UB's performance anxiety

For as long as UB has been a public university, it's had a reputation as an excellent school for the arts. But after more than 30 years, some are questioning the direction in which UB's arts departments are heading, with some even saying the programs are starting to decline.

Those who worry about UB's dedication to the arts often first point to President John Simpson, who is rooted in the sciences and has hired a number of administrators in the last two years with similar backgrounds. Simpson has said UB remains committed to the arts, and to not do so would be foolish. Skeptics, however, ask how much money the arts will get when all the attention is on the center for bioinformatics.

But even more than Simpson and his new administration's campus culture, some students and faculty argue there is one key example that makes them uneasy: the recent tenure denials in the department of theatre and dance, and new principles that are taking a focus away from the classroom and the stage.

Over the past year, personnel upheaval has changed the make-up of the theatre and dance department. Two highly respected professors, Tressa Crehan and Lynne Formato, were denied tenure based on their lack of research outside of the university.

Since then, Robert Knopf was appointed as the new chair of the department and Daniel Pelzig was hired as new director. UB officials say both hires are a step in the right direction.

"There's no deterioration as far as I'm concerned," said Lucinda Finley, vice provost for faculty affairs. "There's a new chair in the theatre and dance department who's a very prominent scholar. (Knopf) brought in a new director that is nationally acclaimed. Our students have never had such a wonderful opportunity before."

Some students beg to differ, especially over Pelzig, who is essentially a replacement for Formato.

"It's not a great opportunity for us," said Brian Butera, a senior music theatre major and a student of Pelzig's. "I like Danny Pelzig very much, but the fact of the matter is that he missed three or four classes the first weeks of school."

In taking over for the popular Formato, who helped build the music and theatre programs for 20 years, Pelzig comes to UB with an impressive resume. He is a well-known director and choreographer, and has worked in theatre, opera and ballet. His previous experience also includes positions as a visiting professor at Barnard College and a ballet teacher at the Boston Ballet and the New York School of Ballet.

Students say they see the move as a change in attitude within the department, hiring credentials over quality.

"It went from one extreme to the other - the most organized, nurturing professor (Formato) to Danny who isn't even here," said Erica Giglio, a senior music theatre major. "Sure he has a great resume, but he's not here for us, the students."

Formato developed and directed the B.F.A. in the music theatre degree program at UB. She still serves on the executive committee of the Music Theatre Educators Alliance International, is a member of the Society of Stage Directors and Choreographers, and has been credited in over 300 productions.

In Formato's dismissal, much has been made over her lack of research at the university, a major requirement for tenure. A recent memo sent to professors from the president and provost outlined the guiding principles for promotion and tenure. It stated that "research and scholarship or creative activity in appropriate disciplines will be the primary basis for promotion and tenure decisions."

Gerald Finnegan, a professor of theatre and dance, said having that kind of attitude within a department places higher priority on research and big name scholarly credentials, rather than teaching and service to the university in gaining tenure.

"If you want that promotion, you'll be treating your students second," said Finnegan.

Plus, Finnegan said in a recent interview, such policies take tenure decisions out of the hands of the departments, where they should be. Formato was highly recommended for tenure by the department before the administration denied her.

"Coming in and changing the rules on people who have been on a six-year long tenure track is arbitrary and capricious and therefore should not be allowed," said Michael Formato, production manager in the theatre and dance department and Lynne's husband. "Change them for the new people."

"In the performing arts, what you do is research," he added, "If you're a sculptor you don't write books about sculpting, you sculpt and that is your research. They are equivalent and should be regarded as such."

According to Lynne Formato, much of her time at UB was devoted to artistic research.

"There is research involved in every production," she said. "I travel constantly to the Center of Performing Arts Library in New York City to research. Creation is research. It's coming up with something that hasn't been done before."

As a result of Formato's leaving, many who call the CFA their home said they feel the changes within the big white box are not as beneficial as the president, provost, and other officials seem to think they are.

"Theatre is performance. You take away the actors, singers and designers, all you have is words," said Tom Detrinis, senior theatre and dance major. "If I wanted to write, read and study literature, then I would have went to the English department."

Officials say Formato's and Crehan's cases were treated no differently than any other cases, but they largely cannot comment on personnel issues. Each case is evaluated on its individual merits, and there is a well-established process in any tenure case.