This document summarizes research on best practices for college and university performing arts centers. It identifies sample centers and interviews executives from Bucknell University, Husson University, Middlebury College, and DePauw University. The research covered guiding principles, organizational structure, executive director qualities, collaboration, marketing, target audiences, websites, booking practices, and ticketing systems. Recommendations included creating a multi-year business plan for the new Whitney Center for the Arts at Sheridan College that addresses these areas.

1. Market Research Study
July 29, 2015
Whitney Center for the Arts at Sheridan College

2. 1
Table of Contents
I. Executive Summary....................................................................................................................3
a. Background
b. Scope of Work
c. Findings
d. Recommendations
II. Sample College and University Performing Arts Centers...........................................................5
a. Introduction
b. Guiding Principles/Philosophies (Mission Statement)
c. Organizational Structure
d. Executive Director Qualities
e. Collaboration with Community Art Leaders and Organizations
f. Marketing Channel Inventory
g. Target Audiences
h. Website Research
i. Booking Practices
j. Ticketing Systems
i. College/University
ii. Alberta Bair Theater
iii. Rapid City
III. Sheridan College Faculty Perspective.........................................................................................11
IV. Overview of the Sheridan Performing Arts Community.............................................................12
a. Introduction
b. Survey Results
c. Interviews
d. Target Audiences
e. Marketing Channel Inventory
f. Booking Practices
V. Regional Performing Arts Community.........................................................................................15
a. Introduction
b. Gillette, WY
c. Casper, WY
d. Cody, WY
e. Cheyenne, WY
f. Laramie, WY
g. Jackson, WY
h. Medora, ND
i. Rapid City, SD
j. Billings, MT

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VI. Appendixes
Appendix A: Inventory of Relevant College Performing Arts Centers
Appendix B: College Performing Arts Center Interviews
Appendix C: Examples of College Performing Arts Center Websites
Appendix D: Sample College Performing Arts Center Executive Director Job Description
Appendix E: Inventory of Performing Arts Educational Offerings
Appendix F: 2012-15 Performing Art Events Carriage House, WYO Theater, Trails End Park
Appendix G: Survey Analysis
Appendix H: Inventory of Sheridan Performing Arts Activities
Appendix I: Inventory of Regional Performing Arts Activities
Appendix J: Contact List
*For complete appendix documentation, please contact Wendy Smith, wsmith@sheridan.edu

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I. Executive Summary
a. Background
In Fall 2016, the new Whitney Center for the Arts at Sheridan College (WCA) will open. The
WCA will provide state-of-the-art recital and performance space as well as studios,
classrooms, and a 422-seat concert hall. The WCA will change the student experience at
Sheridan College and enrich the performing arts presence in the community. The College
engaged consultants during July 2015 (Alana Atchison and Kristen Haislip, Babson College
undergraduate students) to conduct research and study best practices around the nation in
order to inform future decisions. The following report outlines research results and
recommendations to assist the WCA and the Sheridan arts community in achieving their
goals.
b. Scope of Work
i. Create list of College/University Performing Art Centers (CUPAC) for study- at
least 50% small/rural college in population
1. Study and compare CUPAC websites and create list of best practices.
2. Work with College web team to define high-level vision for WCA
website.
ii. Create master list of performing art activities offered in the Sheridan area over
the past several years by schools, galleries, and other entities.
iii. Gather Marketing Information
1. Interview Marketing Managers: Utilizing the pool of CUPACs defined
above, design a questionnaire to be used in interviewing (via phone) a
small number (3 to 5) of marketing director/personnel involved with key
institutions.
2. Marketing Material Inventory: Create an inventory of key materials
utilized by CUPAC institutions. Study materials and create a report of
baseline recommended materials to be created/utilized by the WCA.
3. Marketing/Advertising Channel Definition – Identify optimal
information channels for sharing information regarding WCA
performances, art openings, etc. with community art leaders.
4. Define target audience sectors
iv. Provide Reports
1. Prepare written report.
2. Host end-of-project briefing for college personnel and leading Sheridan
arts project stakeholders.
c. Findings
i. Sheridan currently has a rich and diverse set of offerings around the arts.
ii. Best practices demonstrate the benefits of a formal process and structure for
community collaboration.
iii. Successful college-based performing arts centers had significant participation by
faculty and students in the creation of guiding philosophies and arts
programming.

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iv. All of the colleges interviewed identified the students as their primary target
audience.
v. The Sheridan performing arts community, through the Civic Theater Guild, has
created www.sheridanstage.com, an inclusive calendar of events for the public.
Interviews indicate that the calendar can be more robust and known community-
wide.
vi. Limited time and summer schedules resulted in incomplete research in some
aspects.
d. Recommendations
i. Create a multi-year business plan for the WCA.
ii. As a part of the WCA business plan:
1. Create a focused set of guiding principles (mission statement) regarding
programming for the WCA, complementing the College’s mission
statement.
2. Create a communication plan including a website with online
reservations and other functionality, an outreach plan, a social media
plan as well as partnership opportunities.
3. Create a process that ensures faculty and student involvement.
4. Conduct additional community surveys and Sheridan College student
surveys.
5. Continue to gather information regarding College best practices,
including interviewing Casper College personnel.
iii. Create a community-wide steering committee, with identified arts leadership.
Steering committee activities could include:
1. Analyze educational opportunities for all Sheridan audiences and
systematically enhance program offerings.
2. Work with partners to enhance www.sheridanstage.com (or similar site)
and create outreach plan to enhance visibility.
3. Explore collaborative booking opportunities.

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II. Sample College and University Performing Arts Centers
a. Introduction
A list of 29 colleges and universities with successful performing arts centers around the
nation was created, most of which are located in small, rural communities and have a goal to
create a thriving hub for performing arts and entertainment for the institution and the
community (please see Appendix A: Inventory of Relevant College Performing Arts
Centers). The colleges that were most comparable to Sheridan College in terms of student
body population, rural locale, and venue size included Bucknell University, Carroll College,
Casper College, DePauw University, Husson University, Middlebury College, Southern
Oregon University, and Yavapai Community College. Further information was collected
during interviews with the Executive Directors of Bucknell University, Husson University,
Middlebury College, and the Music Operations Manager from DePauw University (please see
Appendix B: College Performing Arts Center Interviews).
Several community colleges comparable to Sheridan College and the WCA were identified.
However, time constraints and summer schedules prevented contact with some. According to
research to date, there is not an association of rural community college performing arts
centers, although this is something that could benefit many institutions moving forward.
Through phone interviews and online research, information was gathered about topics vital to
a performing arts center’s success, including:
 Guiding Principles (Mission Statement)
 Organizational Structure
 Executive Director Qualities
 Collaboration with Community Art Leaders and Organizations
 Marketing Channel Inventory
 Target Audiences
 Website Research
 Booking Practices
 Ticketing Systems
b. Guiding Principles (Mission Statement)
Developing a set of guiding principles will help the WCA to achieve its goals and to
enrich the offerings of Sheridan College. Such guiding principles should align with the
already existing mission statement of the College. These guidelines will establish the
foundation for the WCA to develop clear objectives and goals when programming and
producing future events.
Sheridan College Mission Statement: Creating student success and making a difference in
our communities through educational leadership.
The following colleges and universities were selected based on their strong mission
statements, which act as guiding principles for deciding what to book and produce at their
performing arts centers. Common elements include a commitment to arts education,
diversity, and community.

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 Husson University, Bangor, ME (3,100 students): “The Gracie Theatre shares and
assists Husson University in their commitment to cultural exposure, experiential
learning and community engagement by providing opportunities for student
involvement in the arts, enriching campus life, and building a bridge between
campus, region, and community through diverse programming.”
 Southern Utah University, Cedar City, UT (7,017 students):“ The SUU College of
Performing and Visual Arts serves as a catalyst for students to realize their creative
potential by providing a personalized and rigorous learning environment, fostering
experiential education and contributing to the cultural enrichment of a global
society.”
 Carroll College, Helena, MT (1,502 students): “The key outcome is that Carroll’s
graduates hold the moral and ethical values, the vision, and the personal power, to
make the world a better place. Wherever they work and whatever they do.” Carroll
College uses this philosophy to guide what performances the theater students
produce.
 Middlebury College, Middlebury, VT (2,526 students): “The Performing Arts Series
presents a diverse spectrum of performances and residencies by highly acclaimed
artists, as well as the brightest emerging and alumni artists in chamber music, dance,
and theatre. The college's support of the Performing Arts Series (PAS) allows us to
enhance Middlebury’s curriculum and ignite cultural and creative exploration by
facilitating intimate connections, with visiting artists and scholars, for both the
campus and community.
 Casper College, Casper, WY (4,400 students): Follow-up needed
 Babson College, Wellesley, MA (2,840 students): “Our mission is to both serve the
educational needs of students and enhance Babson’s reputation as an institution that
values innovation and creativity.” Babson implements this by booking innovative,
culturally diverse, and socially responsible performances.
c. Organizational Structure
Having a well-conceived organizational structure is vital to the success of a performing
arts center. Although the colleges and universities researched had slightly different
organizational structures, there were general commonalities among them. First, most had
an advisory board of 8-10 representatives from the community and faculty of the college.
In addition, some had student advisory groups. There were also operational staff
members, reporting to the Executive Director and Dean of Arts.
d. Executive Director Qualities
Executive Directors are critical to the success of a performing arts center. The colleges
interviewed repeatedly stressed that quality Executive Directors required a balanced
passion for theater, business and education. The Executive Director should not only have
good ideas, but also the ability to put them into motion. These Executive Directors are
creative enough to make their performing arts centers notable, but also knowledgeable
about how to build a successful program that will satisfy the marketplace on a continuing
basis. Additionally, an Executive Director that has a well-established network in the

8. 7
performing arts industry can make a difference regarding the success of the venue.
Depending on how much interaction is expected between an Executive Director and the
students at the college, having the ability to be a positive role model and educator is
important. Kathryn Maguet, the Executive Director at Bucknell University, offered more
insight by suggesting that Sheridan College look for an Executive Director that
understands perseverance and how to take risks. She based this advice on the idea that
operating a performing arts center is like an experiment because much is untested when it
comes to booking and producing.
Job descriptions for Executive Director positions were requested from the colleges
interviewed. However, none were collected. In researching online, many were available.
(Please see Appendix D: Sample College Performing Arts Center Job Description)
e. Collaboration with Community Art Leaders and Organizations
When asked how to work effectively with community art leaders and organizations,
executives at the various colleges consistently answered that the keys are strong
relationships, communication and collaboration. Typically, the Executive Directors and
art leaders in the community meet to coordinate schedules of the community’s calendar
of events. For example, DePauw University scheduled around major community events
because they knew their turnout would suffer due to the conflict. This fosters growth and
cooperation rather than competition.
Additionally, successful colleges built positive relationships with other academic
institutions and local organizations by encouraging them to use their space. For example,
the Norton Center for the Arts at Centre College (Danville, Kentucky, 1385 students)
have a Student Matinee Series, where K-12 students visit the Center, providing students
with educational experiences, curriculum connections and activities as well as positive
experiences on the host-college campus. The WYO Theater has a strong history of
engagement with K-12 school districts and Sheridan College.
f. Marketing Channel Inventory
Based on discussions with Executive Directors and performing art center managers, print
advertising is most effective in drawing in the loyal, older, and educated target audience,
whereas social media is effective in attracting high school and college students. At the
Mahaney Center, Middlebury College, Executive Director Liza Sacheli has noticed that
print is making a comeback. Liza thinks this trend is explained by the overwhelming
amount of junk mail that floods email inboxes, which has led people to quickly disregard
or delete information. In response, the Mahaney Center sends seasonal calendars,
newsletters, and postcards to their specific customer list.
A well-defined booking program is necessary before a marketing plan can be created and
implemented. When developing the WCA’s program, consideration should be given as to
future audiences. It is crucial to understand the needs of the marketplace, so the WCA
can best fill those needs and build relationships with the community. The vital, beginning
relationships are critical to build into devoted regulars, who can spread positive word-of-
mouth and interest throughout the community.
The colleges interviewed consistently use the following marketing channels:

9. 8
1. Print Advertising
a. Season Brochures
i. Sent directly to patrons
ii. Available at venue
b. Postcards
c. Newspaper Ads
d. Magazine Ads
2. Social Media (be where the students are)
3. Website
4. Email Subscriptions
5. Press Releases
6. Television Ads
7. Radio Ads
8. Mobile apps tied to ticketing system
9. Community Calendar or Performing Arts Specific Community Calendar
g. Target Audiences
All of the colleges interviewed identified the students as their primary target audience.
Their performing arts events play an important part of the enriched campus-life
experience. All the centers, however, also extend marketing outreach to local audiences.
They often find success reaching an older, educated demographic to events, but continue
to make a larger portion of the local community feel welcome at their venues. For
example, the Gracie Theater at Husson University saw potential growth in reaching out to
high school students with an interest in the performing arts. The WYO Theater has had
similar success. In addition, all of the Colleges have a goal to reach further,
geographically.
h. Website Research
Several prominent, high profile websites for performing arts centers were identified.
Commonalities include a clear call to action, ease of use, updated content, and pleasing
aesthetics. The institutions with the most notable websites are Centre College (Danville,
KY, 1,400 students), Southern Oregon University (Ashland, OR, 5,700 students),
Hamilton College (Clinton, NY, 2,000 students), and Casper College (Casper, WY, 4,400
students). Each of these schools have distinct home pages with a bold slideshow featuring
pictures of upcoming professional performances, student performances, and the theater or
venue itself. Additional key features of these websites include an updated calendar of
events, an about us/ contact page, and a user-friendly way to purchase online tickets.
Those colleges with a fine arts museum include a tab on their homepage, which
conveniently links the user to more information on the exhibits along with pictures of the
particular gallery or art exhibition. (Please see Appendix C: Examples of College
Performing Arts Center Websites)
i. Booking Practices
Booking is a crucial aspect of a performing arts center’s continuing success. The
Executive Directors interviewed stressed the importance of the venue’s physical and

10. 9
technical capabilities matching the booking requirements. In addition, the size of the
venue and the center’s budget constraints help define the booking plan. Another
fundamental practice is to book what the primary market supports. Booking events that
are in sync with students’ curriculum is a preferred practice because it encourages student
attendance and increases cross-departmental interaction between faculty and the venue’s
management team. The directors interviewed commonly created programming
committees, including venue board members, faculty, students and the management.
These committees strive to make their season as diverse as possible using the center’s
guiding philosophy. When booking higher-profile national and international talent, it is
important to work in conjunction with other regional venues to cross-book performing
groups traveling in the region. Finally, Executive Directors attend booking conferences
held by organizations such as the Association of Performing Arts Presenters (APAP).
j. Ticketing Systems
1. College/University Ticketing Systems
Online ticketing systems and mobile applications are used by all
Colleges interviewed. However, they each utilize a different ticketing
system. Husson University recently updated to Ticketmaster. Jeri Misler,
Executive Director, noted that Ticketmaster has a positive reputation,
increased Husson’s exposure, and expanded their primary audience size.
DePauw University utilizes an online ticketing service Brown Paper
Tickets (https://www.brownpapertickets.com) as well as a mobile phone
application called InstantEncore
(http://www.instantencore.com/Learn/Mobile).
According to Steve Linville, the Music Operations Manager at DePauw
University, the audience typically buys tickets per event either online or
at the door. The Bucknell University ticketing system encompasses
events for the entire school, rather than a separate box office for the Weis
Center.
2. Alberta Bair Ticketing System
According to Executive Director William Wood, the Alberta Bair uses a
program called Choice Ticketing (http://www.choiceticketing.com/).
Wood anticipates updating to Choice Ticketing’s ChoiceCRM, which is
a cloud-based box office, fundraising, and marketing software with
customer relationship management incorporated into it. He stated this
software offers flexibility, collaboration, and control, as well as tracking
transaction information and logging patron interaction in an easy to use
format. The Alberta Bair sells between 30,000 and 40,000 tickets per
year, and with the Choice Ticketing system, they have been able to
contain costs without having to share a cut of sales with a third-party
company.

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3. Rapid City, SD Ticketing Systems
The Black Hills Community Theater uses a software called Arts People
(https://www.arts-people.com/). According to Director Nick Johnson,
this software is exclusively for arts organizations, and offers custom
design features. The Rushmore Plaza Civic Center in Rapid City uses
Spectra’s Paciolan (http://www.spectraexperiences.com/ticketing/),
which provides ticketing, marketing, fundraising, and sales automation
for performing arts organizations.

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III. Sheridan College Faculty Perspective
Interviews were conducted with Mercedes Aguirre Batty, Dean of Arts and Sciences as well
as Sheridan College faculty including Chris Erickson, Coordinator of Music Theory &
Technology, DannyLee Hodnett, theater faculty member, Gene Sager, Instructor of Voice and
Director of Choral Music, Lillian Sager, theater department faculty member.
There is unanimous agreement that the WCA, first and foremost, should provide state-of-the-
art space dedicated to student learning, practicing, and performing. Faculty anticipate the
WCA will enhance the learning experience and provide new opportunities for music, theater,
and art students at Sheridan College. Additionally, they see the WCA further augmenting the
recruitment of prospective students, as well as overall recognition of Sheridan College within
the local community and region.
Over the last couple of years, the faculty have seen an increase in performing arts workshops
and anticipate this number to continue to grow. Faculty expect the new space will allow
students to have a more hands-on educational experience and enable them to network with
other community artists and potential employers. In addition, the faculty anticipate enhanced
collaboration across academic departments, providing students with real experience in their
relevant field. Lastly, the faculty expect the student audience participation to grow as a result
of WCA activity.
The faculty believes the acoustically advanced WCA will attract outside professional talent,
thereby providing students and the Sheridan community access to new cultures, performance
techniques and opportunities. For example, certain performing groups such as large
orchestras haven’t performed in Sheridan due to space limitations and technical and
acoustical constraints.
Overall, the faculty see the WCA strengthening and enriching the bond between Sheridan
College and the arts community.

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IV. Sheridan Performing Arts Community
a. Introduction
Sheridan is a community with a historical performing arts culture and is experiencing
remarkable growth. To further understand the amount and types of performances offered in
the Sheridan community, an analysis of performances held at the WYO Theater and the
Carriage House Theater was conducted. Approximately 35-45 events or showings take place
annually at the Carriage House Theater. The WYO Theater hosts approximately 100 events
annually. While it is difficult to estimate accurately the number of performances and
exhibitions presented in a typical year because of the informal recording of such data, it is
reasonable to assume an additional 150 musical, theatrical, dance and exhibitions annually in
the Sheridan community. (Please see Appendix E: Inventory of Performing Arts Educational
Offerings, Appendix F: WYO Theater and Carriage House Theater Activities and Appendix
H: Inventory of Sheridan Performing Arts Activities)
b. Survey Results
To gauge local preferences regarding the performing arts, a community survey for was
developed. Due to time constraints, only 59 responses were collected at the time of this
report. Twelve were in-person surveys, and the remaining 47 were collected using
SurveyMonkey. The information was consistent whether collected in person or through the
online link. To increase the reach of the survey, the Sheridan County Chamber of Commerce
distributed the link to its 600+ members. In addition, the Sheridan Press published the link in
the July 27, 2015 issue. To validate these preliminary findings, a larger sample size (approx.
300) is recommended.
The responses collected include residents of Sheridan, Big Horn, Story, Buffalo, and Banner.
The sample included 70% females and 30% males. Survey respondents were not equally
represented based on age. In particular, the 18 and younger group is underrepresented.
Almost 85% of the respondents attended a live performing arts event within the last six
months.
Regarding the preferences section of the survey, respondents preferred theater productions,
musical performances, and traditional concerts. Dance and film were also desired, but not as
strongly as the first three categories. The survey indicates that 23 out of 59 respondents are
likely to attend an arts workshop. In addition, 51% indicated they prefer national talent, 43%
prefer local talent as their first choice. Regarding preferences related to the day and time of
performances, the survey sample indicates weekend nights as the first choice, including 57%
of respondants. (Please see Appendix G: Survey Analysis)
c. Interviews
To gather more information about the performing arts in Sheridan, interviews were conducted
with key stakeholders involved in the performing arts: Richard Davis, Chairman of the WYO
Theater Board of Directors and Tandem Productions; Tami Davis, YMCA Arts and
Humanities Director and Tandem Productions; Susan Miller and Justin Stroup, WYO Theater
Board of Directors; Kara Bacon and Pat Tomsovic, Civic Theater Guild Board of Directors;

14. 13
Ryan Koltiska and Dixie Johnson, Sheridan Chamber of Commerce. These individuals shared
their perspectives on local target audiences, marketing channels, booking practices, and
current challenges facing the local performing arts community. The common themes in the
interviews were the recognition of the growing impact of performing arts in Sheridan and the
recognition of the need for collaboration among performing arts organizations.
d. Target Audiences
Based on interviews with the community arts leaders noted above, the current primary target
audience is 50-60+ years of age. It is challenging to reach the segment of adults in the age
group 30-40, in part because many are busy with families and have limited time and budgets.
There exists an additional opportunity to involve younger demographics, which can be done
through the use of social media. An opportunity also lies in reaching out to students in the
junior high and high school chorus, band, or theater, who are interested in the performing
arts.
Programming diversity as well as the venue’s characteristics will determine the primary
target market. For example, a production of an affordable family-friendly musical would be
more likely to attract the 30 and 40-year old demographic. On the other hand, a classical
music performance is more likely to attract an older demographic, and more likely limited
attendance by junior high and high school students. Also, well-known performers will tend to
attract a wider geographical reach of the target audience. Therefore, it is important to
understand the profile of the prospective audience so that an effective marketing plan can be
developed.
e. Marketing Channel Inventory
Performing arts venues and organizations in Sheridan typically utilize the following
marketing channels to advertise events:
i. Newspaper Ads
ii. Posters
iii. Postcards to Donors/Season Ticket Holders
iv. Social Media
v. Website
vi. Email Subscriptions
vii. Radio Ads
viii. Marquee
ix. Sheridan Stage (The Civic Theater Guild’s Community Performing Arts
Calendar)
The survey analysis indicated the most effective ways to market events are through email
subscriptions, Facebook, and the newspaper, with more than 60% of all respondents
indicating that these channels would successfully reach them. The radio and fliers/posters
were also effective channels of communication, with 58% and 48%, respectively, of
respondents indicating that they could be reached through these mediums. Twitter and
Instagram appear to be less effective ways to reach the WCA’s target audience, with less than
13% of respondents identifying these channels as effective means of communication.

15. 14
Although the social media options including Twitter and Instagram did not score high
regarding their effectiveness, they represent cost-effective ways to reach additional people
and should not be discounted. A larger survey sample will help to confirm the effectiveness
of various marketing channels.
f. Booking Practices
Sheridan venues decide what they will book through programming committees that include
the venue’s Executive Director and Board members. In general, each venue books
independent of other venues. The WYO Theater books some regional, but mostly national
talent to fill their season, and then rents out space to local artists and organizations to
complete their program calendar. Similar to the college performing arts center directors, the
WYO Theater management may attend booking conferences and also communicates
frequently with the Gillette CAM-PLEX and the Alberta Bair in Billings to attempt to cross
book artists. Finally, the WYO Theater maintains contact with the Wyoming Arts Council,
the Western Arts Alliance, and the Northwest Artists Alliance for programing purposes.

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V. Regional Performing Arts Community
a. Introduction
Developing an inventory of performing arts activities occurring in the region provides a
snapshot of regional events and can inform Sheridan programming decisions. Research was
conducted online regarding performing arts venues and activities in the following areas:
b. Gillette, WY
The Gillette CAM-PLEX Heritage Center and Theater has a multi-use stage with a 919-seat
theater. The Heritage Center hosts touring productions, live concerts, dance performances,
school programs, and a variety of lectures and meetings.
c. Casper, WY
Casper has an active performing arts scene, featuring both local and professional touring
talent. It is home to many performing arts venues such as the Arcore, The Venue, the
Gertrude Krampert Theatre at Casper College, and the Stage III Community Theatre. Similar
to Sheridan, Concerts in the Park occur weekly throughout the summer. Casper also hosts
performances by the Casper College Department of Music and the Wyoming Blues and Jazz
Society.
d. Cody, WY
The performing arts and entertainment in Cody revolves heavily around tourism activity,
while also enriching the local community. The Cody Cattle Company, the Cody Community
Theater, and the Cody Gunfighters each provide a source of entertainment for tourists and the
community. Cody also has many performances at its Concerts in the Park series, and offers
educational classes in dance at the Cody Center for the Performing Arts. Cody also has a Park
County Arts Council, which supports the arts activities in Park County.
e. Cheyenne, WY
Cheyenne has an active performing arts scene that benefits from its proximity to Denver. The
Cheyenne Civic Center Performing Arts Theatre is a 1,500-seat venue that hosts touring
concerts, Broadway plays, professional soloists, and is also home to the Cheyenne Symphony
Orchestra and Ballet Wyoming. The Cheyenne Frontier Park, a 19,000 seat venue, hosts
touring professional musicians during the summer months. In addition, Cheyenne is the home
location for the Wyoming Arts Council, the Wyoming Arts Alliance, and the Arts Cheyenne.
f. Laramie, WY
The major performing arts activities in Laramie take place at the Laramie Plains Civic Center,
a 900-seat venue that hosts community organizations and occasional touring groups. In
addition, the University of Wyoming’s Buckman Center for the Performing Arts is home to
UW theater, music, and dance departments.

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g. Jackson, WY
The major venues in Jackson include the Robert Peck Arts Center, a 940-seat venue, and the
Jackson Center for the Arts, a 525-seat facility.
h. Medora, ND
The Burning Hills Amphitheater, a 2,900-seat outdoor venue located in Medora, North
Dakota is home to the Medora Musical, as well as gospel shows, national comedians, and a
variety of acts throughout the summer season.
i. Rapid City, SD
Rapid City has an active performing arts scene with two primary venues. They originate,
market, and host performances from the Performing Arts Center of Rapid City, and the
Rushmore Plaza Civic Center. The Performing Arts Center of Rapid City is home to the
Black Hills Community Theater, the Black Hills Symphony Orchestra, the Rapid City
Children’s Chorus, and the Black Hills Showcase Chorus.
The Performing Arts Center of Rapid City has a historic theater with 830 seats and a studio
theater of 170 seats. The Rushmore Plaza Civic Center includes a 10,000-seat arena and hosts
concerts, dog and car shows, and rodeos, circus events sporting events and occasional
musical performances.
Interestingly, the Rapid City Arts Council has received a grant from the Bush Foundation,
Minneapolis, MN to develop a collaboration strategy for the various arts venues and
organization.
j. Billings. MT
Billings has an active performing arts scene with several theaters hosting local and
professional touring groups. Some of Billings’ professional talent includes the Billings
Symphony Orchestra and Chorale, the Billings Big Sky Chorus, the Billings Community
Band, the Sweet Grace Ensemble, the Rimrock Opera Company, Guilty Party Productions,
the Yellowstone Chamber Players, several theater and improv ensembles, and musical
groups/soloists and performing groups at Montana State University at Billings. Billings also
has its urban music festival, Magic City Blues, which attracts thousands of music fans from
all over the country. Some of Billings’ top venues include the Alberta Bair Theater, a 400-
seat venue; the Nova Center for the Performing Arts, a flexible space with 40-160 seats; the
Babcock Theater, a 750-seat theater; the Rimrock Auto Arena (Metra), a 10,000-seat arena;
the Petro Theater, a 530-seat space; and Cisel Recital Hall at Montana State University at
Billings, 219-seat facility; and the Billings Community Theater, a 250-seat theater.
The Alberta Bair also includes an orchestra pit for 40 musicians, hydraulic lift for stage
apron, and dressing rooms. I hosts professional touring groups, local groups and educational
events and programs as well as musical, dance, theater, and comedy performances. The
Executive Director, William Wood, shared that the Alberta Bair’s philosophy is to bring the

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excitement of the performing arts to the Big Sky country while maintaining and growing
community partnerships, education, and outstanding customer service.
(Please see Appendix I: Inventory of Regional Performing Arts Activities)