Artists are aware of the strong audiences that exist in Gainesville," says Blachly, who began serving as director in 2000, the same year the center was renamed after retired Jacksonville surgeon Dr. In a college town with just more than 120,000 people, according to 2010 Census data, in a state where larger cities like Miami and Orlando are seen as the cultural flagships, the 1,700-seat Phillips Center has put Gainesville on the radar, he says. "I would say that anything you are likely to see in a major city, such as New York, Chicago or Boston, you can see in Gainesville."īlachly points to the population. " provides a cultural anchor that allows the other artistic expressions in our community to be strengthened," says Michael Blachly, the director of the University of Florida Performing Arts. If you want to be creative, you can do whatever you want to do."Īs the University of Florida Performing Arts celebrates the Phillips Center's 20th anniversary with the first of two commemorative seasons, that's a concept that has driven the center performance after performance, from worldly orchestras to fresh-from-Broadway shows and every duo and dance troupe in between, since the curtain opened with "Cats" on Jan. " ‘Validated' is a good word to use," Tuttle says of the feeling that night.
The 46-feet-deep stage meant sprawling set design - two 30-feet by 60-feet backdrops - and the use of more than 400 light fixtures. Now, it's been 20 years since The Swan Queen first took her bow on a stage on which she could spread her wings - literally. Phillips Center for the Performing Arts - known then as the Center of the Performing Arts - and one of the first shows of the venue's inaugural season, artistic director Kim Tuttle recalls.
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It was the first time Gainesville professional company Dance Alive National Ballet performed at Gainesville's Curtis M. They were dancers performing "Swan Lake," a ballet that has become a classic in the number of times it has been revised and revisited and remembered by audiences around the world.īut there was something special about that January 1992 performance. Some were nervous when they took the stage that night - just the typical pre-show jitters. As usual, they had been rehearsing for about six weeks, give or take.
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