I was amazed at the storm of controversy generated by an April 27 column appearing on the Forum page of the Perspective section. In “Nonprofit groups sustain our spiritual hearts,” author Peter Frewen was assailed for having omitted the name of Community Little Theatre from his brief listing of performing arts groups that have made an impact on the cultural life of the Twin Cities. Mr. Frewen did not even proceed beyond his first paragraph before he had opened himself up to condemnation.

The writers of two letters to the editor published on May 8 and 9, in their rebuttals cited the various merits that they perceived CLT has brought to the community. Quite frankly, I do not understand why it was so necessary to try to convince readers of what is already so clearly obvious.

One has but to thumb through a plentiful number of issues of Encore over the course of a calendar year to find an upcoming production of CLT being profiled or reviewed to great extent. Additionally, how often are the covers of Encore devoted to a photograph of cast members or artwork from an impending show? Just look to the skies and see what CLT production is now being broadcast to drivers as they cross the intersection of Main and Court Streets heading to or from the Longley Bridge.

If, as asserted in the second letter of May 9, 10,000 individuals attend performances of CLT annually, the presence of Community Little Theatre in this town is undeniably recognized! So, why is there all this fuss in one omission from this short column?

I believe both writers missed the point in Peter Frewen’s column. I would like to speculate that in naming only four area organizations, he was thinking in terms of presenters that pay their performers for the services that are rendered.

As the founder/music director of L/A Children’s Chorus, which incidentally celebrates its 10th anniversary season this year, I am not offended by our name having been omitted from Mr. Frewen’s listing. Indeed, we were invited by the Maine Music Society to perform at one of its concerts several years ago some pieces by the very composer mentioned in his column, Bruce Saylor.

Mr. Frewen was addressing a deeper issue, that of diminishing funds for the arts in this troubling economic time. And, with that subject, another question surfaces.

Is it a case of popular versus classical entertainment? Could that lie at the heart of why some performing arts groups struggle financially? Do the ones that present more popular entertainment thrive and those that offer more classical forms face extinction?

Although he mentioned them in his listing, I would have to hold with considerable reservation any wholesale endorsement of L/A Arts, for this organization has abandoned its mission of presenting classical musical performances.

In the days when Carol Rea served as its executive director, classical music presentations were available. In the post-Katherine Knowles era the buck was passed to the Maine Music Society or to Bates College. Let them do it, was the party line. We do not want to overlap what is already being done so well by these splendid organizations.

I can hear the justification.

I do expect to hear a backlash regarding my commentary. But no amount of argument can justify the current position on this issue.

Classical music and other classical art forms are at the very core of the purpose for which arts organizations such as L/A Arts were created in the first place! Increased revenue from ticket sales and larger audiences featuring popular-styled entertainment only, used as an alternative to justify not presenting classically-based performances, is unacceptable and irresponsible.

And, while the president of CLT would like to imply that annual audiences of 10,000 equate with quality, it is fallacious to draw any correlation between the popularity of a given presentation to its inherent value or excellence. Just because a classical music performance is poorly attended should not infer that it is lacking in quality or worthiness. Conversely, just because a performance of a play locally has a huge audience there must not be the automatic assumption that high quality is present.

The classical arts should and must be available to all residents in a community, not for financial gain or expectations of large audiences, but because it is absolute truth and beauty.

And although the president of CLT would like to suggest that there was one omission in the column, she would do well to remember how many former members/graduates of L/A Children’s Chorus have become some of those shining stars that grace the stage of CLT productions.

Instead of complaining about an omission from a newspaper column, the leadership of CLT might look to the old adage of rejoicing in the cup that is half filled rather that seeing only the container which is half empty.

Brian Franck of Auburn is the founder and music director for L/A Children’s Chorus.

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