New Sokoloff Arts venue for Tribeca: Town Stages

Town Stages (first-floor event space shown above) is proudly woman-led.
(photo: Austin Donohue)
Left to right: Chie Morita (Deputy Director),
Robin Sokoloff (Founder/Executive Director)
and Staci Jacobs (VP, Development)
Not pictured: Joanna Carpenter (Bar Director)

Robin Sokoloff (Sokoloff Arts) has long chased one dream: "To create an inspired home for my artistic family, and build a platform for the next generation." 

Enterprising Robin Sokoloff last brought Manhattan Loft227, a snazzy, hi-tech venue in Chelsea for art incubation. Now, in collaboration with Chie Morita, Staci Jacobs and Joanna Carpenter, the versatile dancer/activist/carpenter/counselor/entrepreneur has set up shop in Tribeca, taking over what was once Churrascaria, a popular Brazillian steakhouse, and then White Street Restaurant and Bar. At 221 West Broadway--now called Town Stages--Sokoloff serves up 9,000 square feet over two floors of multi-use event and performance space with resources for creatives with a vision and a hankering for community. Town Stages offers flexible spaces suitable for almost any size performance as well as rehearsals, auditions, weddings, film shoots, corporate events and you name it. And White Street's curvacious bar--with its speakeasy appeal--is still there.

Last November, Sokoloff received the keys to what--with imagination, ingenuity, daring and sweat equity--she and her all-woman team would transform into Town Stages. Among its unexpected charms: a tiny, glass-enclosed wine storage area that now might serve as a box office, or a quirky performance space, or a site for the sound installation that Morita has in mind. Another tucked-away treasure: a cozy, window-lit room lit filled with quaint antiques from the now-defunct Pearl Theatre that could offer a place for singers to warm up or might be turned into a pop-up bookstore.

This handsome, state-of-the art, ADA-accessible facility--with its new, "small but mighty" elevator--was the culmination of an exhaustive, eye-opening search around the city.

"There were 298 landlords saying NO to artists and women and people of color," Sokoloff tells me. "All those storefronts we checked out are still empty. This one said YES.

"We think the city is liberal-minded and diverse and accepting to all. What I learned as an artist traveling through multiple spaces and with multiple kinds of people–especially those who don’t look like me–is that not everyone’s welcome. In fact, most artists are not welcome. 

"Town Stages is different because we recognize that if you don’t have the space to have a platform and represent yourself in whatever form you come in, you don’t have a voice. We are specifically interested in the advancement of women and people of color, LGBT, the underrepresented having space to do their work here."

But how affordable is Town Stages?

"There's no specific price sheet," says Sokoloff who's ready to sit down with any and all to chat about their ideas and needs first. Events and projects coming in with big budgets subsidize smaller productions--Sokoloff calls it her "Robin Hood model." This model also allows Town Stages to offer residency fellowships to creatives with a wide range of fresh ideas.

Deputy Director Morita--former Managing Director for the New York Neo-Futurists troupe--oversees the fellowship program. She says her eye is less on the type or quality of the proposed project than who the applicant is as a human being, how they might interact with and support others in shared space.

“If you are making something–dance, music, theater, an experience for people to walk into, an empowerment event, an app, a piece of clothing, a cocktail, a sandwich–there’s something collaborative about that experience," Morita says. "Bringing those people into a room and offering them the opportunity to collaborate and ask for help in an environment that is easy and comfortable is what we’re looking to build.

"That comes with amenities. Bring your lunch, and put it in our fridge. Bring your yoga mat from this morning, and stick it here and leave it overnight. Have a private room for auditioning. Meet your other fellows here, and talk about projects.

"In the first year, we didn’t advertise the fellowship or put it on social media. It was all word of mouth. From that alone, we got 65 applications. I can only imagine what will happen when we ask for applications from the general public!"

Dance is, of course, especially dear to the hearts of the team. Bessie Award-winning choreographer Ephrat Asherie developed her latest ensemble piece, Odeon, at Town Stages in preparation for its world premiere at Jacob’s Pillow Dance Festival this June. The all-women’s house dance crew Mawu, which affirms sisterhood and celebration over hypermasculine competition, offered creative dance workshops at Town Stages.

Sokoloff remains mindful of dancers' struggles, what she experienced and witnessed as a performer, choreographer and teacher in the field.

“Law of averages, very few dancers have a voice. They are bodies moving on stage. They’re in the background. I had a lot I wanted to say, a lot I wanted to change, a lot I wanted to do. I knew if I just kept dancing, there’d be no way to elevate all of this.

"I’m creating space for myself and my fellow dancers, but my vision and goals and activism are so much bigger than that. I’ve got to be louder than my body enables me to be and be on a bigger platform and a bigger stage.

“I’m still in shows, but going from dancing in studios eighteen hours a day to being on the front lines of real estate and construction is a shift. But it’s a necessary shift if this is all going to move in a better direction. I'm always asking, How can I change the paradigm?"

*****

To connect with the Town Stages team, set up a tour or get details on upcoming events, call 212-634-7690, or click here for their website. They are on Instagram (with daily check-ins) and Facebook as follows:

Instagram: Town Stages and Sokoloff Arts
Facebook: Town Stages and Sokoloff Arts

Town Stages
221 West Broadway, Tribeca, Manhattan
(between White and Franklin Streets)
A, C, E, N, Q, R, W to Canal Street; 1 to Franklin Street; or 2, 3 to Chambers Street

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For Gina Gibney, Space Is the Place

For Gina Gibney, Space Is the Place
Long-time Choreographer, Entrepreneur, and Visionary Receives Dance/USA’s 2017 Ernie Award

by Eva Yaa Asantewaa, From the Green Room, Dance/USA, May 23, 2017

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Galapagos Arts Space to relocate to Detroit

Born in Brooklyn, Now Making a Motown Move
Galapagos Art Space Will Make Detroit Its Home
by Colin Moynihan, The New York Times, December 7, 2014

Marta Moreno Vega and the culture of East Harlem

From Expanded Home, Celebrating the Cultures of the African Diaspora
by Kia Gregory, The New York Times, September 24, 2014

More on the future of Lower East Side arts: Jan Hanvik speaks out

In My Opinion: Essex Crossing Should Include Local Arts Organizations
by Jan Hanvik, The Lo-Down, May 2014

Westbeth artists to lose essential work space

Storm Damaged Their Art, Now It May Take Their Studio Space
by Julie Satow, The New York Times, March 24, 2014

Brooklyn's Industry City gentrification threatens artists

Industry City, the SoHo of Sunset Park
by Julie Satow, The New York Times, January 17, 2014

Gina Gibney acquires former Dance New Amsterdam space

Lease Is Fresh Step for New York's Dance World
Gibney Dance to Take Space Formerly Held by Dance New Amsterdam in Lower Manhattan
by Pia Catton, The Wall Street Journal, January 9, 2014

Graffiti artists decry the whitewashing of New York

As Legal Graffiti Walls Disappear, Street Artists Ponder Future

by David Gonzalez, The New York Times, November 24, 2013

New Bronx digs for BAAD!

Dance artist Arthur Aviles, artistic director of BAAD! (Bronx Academy of Arts and Dance) sent this update on the the organization's move from its longtime Hunts Point location to a new home at Westchester Square.

Charles Rice-Gonzalez and Arthur Aviles
in front of their new arts building
on the grounds of St. Peter's Episcopal Church
(photo courtesy of Arthur Aviles)

BAAD! has been through a beautiful storm this summer.

First, I want to share that we have officially moved from our beloved Hunts Point. Through all the challenges this has posed for our organization, one of the shining silver linings has been the people and organizations who have stepped up, and in, to help us.

Since, Taconic/Denham, Wolf our current landlord, let us know about a year ago that they wouldn't be giving us a long term lease, and would only consider a one year extension at twice the rate of our current lease, we began our quest to find a new home. We have been humbled and uplifted by the support that has come our way.

After Taconic/Denham, Wolf created the conditions that forced us to leave, the Banknote. Denham, Wolf showed us a space and led us to believe that we'd be let out of our lease, we entered into a lease negotiation with St. Peter's Episcopal Church. As I sought help to raise money for a move that was not in my budget, St. Peter's offered a month of free rent and I asked Taconic for help with a free month or two. Instead, Taconic co-CEO, Charles Bendit, stated that since two years were on the lease, we needed to pay them to let us out. After being clear on our financial position he then brought that down to one year. (There is also precedence of Taconic/Denham Wolf paying a tenant to leave and finding them a space with Bronxworks led by Carolyn McLaughlin at that time, but for reasons I'm sure they have, they didn't extend that to Charles and me.)

Although being a small ($300,000) arts organization we would have preferred to be let out of our lease and paying double rent will be crippling to us (and they have a full understanding of that), they have the law on their side, and since we want to abide by the law, they have agreed to give us a lease termination with the conditions of paying them a maximum of 6 months rent, on a month by month basis, unless they find a tenant for our space before the six months are up.

There are many aspects to our story, including the classic David and Goliath one, with BAAD! being a small budget arts organization and essentially grappling with the multi-billion dollar Taconic Titans, as the media has called them, and although moving from Hunts Point and leaving the space we've built over 14 years has been difficult, to say the least, we decided to be as strategic as possible to keep providing a space to serve our artists and audiences.

We will be located at 2474 Westchester Avenue in Westchester Square in a gothic revivalist building on the grounds of St. Peter's Episcopal Church. It's a fully equipped theater.

As you know in the Bronx, several other groups have lost their spaces including the Rebel Diaz Art Collective and Casa Atabex, it's one of the ways progress in the borough is manifesting itself.

Charles and I know we can call on the Bronx Dance coalition community for help.  So we count you among our champions here in the Bronx. We have also gotten great support from other community members and audience who have said where you go, we will follow.

So, off we go to Westchester Square, to build a new temple for dance and the arts, and to expand our audience and make new inroads, and help make Westchester Square a cultural district (along with BCA and it's new building).  Although, we didn't wake up one day and decide to move, finding a wonderful new place to land has been exciting.

Charles and I hope you can visit our new home soon.  We are having an open house on Sunday, October 27 from 1pm to 6pm and will kick off our BlakTina Performance series on Saturday, November 2 at 8pm with a dance tribute to Whitney Houston called Love Will Save the Day.

We will have a few more events to invite folks into the new space and will keep you posted.

With respect, admiration and deep appreciation,
Arthur

Small theater spaces coming to Manhattan's midtown west

New Off Broadway Theaters Planned for West Midtown

by Patrick Healy, The New York Times, October 14, 2013

DNA update (as of September 12)

SEPTEMBER 12 Update from Dance New Amsterdam

Dear DNA Community, Today we have reached an agreement with our landlord, Fram Realty, that allows DNA to remain at its current location through mid-October, after which DNA has agreed to leave 280 Broadway.  However, Fram Realty has agreed, in good faith, to continue to listen to any viable proposals DNA presents to it. Our agreement is being documented and submitted to the Bankruptcy Court for approval. Classes and rentals will be running through October 13. Know that we continue to work on a solution to support the DNA teachers, students,  artist,  audiences,  etc.; but as of yet,  we have not been able to secure a partner or find another solution that would allow us to meet DNA's business responsibilities and remain at 280 Broadway. The DNA Community is more than a 280 Broadway space; it exists regardless of where we work, dance, teach, create, and perform. For our part, we will help keep the lines of communication open between teachers, students, artists, and community supporters while looking for ways to keep our programs alive.  In the meantime, please come take class and rehearse! With great respect and awe, Catherine A. PeilaExecutive/Artistic Director

For InfiniteBody's earlier post on the DNA situation, click here.

New York Theater Ballet to lose its space

First Dance New Amsterdam in crisis, now New York Theater Ballet. Trying times....

New York Theater Ballet Is Seeking New Home After Building Is Sold
by Felicia R. Lee, The New York Times, September 5, 2013

Downtown school and presenter Dance New Amsterdam in crisis [with UPDATE 9/12]

News arrived yesterday of the sudden laying off of Dance New Amsterdam's entire staff as a result of failure to reach an agreement that would keep the 29-year-old educational and presenting organization going through bankruptcy and restructuring. This unanticipated development leaves not only staff, faculty, students and artist residents scrambling for alternatives but numerous dance troupes facing the challenge of securing new venues for upcoming performance seasons in which they had already heavily invested.

InfiniteBody will post links to reports and discussions of this issue and information on resources as these materials become available. Please forward your notes and announcements to infinitebody[at]outlook[dot]com or use the comments section here to share your thoughts, ideas and relevant information.

Thank you!

**********
Dance Center Seeks Help Keeping Doors Open
by Jacqueline Palank, The Wall Street Journal (8/29)

Dance New Amsterdam posts announcement on bankruptcy and closure (8/29)

Curtain Closes on Dance New Amsterdam
by Nadine DeNinno, International Business Times (8/29)

UPDATES

DNA raises $50,000, will remain open for business at least through next week. Click here for more information.

September 4 update from DNA:

First and foremost, we are working with the court and our landlord toward a definitive date on which we present a viable plan for DNA’s future. We hope to have that definitive date on or before Thursday, September 12, our next court date.

In the meantime, DNA will be fully open through the end-of-day on Thursday, September 12th. We’ll be running with a smaller administrative staff, but our faculty and modern guest artists will be here as usual.

Click here for complete text of update.

September 12 Update from DNA

Dear DNA Community, Today we have reached an agreement with our landlord, Fram Realty, that allows DNA to remain at its current location through mid-October, after which DNA has agreed to leave 280 Broadway.  However, Fram Realty has agreed, in good faith, to continue to listen to any viable proposals DNA presents to it. Our agreement is being documented and submitted to the Bankruptcy Court for approval. Classes and rentals will be running through October 13. Know that we continue to work on a solution to support the DNA teachers, students,  artist,  audiences,  etc.; but as of yet,  we have not been able to secure a partner or find another solution that would allow us to meet DNA's business responsibilities and remain at 280 Broadway. The DNA Community is more than a 280 Broadway space; it exists regardless of where we work, dance, teach, create, and perform. For our part, we will help keep the lines of communication open between teachers, students, artists, and community supporters while looking for ways to keep our programs alive.  In the meantime, please come take class and rehearse! With great respect and awe, Catherine A. PeilaExecutive/Artistic Director

Dance New Amsterdam files for bankruptcy protection

Dance New Amsterdam Files for Bankruptcy
by Felicia R. Lee, The New York Times, May 29, 2013

****

May 29, 2013

To the Students and Community of Dance New Amsterdam:

Many of you have seen the announcement that DNA has filed for Chapter 11 Bankruptcy.  We'd like to talk to you about what this means for the organization, and how it affects you directly.

First, let me say that DNA isn't going anywhere.  Our doors are open, all our classes, workshops, and programs are happening as planned, and the theater is buzzing with performances.  

Second, I'd like to shed some light on our current situation:

DNA's financial challenges aren't about the amount of money we take in every year.  In fact, what we earned in 2012 completely covered our expenses.  Our challenge is past debt.

Our move to 280 Broadway was filled with delays, cost overruns, and several poor decisions by past management that created close to 4.5 million dollars in debt.  That is a big number, and it impacts our ability to solicit funding from foundations and the government. 

However, a lot of good things are happening that help chip away at that number.  Here are just a few:

Thanks to you, class and workshop numbers are strong and steady
We've added some new, fantastic folks to our contemporary faculty
Applications for our International Student Visa program are way up
Our existing partnership with Pace University remains strong, and new partnerships with the Joffrey Ballet School and the Tom Todoroff Acting Studio are diversifying the DNA community.

We now have a number of commercial clients who have committed to rehearsal space on an ongoing basis.

So why file for bankruptcy?  Chapter 11 is a business reorganization process that exists to protect organizations from their creditors while they get back on their feet.  It allows us to chip away at that debt faster without the looming threat of eviction.  More importantly, it allows us to focus on providing you with a creative space to train, perform, and collaborate with your peers. 

Finally, the most important thing you can do to help is to come to class, sign up for a workshop, see a performance, and continue to donate!  DNA is your home, and if there's something we can do to make you feel more welcome, please let us know.

We'll continue to communicate updates on our progress, but in the meantime, come and dance!

All the best,
   
Catherine A. Peila
Executive/Artistic Director
Dance New Amsterdam

AIDS activist/archivist James Wentzy to lose his longtime home

Building Blocks: After Chronicling History, SoHo Artist Is Losing a Vantage Point
by David W. Dunlap, The New York Times, May 27, 2013

Joyce Theater will strengthen its Chelsea roots

Joyce Theater to Buy Its Chelsea Home
by Robin Pogrebin, The New York Times, September 18, 2012

Turnaround for Harlem's National Black Theater

National Black Theater in Harlem Settles Disputes
by Felicia R. Lee, The New York Times, June 6, 2012

New lease, new life for Dance New Amsterdam

State Senator Daniel Squadron at DNA press conference (photo by Eva Yaa Asantewaa)

l-r: State Assemblywoman Deborah Glick; Squadron; Community Board 1 Chair Julie Menin; DNA's Executive/Artistic Director Catherine A. Peila; Board of Directors Co-Chair Martha Chapman (Photo by Joon Shin)

Supporters, advisors and colleagues of Dance New Amsterdam's unsinkable Executive/Artistic Director, Catherine A. ("Kate") Peila, gathered at the studio, theater and exhibition center on Friday to learn how, after three years of dogged work, DNA had finally reached agreement with landlord Fram Realty for a substantial decrease in its rent and debt. Removing the threat of eviction from this institution, hit hard by the economic downturn, is not only a big win for the dance community but also for Lower Manhattan, where many small arts groups--such as 3 Legged Dog and Access Theater--maintain a tenuous hold in a high-stakes environment dominated by financial institutions.

"What we did was, basically, whatever it took," said State Senator Daniel Squadron. "At the end of the day, [Fram] did the right thing."

Peila exulted in her center's new, 10-year lease on life, the possibility to move forward with plans to restructure its educational department and engage artists with visions for the future of dance. Moreover, she said, the organization's new-found stability means that donors--some who stayed and others who chose to withdraw--can be assured that "their money will not disappear. We will be here."

The organization will still need to raise the more than $1.2 million needed annually to maintain its facilities.

DNA has 18 full-time employees and extends programming that supports 400 artists in commissioned and produced work. The organization also services over 11,000 individual students and dance company members yearly. Its location in The Sun Building includes six studios, a 130-seat theater, two art galleries and artist administrative space. DNA provides jobs for over 650 teachers, choreographers, technicians, visual artists and musicians through its programming. Dance education programs, performances and rehearsals are estimated to reach more than 11,000 students and dance company members along with the 20,000 plus community visitors resulting in an economic benefit of over $1 million to local businesses, MTA and the government.

While celebrating DNA's survival, State Assemblywoman Deborah Glick delicately noted the ever-present threat.

"This is a tough city in many ways," she said. "We do not do enough to nurture the soul of the city. It's a tough place because real estate runs this city."

That was the underlying theme of an informal roundtable following Squadron and Peila's press conference, attended by representatives of several at-risk arts groups from Lower Manhattan. Speakers questioned how public officials and funding agencies can expect artists to be "more entrepreneurial" with odds stacked against them and little practical support.

Participants described a long-standing atmosphere in which artists, having pioneered and transformed New York's neighborhoods, are considered, at best, temporary place-holders, at worst, barriers to economic progress. Public officials, paying lip service to the notion of helping small businesses, actually give zoning preference and tax breaks to corporate tenants with big pockets. There's little recognition of the prominent role that the arts have always played in driving New York tourism as well as stabilizing and developing neighborhood communities.

While DNA's 2010 crisis, now resolved, served to identify powerful allies such as Squadron, Glick, former City Councilmember Alan Gerson and Manhattan Borough President Scott Stringer, arts organizations will need to educate and sensitize many more public officials and mobilize communities to demand respect for the artists who make their neighborhoods more vital, safe and nourishing places to live and work.

Sign at 2010 press conference/support rally for DNA at City Hall (Photo by Eva Yaa Asantewaa)

Click here for DNA press conference and roundtable mp3 (1:33:11)

Statement from Catherine A. Peila

Almost exactly two years ago, Dance New Amsterdam (DNA) informed the public that we were threads away from eviction. DNA’s current space, which was renovated and made possible as a result of post 9/11 revitalization efforts and more than $4 million of contributed and public funding along with DNA programs revenue, was not affordable. The community supported DNA with more than 4,000 signatures of support to Mayor Bloomberg. A vow of support from the DNA dance community was further showcased on the steps of City Hall including dancing and speeches in the pouring rain.

After three years of appeals to landlord Fram Realty LLC and Abro Management, building owner, Department of Citywide Administrative Services (DCAS), Department of Design and Construction (DDC) and the Department of Cultural Affairs (DCA) – and with the help of extraordinary political leaders State Senator Daniel Squadron, Assemblymember Deborah Glick, City Council Member Margaret Chin, Community Board 1, Congressman Jerrold Nadler, Manhattan Borough President Scott Stringer, former council member Alan Gerson and advocates Dance/NYC and policy expert Paul Nagle,– DNA was able to secure an affordable amended lease and reduce debt. None of which would have been possible without our dedicated pro bono lawyer Meredith Kane of Paul, Weiss, Rifkind, Wharton & Garrison LLP as well DNA Board Co-Chair Richard Reice of Fox Rothschild LLP. Additionally many city agency leaders committed their time and energy to supporting DNA in finding creative solutions to our lease and cash flow conundrum.

DNA is forging ahead powerfully, building relationships and partnerships with other community arts and cultural groups. We are working personally with Michael M. Kaiser of the DeVos Institute (supported by Bloomberg Philanthropies) who is renowned for assisting world-class cultural institutions to build business models that provide the healthy atmosphere necessary for artists to thrive. We are in partnership talks with cross-discipline cultural and academic organizations, along with cross-sector businesses and institutions – allowing DNA to support and augment college accredited courses, film and acting related connections for dancers.

We are also building international contemporary partnerships that not only support the training and creation of jobs for artists but also help artists legitimize their own contemporary dance styles. We are increasing our network within the contemporary dance world and the entertainment industry such as Broadway, television and film. We are also developing an innovative entrepreneurial program that provides tools and practices to artists for developing and sustaining a creative career including merchandising and sales. We expect to announce further details within the next few months on many of these initiatives.

However, with this good news, DNA is not out of the water. Still to tackle is our debt from the original build-out (which was fraught with set-backs) and bridge loans (a result of delays and recalling of promised funding due to the economic downturn). The news of a possible eviction resulted in loss of support from funders wary of awarding grant monies to an organization that may not exist in the near future thus resulting in a severe cash-flow strain along with a reevaluation and redevelopment of budget projections, programming and administration. Today’s news is one more nod towards DNA’s
commitment to thrive in New York’s dance community. It is also an opportunity to reiterate how vital DNA is to incubating and supporting dancers, choreographers, related visual and complimentary discipline artists as well as presenting innovative cultural programming and artist commissions, quality dance education and resource sharing for dance artists of diverse dance genres.

We also hope that today’s press conference will make a statement that DNA is here to stay – we will not give up on artists whether it be lengthy multi-year negotiations, debt consolidations or loss of funding. DNA’s staff is working tirelessly to keep our doors open and we are restructuring so our programs are relevant in today’s environment. DNA’s mission is to support the development of the whole dancer through educational and creative opportunities and in a professional atmosphere – from studio-to-stage and beyond. We’ve refined our schedule of core classes and increased contemporary workshops led by Guest Artists who are active in the field of education and performance. We’re committed to artists through long-term (multi-year) residencies from conception to final product focusing on projects beyond DNA – we encourage development of touring and merchandise development and sales along with career development through cross-sector collaborations. DNA continues to offer opportunities for artists to create and be presented at DNA, to seek and develop partnerships with our cultural neighbors and businesses, advocate for arts institutions as sustainers of communities, and increase our creative and economic footprint in Lower Manhattan and New York. DNA is here to stay - and we dance on.

St. Mark’s Bookshop to stay open

St. Mark’s Bookshop in the East Village Gets Rent Reduction
by John Leland, The New York Times, November 2, 2011