onstagepittsburgh.com: Lincoln Park Performing Arts Center is headed into its 20th year in the middle of nowhere. That’s how it may seem when you’re a Pittsburgher headed to Midland, Beaver County, past the former cooling stacks of a nuclear power plant, and find the center and adjacent charter school on a seven-acre oasis, at the end of a small-town business district.
2 comments:
As someone who is a big Lincoln Park fan the title of this article really caught my attention, and regardless of who is backing the center it is always nice to see famous artists supporting performing arts centers. It is just nice to see famous artists using their assets, money, and name to support a facility that will help new artists and shows of all kinds get their own chance to reach the spotlight. It is also very cool to see a music group backing the creation of a performing arts center that seems to be live theater centered. This kind of facility being created will allow for the creation of hundreds if not thousands of new jobs for people in the area around the performing arts center. On top of that based on the article this facility will also be used by school theatrical programs during school hours before being used as a professional facility after school hours. Which is always amazing to see happening.
Getting to read and learn more about the Lincoln Park Performing Arts Center was both informative and eye-opening about the center's operations and use. This article about Lincoln Park caught my attention because I know some Carnegie Mellon School of Drama alumni have designed there, such as Nate Bertone and Adam Koch’s Scenic Design and Kevin Truax’s lighting design. I found the article interesting for the insight it provided into its operation, such as how a school utilizes it during the day, but after school day it turns into a professional performing arts center. The article highlights how this type of system provides a deeply unique opportunity for students to learn alongside professionals, masters in their craft, and even union performers and staff. In addition, the article makes intriguing commentary on how theatres and venues alike select seasons, particularly those of musical theatre. It leaves me wondering how theatres, more so those without a focus on education, can produce a season of shows that are both evocative and new - but also safe enough to sell to an audience.
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