in service of a larger point about pacing in movies. He said he exists in a middle ground as a consumer between wanting to be drawn in early and being more patient as a film progresses. Ultimately, he juxtaposed Barbie and Oppenheimer with the classical arts, pointing out that if the masses want to go see a film, they will "be loud and proud about it" organically, without needing performers to advocate for the seriousness of the art form.

    Coincidentally, there couldn't be a better counterpoint to this argument than Marie Antoinette: Vampire Queen of Versailles.

    As the title suggests, the story follows historical figure Marie Antoinette as she chooses to become a vampire, seeking "power, immortality, and vengeance," according to a press release. It takes a somewhat silly premise and gives it dramatic gravitas, with an original score by Austin composer Graham Reynolds, who is known outside of classical circles and sometimes composes for movie soundtracks.

    "For Ballet Austin, the moment is an opportunity to remind audiences that ballet isn’t fading away," says a release about the new promotion. "It’s evolving, drawing new audiences and continuing to thrive in creative cities like Austin."

    If Chalamet really does fall in the middle of instant and delayed artistic gratification, this sounds like the perfect production to draw him in.

    And perhaps Ballet Austin should add people named Matthew to their promotion, since McConaughey threw the younger star a bone after his momentary walk-back, saying, "That's not a shot — I hear what you're saying."

    ---

    Stephanie Allmon Merry contributed to this story.

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