Theatre Design & Technology - Winter 2010 - 102

book

reviews
Having held organizational leadership positions at arts organizations ranging from production manager to artistic director, and
having lived through many of the same challenges faced in The Art
of the Turnaround, i was particularly interested in this extraordinary book that serves as both cautionary tale and practical primer
in crisis response. While i was grateful that many of my leadership
decisions fell within Kaiser's "rules," i truly wished i had this important reference years ago.

Arts turnaround king
Kaiser came to arts leadership following a successful career as a consultant on strategic planning for fortune 500 corporations. With his only arts
experience being a short term as a board member for the Washington
opera, he came to his first arts executive position with a combination of
brio and innocence. We get to experience Kaiser's failures and successes
as he evolves into the arts "turnaround king," as the Chicago Tribune's
arts critic, sid smith, noted in 1996. He gained his nickname in new York
dance circles for his work with american ballet theatre. for a king, Kaiser is quite honest in acknowledging his failures, how he learned from
them, and how he later applied those lessons in future decision making.
in his introduction, Kaiser notes, "the approaches i have developed
over the past twenty years are also applicable to 'healthy' arts organizations. the sad fact of life is that there is a very slim line between sickness and health in the arts. organizations that appear robust can suffer
dramatic losses quickly and can be thrust into the turnaround position
quickly. so it is imperative that even organizations not facing critical issues, behave in ways that prevent, or at least minimize artistic and financial difficulties."
The Art of the Turnaround begins with a chapter devoted to Kaiser's
"ten rules." He warns ominously, "ignore any one of them at your peril!" When i first looked at the ten rules, i thought them rather simplistic.
However, as i delved into the explanations, i found both common sense
and significant insight into how organizations behave. the rules are: 1)
someone Must lead, 2) the leader Must Have a Plan, 3) You cannot save
Your Way to Health, 4)focus on today and tomorrow, not Yesterday, 5)
extend Your Programming Planning calendar, 6) Marketing is More than
brochures and advertisements 7) there Must be only one spokesperson
and the Message Must be Positive, 8) fund-raising Must focus on the
larger donor, but don't aim too High 9) the board Must allow itself to
be restructured 10) the organization Must Have the discipline to follow
each of these rules.
i found the first three rules the most resonate for me, and as Kaiser
notes, the most perilous to ignore. others will respond in different ways
to these rules based on their own experience with leadership and their
own organizational culture. at the top of his (and my) list is "someone
must lead." Kaiser discuses the frequent schisms that occur during times
of crisis between board members and organizational leaders or between
senior organizational leaders. He notes, for example, that troubled organizations often "suffer from diffused leadership structure as numerous

100

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2010

parties try to 'help.'" for the second rule, "the leader
must have a plan," which he elaborates in the case
studies that follow, he stresses that every decision must
be not only in line with the organizational mission, but
must always work in a manner that moves that mission
further. the third rule, an organization "cannot save
your way to health," is one that struck me as counterintuitive, often ignored, and particularly informative in
helping to shape, support, and direct the efforts of a
healthy organizational recovery. these three rules and
the remaining seven are all explored and supported by specific applications in his case studies.

Case study
in the first case study, Kaiser recounts joining the Kansas city ballet as general manager. at the time, the company, while artistically lead by a strong team
that included george balanchine protégé todd bolender, was in a position
of near extinction. it was $125,000 in debt (in 1985 dollars), challenged
each week to meet payroll, and housed in a repurposed old public school.
in great detail, Kaiser documents his journey at the company, from his hiring process (itself an interesting look at board and organizational communications and culture) to near closure of the organization, and finally, to the
turnaround that not only saved the organization that existed at the time of
his arrival, but redefined, expanded, and thrust the organization forward in
a sustainable way. the fundamental changes in organizational culture and
processes that were implemented under Kaiser's leadership continues to
benefit the Kansas city ballet, the greater-Kansas city region, and the longterm partnerships Kaiser developed there. one of those partnerships was
with the alvin ailey dance foundation, to which Mr. Kaiser moved and is the
focus of his second case study.
in this case study, Kaiser reports on his pre-hiring meetings with individual members of the Kansas city ballet board. "as with most troubled
organizations," he writes, "the board believed that the problem lay with
the artistic management. they thought the company needed to 'do more
popular repertoire,' spend less money, and get more efficient." Kaiser listened to their comments, he says, and replied "if i were hired, the first
thing we would do would be to create a plan that would detail our way
forward. i was not at all experienced in dance and i had no idea why this
organization was in trouble, but i certainly was not impressed with the
'insights' i was hearing." While there is much to take from private sector
practices, as Kaiser learned, the arts are best served as organizations that
produce living products not widgets.
Whether you are serving in an entry level or executive leadership position, from crew chief to executive director, there is much to be learned
from in Michael Kaiser's The Art of the Turnaround.
Michael Gros teaches and directs at Kansas State University.
He has served as artistic director of Pacific Conservatory of the
Performing Arts Theaterfest and South Bay Repertory Theatre.



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