Category Archives: Chapter 11

OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 4 1984-1986

EXCERPTS FROM CHAPTER 11, 1981 – 1986 OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 4 1984-1986

HE WROTE IT, THEY DID IT, HE SAVED IT; TRANSFORMING AMERICA!!

“JOE SEFEKAR’S INSPIRING STORY OF AN IMMIGRANT’S CONTRIBUTION TO THE HEALTH, WELFARE AND ARTS OF UNITED STATES.”

ANOTHER OPENING, ANOTHER SHOW

January 7, 1984, the Date for the Gala Benefit “Night of Stars.” Well the big day was fast approaching but the preliminaries would prove to be almost as much fun as I explained previously. Excitement was building to a feverish pitch Clearwater, Florida was now far, “From the maddening crowd.” It would forever remain in the mainstream of South Eastern United States entertainment and culture; rivaling the spring break throng. It seemed like light-years away in Canarsie, Brooklyn and my earlier recollections as a young boy Chapter 2 what I titled “45 minutes from Broadway.” Little did I know that I would be 17 hours and 1156.8 miles from the glitter and lights of Broadway and the “Great White Way,” here on Opening Night. It was quite the “First Light” and “Love at first sight,” when the curtain went up I could indulge myself being there, Thelma by my side in these freshly adorned, plush seats.

You can see from the program of events star-studded list of famous entertainers Ella Fitzgerald and Peter Martins New York City Ballet. People from my era remember Betty Comden and Adolph Green and many have seen Mary Martin and Donald O’Connor with their successful careers on Broadway and in the movies. Mr. O’Connor among his many notable career triumphs was his role in “Singin’ in the Rain,” with Gene Kelly and Debbie Reynolds. Their famous rendition of “Good morning, good morning, good morning,” graces our breakfast table, lunch table and dinner table with the Tropicana orange juice commercial.

There were so many of these star studded favorites that we just sat and absorbed in awe this great evening as one of our true highlights here in Florida.

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Opening Night Ruth Eckerd Hall Program: Figures 11.42, #11.43, #11.44.

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“NIGHT OF STARS” Figure #11.45 #11.46 #11.47

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Figure #11.48,  Program Acknowledgement and  #11.49 “Family Photo”

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Figure #11.50 Me with Arnold and his Wife Linda; PACT PREVIEW 0CT. 15, 1983

Figure #11.51 Dancing with the Stars or Time Dances On.

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Overview of Ruth Eckerd Hall Project, Figures #11.52 and Figures #11.53

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Figures #11.54 and Figures #11.55 Performing Arts Center Celebrates its first year

The first year developed a positive reputation among performing artists, nationally and inter-nationally. And Arnold Bremen stressed that Ruth Eckerd Hall was “well on the way to becoming a backstage name.” There’s something special about being on that stage and looking out at the audience was one of Arnold’s favorite expressions.

Eckerd Hall’s much touted acoustics have also brought praise from performers. Pianists Ferrante and Teicher wrote: “A beautiful hall but more importantly, tremendous acoustics. It’s a joy to play here.” Guitarist Carlos Montoya wrote: “The acoustics are the best of any modern hall; also it is the perfect size.” Or as impressionist Rich Little put it: The sound was perfect. All 180 of me had a ball.”

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Figure #11.56 LIU Alumni Newsletter, Fall 1984

My stint at Ruth Eckerd Hall (popular name for the Performing Arts Center), was one of my self-satisfying jobs. In 1985 and then following into 1986, the theater was operating on an even keel – the shake-down cruise was over and the Operation was Center Stage.

The evaluations from the Accountant’s reviewing the budgets and projections came back with glowing grades. It was a nice way to finish launching this icon of entertainment for everyone to see and hear.

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Figures #11.57 and Figures #11.58 Arthur Anderson & Co. Review and Financial Statements

Arthur Anderson’s Financial Statements Auditor’s Report was issued on September 30, 1986. It examined the balance sheet of PACT, Inc., and the related statements of activity, fund balance and changes for the financial position for the year ended. In the opinion of Arthur Anderson, the financial statements referred present fairly the financial position of PACT. Inc.

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Figures #11.59 Projected Expenditures and #11.60 Earlier Auditor’s report

One of the preliminary Auditor Reports that was reviewed and approved by the Accountant giving an A-1 rating with sound fiscal practices.

The following are a sampling of the up and coming Programming Announcements that show the wide range of entertainment and shows scheduled to grace the stage and Ruth Eckerd Hall long after I had left this World Class Performing Arts Center.

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Figures #11.61, #11.62 and #11.63

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Figures #11.64 and #11.65

When Arnold Bremen had hired me (at 63) he said, “Joe, you work here will be until your 70.” When I wrote to him in 1980, I was only thinking of a two-year period, during which time the theater would be built and that would be the end of that. 70 comes around pretty fast when you’re having fun. Arnold gave me a choice of a farewell party (the first of the new organization), or I could work another year and phase out.

My salary had increased to $25,000 annually, following my job philosophy “leave them when everything is going smoothly,” I opted for the farewell party. It was really an “artsy” affair. All the staff joined in a sing-along to an early model of the player piano which Arnold acquired for this occasion (see pictures below)

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Figures #11.66 and #11.67 Going away party; A Gala Event complete with player piano

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Figure #11.68 Going away party; complete with signed by Staff of Official Robert Rauschenberg REH Print

I revel on the camaraderie that was built up on the staff that Arnold Bremen put together. It was our good fortune that Arnold and his wife Linda found a place to live in a development in the same area about a half a mile from where Thelma and I lived. On a few occasions Arnold would host a gathering at his house for the staff and I remember one such gathering on July 3, 1984. My son Bill had moved down the year before and was also invited as there were a lot of staff that would be considered his contemporaries. One such couple was Nancy Siebert and her husband Steve who would later become the Atty. Gen. of the State. What made this particularly memorable was that Steve had to bow out gracefully from the evening’s festivities to participate in the Midnight Madness Run. The race was held on July 4 at midnight, but participants had to arrive at least a half hour before on July 3 to get ready for the 5K, 10K and one K walk. The reason I mention this now was that surprisingly enough with my son’s encouragement I actually participated in the one K walk eight years later. And received an award as the oldest “living” person to complete the race. This of course of the 1K walk. It will be presented in an upcoming chapter.

All in all things fell into place. There was time for traveling up north visiting Bonnie and the grandkids. We did have our friends and family nearby. We did spend a lot of time with them as my time became more readily available.

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Figures #11.69 My brother Al his wife Edna, my sister Becky, brother-in-law, Danny and sister Sophie with me and Thel,, #11.70 Thelma’s side with her sister Renee next to Thelma in the front the, “I love Lucy,” red heads.

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Figures #11.71, #11.72 and #11.73

Figure #11.71 Congratulatory letter from Al Lerner still the Curator at the Hirshhorn. Figures #11.72 Letter sent to my very dear friend Ben Elzweig, wife. Ben passed away in 1985 and I needed to express my sadness at the loss of my life-long buddy. Figure #11.73 Letter written to Mr. Olga Hirshhorn and talked about what had transpired since my retirement and my correspondence over the years with Al Lerner.

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Figures #11.74 Picture from the 30’s with my very dear friend Ben Elzweig

 

Copyright © 2016               William Sefekar

** Material will appear in book.

We are always interested in hearing comments and suggestions about how the blog could be better. Sound off below with your ideas.

 

 

 

OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 2 * 1981-1986

 

EXCERPTS FROM CHAPTER 11, 1981 – 1986 OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 2 1982

HE WROTE IT, THEY DID IT, HE SAVED IT; TRANSFORMING AMERICA!!

“JOE SEFEKAR’S INSPIRING STORY OF AN IMMIGRANT’S CONTRIBUTION TO THE HEALTH, WELFARE AND ARTS OF UNITED STATES.”

HITTING THE GROUND RUNNING

With Arnold leaving on his two-week business trip, I was in the day Arnold left. I set about my duties. My first step was to analyze the feasibility report prepared by Coopers & Lybrand, (C&L) CPA’s. Utilizing a report prepared for the Van Wenzel Hall in Sarasota, the estimates prepared for that facility were not applicable to PACT. The C&L estimated a requirement of seven personnel positions for PACT, not realizing that the Van Wenzel Hall was receiving personnel support from the City of Sarasota; neither did they consider that services support, such as electricity, gas and water costs, were also covered by the city. There was no Tampa Performing Arts Center. It wouldn’t be in the planning stages for another 10 years; 1991.

With the revised estimates applicable to the PACT operation, the number of personnel required was 30; and the support services were costed out for actual reimbursement by PACT. With the expenditures categorized by cost and quantity, the next step was determining revenues. As previously discussed with Arnold the best method to use in calculating revenues based on available seats in the percentage of seats filled at each showing. Applying the criteria that Arnold had developed over his many years of experience, I came up with not only the revenues for one season but extrapolating five years into the future. This is what was accomplished in the two weeks Arnold was away. When he returned, I convinced him that the breach and following his orders, could be excused by the end justifying the means. Arnold showed his appreciation by increasing my salary to $10 an hour. But the increase in salary was overshadowed by the beneficial turn of events.

A short time after preparation of the five-year budget, a meeting of the Board of Trustees was convened at the premises of the Clearwater Federal Savings and Loan Bank to discuss the financing of the construction of the Performing Arts Center. The initial construction cost was estimated at $13 million; $8 million had been raised through private contributions by businessmen, corporations, individuals, and the balance of $5 million was to come from a bank loan to be repaid from revenues.

Also in the works were the applications I prepared for any funds from the National Endowment of the Arts which I was familiar with working in Washington with Hirshhorn Museum; the part of the application below.

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Figure #11.5 and Figure #11. 6 National Endowment for the Arts, Challenge Grant Application

The afternoon of the meeting, I got a call to deliver a copy of my Five–year plan to the Clearwater FS&L (**Five-year bank loan application and approval). Although by this time I was the Finance Officer, I had not been invited to the meeting, probably because the initial planning had been done by the Board, and the consortium of banks who were approving the loan had their specialist at the meeting. My responsibilities which grew as the plans developed, were very similar to my Hirshhorn duties. My finance duties expanded to personnel, recruitment, purchase of furnishings and equipment, and supervising the accounting staff. The box office was equipped with banks of computers which we used to issue the count lists thousands of tickets, from which various revenue reports were based. My son who just moved to Florida and was in the computer field gave me a crash course in computers; maybe not the right choice of words as computers are known to “crash.”

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Figure #11.7 PACT Finance Accounts Transactions

It was a simple process to train our personnel in the intricacies of the computer and none of us could foresee the expansion of the computer in our daily life. Mr. Bremen, putting his best foot forward assembled one must consider a blockbuster opening season. He created a Performing Arts Center that was destined to be one of the best-known in the southeastern United States. Our backstage manager, Dan Willy, put together a team of electricians and stage hands that did a fabulous job of providing a great backdrop to the worldwide entertainers that were performing. The sound system was the best available state-of-the-art equipment.

In 1982, Thelma and I took one of our overseas tours to Greece. In a way was similar to our trip to Israel when we visited the Tel Aviv Museum and Sculpture Garden, at the time of the start of my association with the Hirshhorn Museum. This time, our tour took us to the ancient city of Epidaurus, in Greece. We made an interesting stop at a huge open air amphitheater with rough-hewn blocks of stone, which were the seats in an uncovered circular building. What was unusual was the acoustics. Our guide remained below in the center of this large open-air building while we were all seated in various locations 25 or 30 rows above him. He spoke in a low-pitched voice, which we all could hear clearly, although we were a long distance from him. Could there be some valuable connection between how clear the sound quality created 3,000 years ago and applying it to the clarity level in the modern-day “amphitheater.”

When I returned back to the office, this experience was recounted to the PACT house communiqué “The Impressionist”, and served as a comparison of the ancient sound techniques used in enhancing sound projection, and the comparison to the modern state-of the art.

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Figure #11.8 The Communique’ Summer 1982

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Figure #11.9 Art Buchwald Article “Traveling to Greece”

Coincidentally there was an article from the famous satirist Art Buchwald out of Washington mockingly titled “Capital Punishment.” In this particular entry is one of his all-time favorite columns.

And the it was excerpted from the Times of London and accordingly the Greek Orthodox Church has just issued a new prayer asking the Lord to protect the Greek people from tourists. The prayer, which is said by monks and nuns every morning and every evening goes like this:

The good Lord should have mercy on the cities and islands and villages of our Orthodox fatherland as well as the holy monasteries which are scourged by the worldly touristic wave.

“Grace us with a solution to this dramatic problem and protect our brethren who are sorely tried by the modernistic spirit of these contemporary Western invaders.”

The column goes on by saying it’s only fair if the monks and nuns are beseeching the Lord with anti-tourist prayers that the tourists get equal time.

“We beseech you, oh Lord, to see that our plane is not hijacked, our luggage is not lost and our overweight baggage goes unnoticed.

“Protect us from surely and unscrupulous taxi drivers, and avaricious porters and unlicensed, English-speaking guides.

“Give us this day divine guidance to the selection of our hotels that we may find our reservations honored, our rooms made up and hot water running from the faucets (if it is at all possible).….

(This part of the prayer for husbands.)

“Dear God, keep our wives from shopping sprees and protect them from ‘bargains’ they don’t need or can’t afford. Lead them not into temptation for they know not what they do.”

(This part of the prayer for wives.)

“Almighty father, keep our husband from looking at foreign women and comparing them to us. “Save them from making fools of themselves in cafés and nightclubs. Above all, please do not forgive them their trespasses for they know exactly what they do.”

(Together.)

“And when our voyage is over and we return to our loved ones, grant us the favor of finding someone who will look at our home movies and listen to our stories, so our lives as tourists will not have been in vain. This we ask you in the name of Conrad Hilton, Thomas Cook and the American Express. Amen.”

The trip wasn’t as bad as all that, as may have been inferred from the “endearing” article. It was actually a very special trip, we took it with my brother Al and his wife Edna complete with cruises and a visit to my family’s ancestral homeland in Salonika. It’s hard to imagine my parents sailing from there 65 years ago. Here’s a picture of Thelma and I having a nice dinner on the cruise (**photos, itinerary and highlights of our trip to Greece to appear).

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Figure #11.10 Dinner with my honey while on our Greek Trip

When we got back it was full steam ahead, the budget and the finances from the bank were approved in December.  So we had the green light; construction was also in fast-forward as seen from the pictures below.

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Figures #11.11, #11.12, #11.13 and #11.14  Progress on the Construction of Ruth Eckerd Hall, 1982

 

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Figures #11.15, #11.16, #11.17, #11.18, #11.19 and #11.20 Having fun with the “Hall” Construction

 

During this time, I had lost a very dear friend and mentor. Joseph H Hirshhorn passed away in Washington DC., in August. Mr. Hirshhorn was 82 years old and he played a very important role in my life. This is recollected earlier in the chapter on the Hirshhorn Museum’s Accomplishment. The News Release as well as the “Mountains and mountains of materials,” I have kept all these years are still fresh on my mind.

“The collection of more than 6,000 paintings and sculptures Mr. Hirshhorn gave to the nation in 1966 is housed at the Smithsonian institution’s Hirshhorn Museum and Sculpture Garden. It was a terrible loss to me that this person who meant so much for what he gave not just an incomparable gift but he was a beloved colleague and incomparable person even as an elderly man, his energy and enthusiasm and even his eccentricities with those of youth, middle-age years combined synthesized in bountiful amount of spontaneity and an energy and in the words of Sen. Patrick Moynihan was chairman of the Board of Trustees of the Hirshhorn Museum he left behind a national treasure is one of four men whose names are immortalized on the Capital Mall. He also leaves to his friends a fragile and precious memory that will endure as long as we endure. Our love and especially respect goes out to his widow Olga and his family. Mr. Lerner, director of the Hirshhorn Museum was an associate of Mr. Hirshhorn’s over 40 years. His phenomenal zest for life has deeply affected everyone, he will be profoundly missed. His spirit, though, will continue to touch the lives of this and future generations to the magnificent works of art he donated to the museum that bears his name. In the vitality, diversity and beauty, these works will be his truest memorial.”

There are many similarities between Mr. Hirshhorn and myself although not born of such a large family, he was the 12th of 13 children born in Latvia, Europe in 1899. He also came from an immigrant family that settled in Brooklyn and he appreciated the opportunity that this country had given him as is clearly apparent by his donating this massive collection of some of the major great works by pioneers such as Rodin, Picasso, Matisse, Calder and Moore, etc.

I had written a number of letters to Joe Hirshhorn and Olga Hirshhorn, since leaving the museum. My deep felt sympathies and consolation were forwarded to her as well as Mr. Lerner who I worked for at the Hirshhorn Museum.

JHHJHH 80TH BIRTHDAY INVITATION

Figure #11.21 Cover of Card and Invitation for Mr. Hirshhorn’s 80th Birthday Celebration and Reception at his Museum

 

And so completes part two of the four part excerpts showing how this most anticipated Performing Arts Center on the West Coast of Florida came to be. Part three addresses the myriad aspects required to get everything ready for the grand opening in January of 1984.

 

Copyright © 2016               William Sefekar

** Material will appear in book.

We are always interested in hearing comments and suggestions about how the blog could be better. Sound off below with your ideas.

 

OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 1 * 1981-1986

EXCERPTS FROM CHAPTER 11, 1981 – 1986 OFF-BROADWAY, RUTH ECKERD HALL ACHIEVEMENT PT. 1 1981

HE WROTE IT, THEY DID IT, HE SAVED IT; TRANSFORMING AMERICA!!

“JOE SEFEKAR’S INSPIRING STORY OF AN IMMIGRANT’S CONTRIBUTION TO THE HEALTH, WELFARE AND ARTS OF UNITED STATES.”

My farewell to the Palm Harbor Arts Center in 1979 was followed by a made–to–order opportunity. A newspaper story in the Florida St. Petersburg Times on August 12, 1980 highlighted the appointment of Mr. Arnold Bremen as the director of the Performing Art Center and Theater (PACT) in Clearwater, Florida and reporting on the groundbreaking for the theater.

Life is predicated upon intuitive action, a sense of anticipation and being at the right place at the right time. This is how things unfolded as I began the next pillar of accomplishments in my life in August 1980 when I came across some information that an executive director was selected for the newly formed PACT (Performing Arts Center and Theater) the Executive Director, Mr. Arnold Bremen had recently been successful at the Samuel L. Clemens Performing Arts Center in Elmira, New York. I had been involved with a fledgling performing arts centers here in the Palm Harbor, Florida and nearby Pasco County, this seemed like just an excellent assignment for me.

I proceeded to draft a letter on August 22, 1980 to Mr. Bremen, congratulating him on his achievement and on his being appointed for this position. I stated some of my credentials in similar areas and offered my services (copy of letter appears below, See Figure #11.1)


LTR TO ARNOLD BREMEN 8-22-80RESPONSE TO LTR BY ARNOLD BREMEN 9-80

Figure #11.1 Initial letter to Mr. Arnold Bremen     Figure 11.2 1st Response from Mr. Arnold Bremen

Shortly thereafter, about a week and a half, I received a letter (See copy of letter, Figure #11.2) from Mr. Bremen thanking me for my letter of congratulations and also of my interest in helping in the project and also that if he would be interested as he was impressed with the credentials that I had submitted. He also indicated that he would be in Clearwater, November and would be happy to sit down and chat. This set in motion plans for this new opening and major “production” in my life, so to speak. Copies of the letters of the correspondence are available.

This was a classic example of discerning the lead, expanding the possibilities by initiating the introductory letter and clinching the deal with a personal interview. As usual, “good things don’t happen fast.” On August 22, 1980, I sent a letter to Arnold Bremen, at Elmira, New York where he had successfully managed the reconstructed Samuel L Clemens performing arts and community center in Elmira, I congratulated Mr. Bremen on his new appointment, listed in five lines my experience with the Hirshhorn Museum, and told him “I would be glad to see you at your convenience.” On its reply on September 4, 1980 (postmark Elmira) thanked me for my best wishes, and indicated that he would be in Clearwater around 1 November 1980, and he would be “glad to sit down and chat with you,” and asked me to call the PACT office.

On September 26, I wrote to Arnold again, thanking him for his encouraging reply, and indicating that I would call his office, requesting an appointment in November. I forwarded to him sample exhibition schedules, floor plans of the Hirshhorn Museum, and a copy of a report on the status of funds which reflected the fiscal year budget and utilization of authorized funding. In early November, I contacted the PACT office in Clearwater, Florida, and succeeded in arranging an interview, this through his secretary. The meeting with Mr. Bremen went extraordinarily well and was held at the Pinellas County Arts Council as PACT had no preliminary offices arranged on the premises where the future Ruth Eckerd Hall was to be located. My meeting with Arnold concluded with an agreement that I would be appointed budget officer at $15 an hour for 20 weeks. And that’s where I had spent a good part of the early planning phases commuting to downtown Clearwater, working with the fledgling staff that Mr. Bremen was putting together.

I was the second employee on the payroll; the first was Gloria Giardini, his secretary. There was another individual, Howard Groth, who was also a volunteer with duties that were administrative but actually he worked with the Board of Trustees. Howard and I worked very closely together and we had a natural compatibility, he had served in the Navy, were very close in age, and are temperaments complemented each other.

1981 was an amazing year to see some of this happening and I was very fortunate to be part of the early development of this splendid Performing Arts Center. There was a lot of interest, a lot of attention, there was a lot of newspaper articles and a celebrity status that even I attained. The Performing Arts Center and Theater, PACT had many areas and avenues to obtain funds from private and public sources. One of the first things to occur was our first annual Dress Circle event in honoring the close to 500 people who had contributed a minimum of $ 1,000 to reach $8 million for the Performing Arts Center and Theater the acronym that identified PACT and made this effort on its way to becoming a reality and start to bring on achieving this noted endeavor. One particular instance in the early part of February, February 16th, Kitty Carlisle was the star to kick off this Saturday night fundraiser. The extravaganza was held at the very palatial Bellevue Biltmore Hotel in Clearwater, a very incomparable setting for this.

As I stated previously the published accounts of the development of the Ruth Eckerd Hall continued regularly. On March 9, 1981 the St. Pete Times, Clearwater Addition printed an article about the volunteers that are the backbone of the programs and such as PACT and although I was later to have a full-time position when things started to get underway in earnest, these contributed to a sense that this is something very important underfoot. The article provided a very lavish segment about me. It was as though I was given top billing and copy of it is attached. But needless to say they felt that it was important to identify my efforts and success at the Hirshhorn Museum and Sculpture Garden as Project Administrator until my retirement in 1977 and I explained that strangely enough, we had the same sort of beginning as I said in comparing this with PACT. We began in a converted apartment on Lexington Avenue in New York and that’s what we have here with PACT. The Offices are in a house converted to offices at 402 Pierce Blvd., Clearwater, downtown, right near the water; a very enticing location and site overlooking Clearwater Bay. I was a given some very flattering advanced billing and it’s good that these kind of achievements do not go unnoticed. I was identified as “a quiet polished man” and that had many years of experience in activating new and very large programs. He took charge of projects for the US Government’s Defense Contract Audit Agency, Small Business Administration, Veterans Administration and the U.S. Air Force, with a BA Degree in Accounting and a “Masters in Management”.

There was my whole life in a thumbnail sketch and they concentrated specifically on the work I did for the Hirshhorn and being involved in everything from setting up a budget and hiring personnel and even selecting furniture for working out contractor problems and then my retirement in 1977 moving to Florida and I had plans on working but as they indicated, but on a more relaxed schedule, ha. They found that out when PACT discovered that I would be offering my services looking into its financial situation with my basic background firmly acknowledged said; “The PACT organization welcomed him without delay.”

CLR TIMES ARTICLE 3-81 PG1CLR TIMES ARTICLE 3-81 PG2

Figure #11.3 St. Petersburg Times Clearwater addition, March 9 1981.

Mr. Bremen needed a working budget and I had given him one that takes the project through its scheduled completion later next year: 1982. It was a nice way to get my feet wet, actually to get really immersed in this altogether getting down and being the one who readily prepared budgets three years in advance; this was just my cup of tea. I usually spend three days a week working on special projects like budget and getting contracts prepared. I’m already working on the budget for 1983 which involves projections for a fully operational building indicating that the PACT project will not be close to the 16 million cost of the Hirshhorn but it’s going to be a first-class facility and I was delighted to be working towards the day when it opens its doors to the public.

One of my first remuneration for work rendered under Mr. Bremen was a pay check I received from the period from March 1 to March 12, 1981 for services rendered to PACT. It consisted of 43 hours at five dollars an hour for a grand total of $215. It was a far cry from my days as grade 15 with the US Civil Service, but it was just as rewarding I guarantee you.

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Figure #11.4 1st Paystub from PACT, Ruth Eckerd Hall

The days were going by at a fast pace. The summer brought very concrete, pardon the pun, construction progress (see picture below). Budgets were finalized for the coming year and contractual agreements with city and county officials were being transacted. There was submission of the State’s Grant Application for PACT that was prepared and submitted to and approved. I guess this would be similar to what I would have been involved with at the Hirshhorn under the Endowment of the Arts Program. Interest continued to pique as requests soared for tours of the construction site by prominent State and local officials as well as PACT contributors.

RUTH ECKERD HALL CONSTR (2)

Figure #11.5  Arnold Breman PACT executive director showing progress on construction of Ruth Eckerd Hall pointing to where the future stage and orchestra pit will be,

The 1981-1982 PACT organizational chart for “salaried personnel” was approved. My title was Administrator/Finance Officer and I was a salaried part-time employee; it was the best of both worlds.

PACT ORGANIZATION AND PROGRAMS 1981-82_edited-1

Figure #11.6 Summary description of PACT, Organization and Programs

A fitting milestone was obtained on December 22, 1981 when we, PACT; agreed on the building loan. A “consortium” of local lending institutions providing permanent financing for PACT, closed on a 25 year mortgage loan in the amount of $5.5 million bearing interest at 11% annum (**see appendices). The permanent loan will enable PACT to move ahead with the building construction and opening that 72,000 square foot Performing Arts Center facility on McMullen Booth Road that has been designed by the Frank Lloyd Wright Foundation. (More of this historic event to be elaborated on).

A short time after embarking on my new career, Arnold had scheduled a business trip to New York’s entertainment district, where he was involved in the process of setting up the star-studded performers that would weave itself in the boards of the theater under construction.

Arnold said, “Joe won’t need you while I’m in New York, setting up a schedule.” I said, Arnold “I have a lot of things I can work on.” But he still thought I didn’t have to come in. I said to myself – “there’s work that has to be done,” and I rationalized that I could report in for duty, and not submit a time card.” This was “gutsy”, but something you can do when you’re retired. I was in the day Arnold left on his two–week business trip.

And so ends the first of four parts dealing with the Ruth Eckerd Hall Achievement. Yes, the budget was completed in fine fashion and resulted in a “salary increase,” of sorts.

 

 

Copyright © 2016               William Sefekar

** Material will appear in book.

We are always interested in hearing comments and suggestions about how the blog could be better. Sound off below with your ideas.