This story is a guest article from arts and culture writer Toni Tresca.
The theater industry in Colorado is at a crossroads. Financial difficulties and closures are becoming increasingly common, with beloved institutions such as Curious Theatre, BackStory Theatre, the Esquire Theatre which closed on July 18, and others facing unprecedented challenges.
Benchmark Theatre, which had been a fixture in Lakewood’s 40 West Arts District since 2018, closed its doors and moved out of its space at 1560 Teller St. on June 2. Citing rising overhead costs and production expenses, the company is transitioning to a nomadic model in which the artistic company will work in rented spaces throughout town.
“It is so obvious to say that we faced financial difficulties, but it is true,” said Haley Johnson, Benchmark’s co-founder and executive director. “I believe that all nonprofit arts organizations would agree that it is extremely difficult to operate, particularly in the aftermath of the pandemic. We do our best, but Benchmark frequently operates on a shoestring budget; creating and producing is a grassroots effort, despite generous support from foundations and other theaters.”
Before Benchmark occupied the space, it was home to The Edge Theater, which played a significant role in establishing a theater presence in the Lakewood area. In an email shared by the all-volunteer organization on June 4, Benchmark noted that it was “indebted to Rick and Patty Yaconis and The Edge Theater for building the groundwork” that allowed them to perform along the West Colfax corridor.
“The Edge partnered with 40 West to get a theater in that section of town,” Johnson said. “It was incredible to watch that company thrive. The Edge began in a smaller space further down Colfax and has grown significantly since then. However, when the founders relocated to Chicago, it was extremely exciting for us to move into the space as a full-time occupation.”
This foundation enabled Benchmark to build on The Edge’s work, continuing the legacy of bringing innovative theater to the community. Benchmark Theatre’s commitment to cutting-edge, daring new plays helped it carve out a distinct niche in the local arts scene. Artistic director Neil Truglio is proud that they did not present overdone works from the theatrical canon, such as “The Music Man and Cabaret,” but instead focused on material not found anywhere else in town.
“One of my favorites in the space was ‘1984’ because that went from Broadway to Benchmark, and that’s a crazy leap,” Truglio said. “Broadway has giant stages and the ability to do illusions, and we did it in that small little rectangle. After that show, I knew we could do anything in this room. ‘Blasted’ was another of my favorite pieces—it felt like a crowning achievement to be able to pull off such an intense play so successfully and safely.”
However, this commitment to innovative, boundary-pushing theater made it difficult to attract audiences. Benchmark has a much smaller margin for error than larger companies like the Arvada Center and Denver Center for the Performing Arts, which include built-in moneymakers in their seasons to offset their more experimental work.
“We want to support new work, and audiences say they want new work, but they don’t come out to see the show,” Johnson explained.
Plays like Sarah Kane’s “Blasted,” which depicted the arduous life of a wartime journalist, were difficult to watch but ultimately rewarding artistic experiences for audience members who took a chance on the play. However, few did so, as the play struggled to fill seats and was “not a box office success.”
“Nobody came out to see ‘Blasted,’” Johnson said. “While that was a very challenging show to sit through, I thought it was one of the most artistic things we’ve ever done. It’s challenging to say, ‘Hey, let’s do something that no one else is doing and push the boundaries in terms of what we’re capable of,’ and then there’s no audience.”
Benchmark’s situation is not unique. Curious Theatre, a stalwart of Denver’s theater community known for producing premiere productions of social justice theater, announced on June 9 that its longtime home at the Acoma Center is for sale. Faced with a $250,000 deficit, the company launched a $250,000 “Fund the Future” campaign in March to stay afloat amidst declining subscriptions, ticket sales and donor contributions.
Ultimately, the company decided that maintaining the historic Acoma Center had become unsustainable, forcing Curious Theatre to consider alternative models. The company is looking into options such as “a lease-back of the facility, a sale to supportive investors, partnerships with developers for a new on-site structure, or even a potential new space in Denver.”
But, given the current economic climate, is that just wishful thinking? These struggles extend beyond theaters that focus on innovative or socially conscious content.
BackStory Theatre in Broomfield, which offers affordable performing arts education to children, is also in jeopardy. Financial difficulties following a move and renovations to a new location, combined with the resignation of its executive director, put the organization’s future in question.
Locally, the Esquire Theatre, which has been screening independent films since 1927, closed due to rising operating costs and a shift in business strategy. Similarly, the Aztlan Theatre on Santa Fe Drive has an uncertain future due to rising property taxes and stagnant revenue. These challenges are part of a larger trend affecting the theater industry across the country: rising costs, declining audiences and insufficient funding, all of which squeeze venues with already thin margins.
Benchmark Theatre’s transition to a nomadic model presents a potential path forward. This approach lowers the cost of maintaining a permanent space while increasing programming flexibility and collaboration opportunities with other businesses. Though their decision to leave their space required them to cancel the rest of their 2024 plans, Truglio is relishing the opportunity to slow down and rethink their strategy.
“We were all tired,” he said. “We have been producing shows at a rapid pace, and we all have families, so this decision will allow us to spend more time with them while we plan our next steps. We are talking to other venues, including several nontraditional theater spaces. This also allows us to see if the numerous original scripts we have created over the years have any life outside of Benchmark.”
The key to survival for the Denver arts community lies in innovative approaches and community support. By embracing flexible operational models, theaters might continue to enrich their communities’ cultural fabric.
“If you want the arts to be viable in your town, you have to patronize them,” Truglio said. “If you love the fact that we have a symphony here but have never purchased a ticket, guess what? The symphony will most likely disappear one day. For us, it no longer makes financial sense to continue at this location, so we are going to change things up and possibly program less in the future. Going forward, I would encourage people to vote with their wallets, and if you believe something in this town is valuable, then you need to support it before it’s gone forever.”
