Value Engineering for the Performing Arts

A method of analysis that became popular in the 1980’s, value engineering is a tool used to save money. The principle is to find ways to complete a project for less money while retaining its desired “value.” Every element in the building is assigned a relative value. Those items deemed of great value are retained; those deemed of lesser value are modified or eliminated. Seems to be a good idea - - helps keep priorities in order - - keeps client and design team on the same page - - and purports to increase value while decreasing costs - - but does it?

In the 1966 movie Gambit, Michael Caine’s character has a plan to pull off a major robbery and needs Shirley McCaine’s character as a ‘gambit’ and window dressing for his plan to succeed. The opening of the movie shows the plan as a dream sequence where everything goes exactly according to plan. Then the film shows us the plan’s actual execution where, of course, everything goes wrong. I believe this is often what happens when value engineering is applied to performing arts facilities. It’s not that I believe the process is flawed, but that it is often applied at inappropriate times with unrealistic expectations.

Although the cost of a design should be monitored at each design phase, it often happens that bids come in significantly over budget. This can be the result of poor budget accounting during design, wishful thinking on the part of the client and design team, an unforeseen jump in labor or material costs or a malfunctioning crystal ball. Whatever the reason, there is almost never additional funding available and so the design team must find ways to reduce the cost of the facility.

The knight-in-shining-armor most often called upon is value. The only problem is that everyone has their own idea of what is valuable to a theater. Substituting gypsum board for plaster will not likely be a problem for anyone. Re-design of the architect’s cherished lobby window wall will be a disappointment but after the theater is built, no one will ever know. Deleting 25% of the stage lighting circuits and 50% of the counterweight rigging sets can seriously handicap the theater over the course of its entire existence. It may seem far-fetched but in these situations, it is often the theatrical systems, essential to the function of the facility, that are asked to suffer significant cuts.

The client/owner is the ultimate arbiter of the value engineering process, although the work of creating value engineering choices is delegated to the architect. Sometimes the client elects to bring in an outside party to oversee the process. The rationale is that the architect and design team may be too invested in the design and another firm will be able to see the project with fresh eyes.

In my experience, this reasoning is flawed. Often, a construction management firm is engaged and charged with reducing the cost of the facility to the monies available . . . period. Despite the best intentions, they can have no understanding of the history of the project, consensus that has been built or the relationships, professional and social, which have accrued. They are often granted carte blanche and the architect and design team are expected to accede a year or more’s work to a relative stranger with minimal time allotted and, most often, no additional fee. You may imagine the unpleasant climate this creates. In fact, it can poison the entire construction process.

Aside from licking old wounds, I am writing this as a cautionary tale to help make performing arts facilities the best they can be. Keep track of project costs at all times during the design process.  A cost consultant can be a very valuable member of your team in this regard. If the project is over-budget at any point in the design, it should be addressed then. The earlier a budget problem is identified the easier it will be to remedy and the less it will cost. As the design proceeds through construction documentation, budget problems become increasingly difficult to remedy and will increase in cost. If you attempt to implement value engineering at this late stage, you will end up with less building for the money.  To paraphrase Yoda, the Jedi master, “Be afraid . . . be very afraid!”

Toys Are Not Just For Kids

Who says we have to stop playing with toys when we grow up? A friend of mine opened a model train store just so he could continue to play. For others of us, grown-up toys are of a different kind: they light up and create sounds and make things “magically” move. They are the latest lighting control board, moving light or mixing console. They are motorized rigging sets and stage elevators and turntables. For some, they are simply a few Lekos (that’s an ellipsoidal reflector spotlight for you youngsters) and a pipe grid. Whatever the size and needs of your facility or whether you are building new, renovating or upgrading; you will find a bewildering array of theatrical systems and equipment. Below are some steps you should take before spending a cent.

Justify the Need – before the “powers that be” will commit to any capital project, they will have to be convinced of its need and value.  This will require that you keep records and try to quantify the need (i.e. what can’t you do now that you would like to do.)

Decide What You Want Your Systems to Do – there is a great deal of information available and many new and interesting toys. It is easy to miss the forest for the trees.  Look at your current systems and how they are used.  What works and what doesn’t? What new demands can you see in the immediate and far future?  Are there any safety concerns?  Organize this information and write it down - - don’t keep it in your head.

Budget – it is the lucky manager who gets everything they want - - and I have never met any lucky ones.  Develop a budget based on the goals you wish to achieve. Leave some wiggle room in your budget - - remember it is almost impossible to get more money, but you will certainly be asked to spend less. 

Take Advantage of Available Help – while most techies and designers have experience in the operation and maintenance of theatrical systems and equipment, very few have ever designed them.  There is more than just selecting the equipment.  You will be working with architects, engineers and contractors who may have more or less experience than you.  If possible, talk with the staff of other facilities that have completed similar projects to yours. Surf the web and visit the library.  Seek help from members of your staff. The more you know the better you will be able to determine and articulate your needs, especially if the project budget is tight.

Who Are These Folks and What Do They Do?

All of the theatrical systems and equipment are made by an equally bewildering array of dealers, representatives and manufacturers. Different manufacturers of theatrical systems and equipment employ different levels of response to a bid or direct purchase, depending upon the project location and its size. Some of the principal players are:

Manufacturer or OEM is the company that actually designs and fabricates the equipment. Some have limited distribution but most work through dealers and representatives.

Dealer is a sales agent for different non-competing manufacturers. Dealers re-sell the equipment and make their profit on the mark-up.

Manufacturer’s Representative is a sales agent for a variety of manufacturers who makes a commission on any represented products that are sold in their territory.

Systems Integrator will package any and all of the typical theatrical equipment packages and provide all coordination and responsibility.

 ? Who Do You Call?

If you are simply buying some off-the-shelf items a local dealer or representative can assist you.  When you can, do business with a local dealer who will open their shop on Sunday afternoon to get that replacement lamp or console that you need. For a medium-sized project without too many bells and whistles, a Systems Integrator can be very helpful.  These firms will not only supply equipment but will also design, coordinate and ensure that all required components are included.  They have experience working with engineers and contractors and will provide them with necessary information during installation and testing of theatrical systems.  They can also offer warranty services. 

For large projects a theater consultant should be engaged.  These consultants work with theatrical systems every day and will be able to help to distill your needs and ideas and to offer suggestions.  As well, they are fluent in the design and construction process and can act as your advocate for what can be, for a new facility, a multi-year process. The theater consultant will prepare specifications and drawings to describe the theatrical systems for bid. These documents will describe the intent, as well as the letter, of the design of the systems and will provide a common basis for bidding.

As I said at the beginning, there are a lot of toys out there. You will be pressured by staff and salespeople alike to purchase the latest-and-the-greatest whatever. Take the time to evaluate your needs, speak with colleagues and research the products to ensure you don’t have more toys than you can play with.

Kid Friendly Facilities Pave The Way For Audiences Of The Future

Photo courtesy of the Philipstown Depot Theatre Often the search for current audiences is at the expense of future audiences.  The Lion King and Beauty and the Beast are easy choices for parent to make when exposing their children to the arts.  The downside is that tickets, concessions and souvenirs for a family with 2 or more children can drain that family’s entertainment fund for a year. This can limit the children’s (our future audiences) performing arts experience to musicals with simple stories and extravagant special effects.  When these children grow up, will they attend the symphony, the ballet, modern dance or opera? It is not this writer’s intention to weigh the virtues of one art-form over another (I enjoyed Beauty and the Beast more than my kids) but to explore ways to expose young people to the full and varied range of the performing arts. I would like to propose a two-pronged solution: program/education and facility design.  The goal of both is to make attending the performing arts desirable and affordable.

Since funding for the arts in grades K-12 is often sacrificed by school districts with limited budgets, perhaps the performing arts facilities and their constituent user groups can fill in the gap.  In the 1960s Lincoln Center for the Performing Arts, in New York City, funded by a grant, gave workshops in the city schools.  These workshops offered students an opportunity to experience these arts, and the people who create and perform them, firsthand.  Many symphony orchestras have programs, aimed at young children, that explore different sections of the orchestra and how they make music together.  Carnegie Hall has programs of concerts aimed at entertaining and educating young audiences. The formal performance is preceded by an informal session where children can interact with the musicians. Many readers, of a certain age, will remember the Young Peoples Concerts presented by the New York Philharmonic and hosted by its conductor, Leonard Bernstein. 

Performances of the Nutcracker Suite are often children’s first, and sometimes only, exposure to ballet.  A feature on CBS’s Sunday Edition noted that many dancers had performed in the Nutcracker as children. The Alvin Ailey Dance Company and the Dance Theater of Harlem, to name a couple, have second companies that present workshops and perform in schools. 

Facilities located on a college campus with performing arts departments have a built-in resource.  By sponsoring events featuring campus departments, opportunities will be provided to give students experience and exposure.  There can also be a synergy with the education department that will benefit student performers as well as student audiences.

So, how is this wonderful plan to be funded in an era of increased operating costs, a fluctuating economy and increasing competition for donations?  That is a subject for wiser heads than mine. It is, however, an issue that must be addressed if performing arts groups and the facilities that house them are to remain viable.

We have discussed exposing children to the arts but how do we get them to the theater?  And more specifically, how do we get their parents to take them?  If your facility is not “kid friendly,” it will not matter if the program is free - - parents won’t make the effort.  Below are several ideas that can be incorporated into the design of new facilities as well as renovations.

Family Lounge/Changing Area: This area would include a child size toilet, lavatory, changing table, bench and fountain. Ideally, each lobby level would have a Family Lounge. This room allows parents a quiet space to attend to their children (and also keep an eye on them.) For existing facilities, locating a bench and a table behind a portable partition will serve.

Pre-purchased Food and Concessions: A facility might offer a “package” that would include tickets, a snack, small drink and souvenir.  The tickets could be mailed prior to the performance, but the package could be picked-up in the lobby using a voucher.  As well these packages could be sold directly to patrons.

Dedicated Family Areas:  Cordoning off an area of the lobby and identifying it as a family area provides a number of benefits.  It provides an area where parents can more easily keep track of their kids and also a meeting place should a child become separated.  Small benches and a satellite coat check allow parents to avoid crowds and provide an area for tired kids (and parents!) to rest.

Family Parking: It is common to provide parking for persons with disabilities to minimize the distance to the venue.  Families also require this benefit.  For matinees and “kiddie” shows, an area can be temporarily dedicated to families.