By A.D. Amorosi
When the Annenberg Center’s new programing chief Christopher A. Gruits got his opportunity to take over one of America’s premiere outré performing arts halls, he did it with gusto.
Sure, he knew of its illustrious past and innovative bookings with the likes of John Zorn, Ravi Shankar, Cassandra Wilson, and Philip Glass to start, that which made the Annenberg and its esteemed longtime overseer Mike Rose adventurous and commercial name.
“I certainly knew that it had this great reputation, especially in music and dance,” said Gruits as he preps for a busy first season that will include choreographing wunderkind Mark Morris as Annenberg’s artist-in-residence. “Maybe I was less familiar with its history regarding innovative theatre and the role played in setting the bar for cutting edge work historically in Philly. I just really look forward to carrying on this great legacy.”
Gruits kicks off overseeing the Fringe performance of “A Period of Animate Existence” by Pig Iron Theatre Company (Sept. 22-24), “Voice is the Original Instrument” by Joan La Barbara (Sept. 28) and a two-show-run with BalletX (Oct. 6-7) . It’s a handsome debut for a man who made Michigan’s Interlochen Center for the Arts into a top-notch repository of bold living art.
“At Interlochen I believe I was able to bring an integrated approach to programming across different disciplines, organizing themes across art forms and bringing a real curatorial perspective to the campus,” Gruits said, mentioning the likes of Aaron Copland festivals, performances with Sarah Jarosz, Nico Muhly and Willie Nelson, and transforming Interlochen Public Radio as but a few of his accomplishments.
Along with pushing for younger groovier audiences to attend his shows, Gruits wants to celebrate the Annenberg’s original role as an adventurous, top-tier presenter in town. “I recognize that because of our scale, we can welcome exceptional artists (nationally and internationally based) while also cherry picking the best local talent in our dynamic arts environment. Pig Iron’s an obvious choice as they are one of the more artistically excellent companies around. Creating a space for them in our season is a major plus; same with BalletX making their Annenberg Center debut.”
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“We’re definitely focusing on pulling some of the formality out of the Center,” says Gruits.” The Annenberg was built in the 1970’s at a time when cultural institutions thought differently about audience interaction. We want audiences to feel welcome here, whether they are from West Philadelphia, Center City, or Penn students, faculty, or staff.”
– Christopher Gruits, program chief of West Philly's Annenberg Center
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West Philly-born Christine Cox, the co-founding artistic & executive director of BalletX grew up not far from Annenberg and danced at the Center when she was with the Pennsylvania Ballet.
“It’s a privilege and an honor to have BalletX performing in that same theater,” said Cox. “Collaborating with the Annenberg too leads to building stronger relationships with this city’s invested arts leaders.”
If you want to discuss arts and its leaders, one has to mention Mark Morris, the now-61-year-old enfant terrible of the American dance world, who, as a choreographer and director has brought humor and scientific breadth to the movement form – an interesting notion considering University of Pennsylvania’s medical and scientific innovations. “Mark’s a singular artist; curious that he’s has not been in Philly for 14 years,” says Gruits of making Morris Annenberg’s artist-in-residence. “It’s obviously time to have him back.”
Gruits is also looking to redefine how classical and chamber music is heard within the halls of Annenberg looking to make the come-and-go approach like you have in other theaters, more of a norm at Annenberg.
“We’re definitely focusing on pulling some of the formality out of the Center,” says Gruits.” The Annenberg was built in the 1970’s at a time when cultural institutions thought differently about audience interaction. We want audiences to feel welcome here, whether they are from West Philadelphia, Center City, or Penn students, faculty, or staff.”
Ultimately, what Gruits wants for his new vision of an Annenberg Center has nothing to do with Michigan or New York City’s Carnegie Hall where he created youth-directed initiatives, but, rather an arts forum made for this city in this moment.
“I think most audiences just want an exceptional performance experience, period,” Gruits said. “ There might be a local slant depending on region – for instance, at Interlochen – there was a big audience for the country and folk genres, and we certainly want to work with artists that can tell stories of and about Philadelphia. We obviously have our own unique history and culture here. Ultimately, I think our job is to deliver a balanced season that features artists of exceptional quality. My view is that this remains the same wherever you are presenting the performing arts.”
