Six years after a global pandemic emptied theaters, museums and music halls, bringing about the demise of multiple nonprofits across the country, Sarasota’s arts organizations appear to be holding their own. 

But with patron habits changing; government funding dwindling; the economy and tourism shaky and the unpredictable threat of extreme weather – like the two hurricanes that hit Sarasota in the fall of 2024 – local arts groups are looking to the future with a more strategic and cautionary eye than ever before.

“I’m optimistic… and also scared to death,” said Joseph Caulkins, artistic director and CEO of Key Chorale, a choral music group. “In this climate, you have to be as bold as you can – because pulling back would be death – but also hoping to God it pays off because you won’t know until the day after the show.”

To assess the state of the arts in the Sarasota area – post- COVID, hurricanes, funding cuts and cultural changes – ArtsBeat talked with leaders from about a dozen local organizations of different sizes and genres. While each face challenges specific to their own operations, many areas of common concern emerged.

Shifting sales patterns

Unlike nationwide, where subscription sales began to decline well before the pandemic, most arts organizations in the Sarasota area could reliably count on patrons snapping up full-season subscriptions early, with the lure of discounted per-performance prices and guaranteed seating.

That’s no longer the case. Local patrons are being more selective in their choices and waiting longer to make their purchases.

“One lingering effect of the pandemic is that the subscription model is flipped for us and most arts organizations," said Julie Leach, executive director of the Westcoast Black Theatre Troupe, which this season saw pre-season subscription sales fall to 40 percent, compared to 60 to 75 percent previously.

At the Sarasota Ballet, subscriptions reached an all-time high in early 2020, then fell 15 percent during the pandemic before beginning to climb upward. Overall box office is still down 2 percent from last year, said Executive Director Joe Volpe.

Likewise, mainstage subscription sales are down at Florida Studio Theatre – where a single ticket may cost more than some subscribers pay for an entire series – and at the Sarasota Concert Association, which once had so many season subscribers patrons had to buy a series to be ensured of getting in to some performances.

Subscription sales at Sarasota Opera began to rebound in 2023 and increased in 2024, but have slightly decreased recently, according to General Director Richard Russell. Overall, sales are down about 15 percent from pre-pandemic highs.

“Our numbers are not entirely back, but they’re getting closer and we’re seeing growth,” he said. Particularly encouraging is that much of that growth has come from new-to-opera patrons, he said, whom the organization has targeted with outreach efforts.

Key Chorale has seen sales increases year over year, said Trish Ivey, general manager and director of marketing. But as elsewhere, patrons are waiting until the last minute to make their single ticket purchases.

“There are very few advance sales, subscription or otherwise,” seconded CEO Caulkins. “Three to four weeks out from a performance, you don’t know if it’s going to be a stinker or a sellout. We are in a precarious position because we’re growing at a time when the economy is unknown and you don’t have a sense of being able to predict what it’s going to look like in the future.”

One outlier is the Asolo Repertory Theatre, where Managing Director Ross Egan said subscriptions are actually stronger than before the pandemic. However, that hasn’t translated to an increase in revenue due to a decline in overall attendance and higher costs for productions.

 “As far as we know they’re the highest they’ve ever been,” he said, “but in terms of earned revenue, we’re in a similar place as we were pre-pandemic.”

One factor that may be contributing to a drop in attendance locally is a notable decrease in newspaper and media coverage of the arts, forcing organizations to buy ads to make up for what they used to get for free in terms of stories and reviews, noted the Opera’s Russell.

“This has been a newspaper town far longer than in other places, so that’s been a big change,” he said. “That was always a big source of PR for us. We would see interest grow as soon as an article came out.”  

Tourism is down

Visit Sarasota reported tourism down about 6 percent for fiscal 2025, evidencing the impact of Hurricanes Helene and Milton in the fall of 2024. Numbers were more positive last October, but seasonal residents and winter visitors appear to be coming down later, often waiting until after the year-end holidays.

That decline may have impacted the Asolo’s Rep’s fall musical “Come From Away,” which did not sell out in the way past fall shows have.

“People loved it but compared to the buzz around town, you’d think that means there’s not an empty seat and we were not selling out,” said Peter Rothstein, Producing Artistic Director. “It had the highest buzz of any show since I’ve been here, so that’s sobering.”

Despite the decline in tourism, the Sarasota Art Museum, which opened in the renovated former Sarasota High School just months before the pandemic hit, is currently enjoying a 40 percent increase in attendance over last year and the highest number of members (4,000) in its short history. That may be due to its patronage being “hyper-local,” according to Executive Director Virginia Shearer, who said 60 percent of the museum’s visitors are from Sarasota and Manatee counties.

Likewise, membership numbers are up at Art Center Sarasota, in part because it is the organization’s Centennial year and also because “we are very intentional about serving our year-round community,” said Katherine Ceaser, executive director since 2024.

The lower tourism numbers could also impact dozens of Sarasota County arts organizations that rely on revenue from tourist tax. The tourist tax grants were initially intended to help nonprofits extend their seasons to boost tourism year-round. Last year, 35 arts organizations shared about $2.1 million, but Sarasota County commissioners, who approve the grants, have requested changes in how the money is awarded, requiring 25 percent of an organization’s patrons be tourists.

“They are forcing you to invest that money in the times when we already have the most tourists coming, rather than encouraging us to expand the year,” said Rebecca Hopkins, Florida Studio Theatre’s managing director.

Decline in state support

Florida has long had a system for supporting arts and cultural organizations through several grants that support general programs, capital improvement projects, individual artists and building endowments. 

While that funding was once fixed and guaranteed to organizations that met application standards, funding levels have varied wildly in the last 15 years. In 2024, Gov. Ron DeSantis vetoed millions approved by the legislature because he objected to funds earmarked for two fringe festivals with content he found objectionable.

Last year, $18 million was approved, but just for programming in the cultural and museum category, and DeSantis’ final budget as governor this year calls for just $5 million. (The Florida Council on the Arts has requested nearly $52 million for programming, and another $21 million for the other categories.)

“We were one of the few organizations who did receive state funding,” said Art Center Sarasota’s Ceaser of last year’s state grants,” but we’ve seen a significant decrease in our county funding. I can’t see any rhyme or reason or pattern with grants and that makes it difficult to do long term planning.”

That volatility has caused all local organizations to rejigger their projected budgets.

“My thought is we can’t count on arts funding anymore and we’ll be lucky if it ever comes back,” said Key Chorale’s Caulkins.

Canadians haven’t returned

Some groups say they’ve been impacted by a significant drop in the number of Canadians who in the past have visited seasonal or rental homes here during the winter months.

Canadians once made up 20 percent of memberships at the Sarasota Art Museum, said Shearer, but many did not return after the 2024 hurricanes, which she said were “more disruptive” to her organization than the pandemic.

Other Canadians have been deterred by the political climate in the U.S., which has not been friendly toward our northern neighbors.

“We have been hearing from our Canada customers who are not coming back and they are not donating a penny to organizations in the United States, said Asolo Rep’s Rothstein. “That’s an impact on both contributed and earned revenue.”

Richard Hopkins, producing artistic director at FST agreed.

“They’re not coming anymore because they’re pissed off at America, at everything politically,” he said.

Economic impacts

The instability of the economy is yet another factor that has impacted organizations’ bottom line and future planning. The cost of producing theater continues to rise, and government tariffs haven’t helped, said Rothstein.

“The cost of putting on a show is up 20-30 percent,” he said, attributing the increase to everything from physical goods to labor to creating a better work-life balance. 

Joseph McKenna, President and CEO of the Sarasota Orchestra, said his organization is spending more money on security, transportation, housing and buses to bring students to young people’s concerts. The Sarasota Jewish Theatre spends extra money for security for each performance because of antisemitic attacks across the country. 

Art Center Sarasota does not charge admission to its galleries, but continues to try to provide more bang for the buck for those who purchase a $75 annual membership, making free to members everything from trivia nights to free movies. That has required a “diversifying of revenue sources,” said Director Ceaser. The center is devoted to staying true to its seminal mission of affordability while increasing revenue through art exhibit submission fees, educational classes and rental fees. 

Even as costs rise and organizations try to hold the line on increasing admission, patrons are becoming increasingly more selective about their discretionary spending.

“The patron who used to come to six things now comes to three, or maybe they bought a flex package of four instead,” said the Orchestra’s McKenna. “Some of them may say they’re seeing as much as ever, but they may be dividing their dollars to hear the orchestra and also attend theater, opera and ballet performances.”

And at The Sarasota Ballet, Executive Director Volpe has noted a concerning trend: while top price tickets are still selling well, the lowest priced seats – which usually go to first-time or new patrons – are not, which he also attributes to the uncertain economic climate.

Changes in philanthropy

Many of Sarasota arts organizations survived the pandemic in part because of the number of donors and foundations that kept operations going and staff paid, even when no income was coming in. The Sarasota Orchestra, which is trying to raise hundreds of millions of dollars for a new music center complex, was able to keep paying its musicians thanks to such generosity.

“I remember a donor saying there’s no need to build an orchestra hall if there’s no orchestra,” McKenna said.

Likewise, both the Sarasota Opera and The Sarasota Ballet enjoyed the loyal support of longtime philanthropic supporters, who donated back tickets unused due to cancellations and responded to relief appeals. The Sarasota Art Museum, which derives about 70 percent of its income from private philanthropy, continues to expand its donor base and has developed specific programming that offers naming opportunities.

But many organizations acknowledge that younger generations have a different approach to giving, including what organizations they are interested in donating to and how much they are willing to give. As the climate has (both literally and politically) changed, their attention has been diverted to global concerns that cast the arts as something less crucial to support. The endowment contributions and legacy gifts that many of Sarasota’s more venerable organizations have relied upon may not be forthcoming in the future.

“We are beholden to 10 to 12 really important donors that make the culture in Sarasota,” said Key Chorale’s Caulkins, “and if you lose one of those, it takes 10 to replace them.”

Politics and programming

Changing appetites and the increasing political divide have also dictated alterations in what audiences want and will spend money on. Shorter attention spans, more “feel good” experiences and a split between those who crave controversial topics and those who want to avoid them have made programming for mass appeal more challenging than ever before. 

Years before COVID, the Sarasota Orchestra went through a rebranding and simultaneously diversified its programming to include “Great Escapes,” chamber music, pops concerts and outdoor stadium concerts, in addition to its traditional Masterworks concerts.

“That was a pathway to the future that has been a really helpful foundation for us,” said CEO Joseph McKenna. “We recognized that the world was going to be different and our portfolio of experiences is pretty wide.”

Others may not have been as prescient, or are responding to rapid changes in audience tastes. Hopkins, who has led FST as producing artistic director since 1980, admitted “we’re less inclined to be political this year than last year.” The organization has also seen a tremendous growth in its feel-good cabaret series – original musical revues focused on themes and artists, often with a nostalgic bent.

At Venice Theatre, which is still rebuilding after losing its main stagehouse during Hurricane Ian in 2022, Artistic Director Murray Chase, said he is focusing on more “new, really exciting material” while being less reliant on the old reliable classics. “We want to let everybody know it’s not the same old same old. It’s fresh, hot and exciting.” 

Audiences may have once loved seeing classic musicals like “South Pacific” and “Hello, Dolly!” but today they are less enamored of the nearly three-hour running times.

“It’s not the content of the show that comes up from audiences, it’s the length of shows. Our attention spans are shorter,” said Kristofer Geddie, Venice Theatre’s executive director.

With the recently announced retirement of longtime Sarasota Opera Director Victor DeRenzi at the end of the current season, his successor said patrons seem to be “willing to experiment” and  are “looking for variety in what they’re seeing.”

“I can’t really pin this specifically to opera, but I know it’s true in theatre,” said Russell. “Most people are looking for something enjoyable and maybe not as cerebrally challenging.”

At the Sarasota Art Museum, Shearer said contemporary art “follows the direction of where the artists take us,” which can sometimes be into controversial territory, and that, within limits, the museum has no choice but to follow. Her organization’s response has not been to eliminate edgy topics, but to present them sensitively and with interpretation and to provide wrap-around programming that promotes dialogue and helps viewers process what they’ve seen.

Why Sarasota has fared better than other cities

Considering the dozens of arts organizations across the country that shuttered in the wake of the pandemic, Sarasota has fared remarkably well. Among the factors that have contributed to that well-being are philanthropists committed to supporting and sustaining the arts community here; well-run organizations focused on collaboration rather than competition; and a demographic made up of many people who settled here specifically because of Sarasota’s arts offerings.

“A big part of it is that individual philanthropy invests in the arts here and they have stepped up,” said Rothstein. It’s impressive to see the number of people who are lending their time, talent and money to these organizations.

Key Chorale’s Caulkins attributes the cohesiveness in part to the community’s size – like Goldilocks, not too big, not too small, but just right for fostering support.

“If a community gets too big, it’s hard to connect with everybody,” he said. “It’s not hard here. A lot of synergy gets created just because it’s such a small community that promotes robust discussion about the arts wherever you go.”

The Opera’s Russell also credits good management by seasoned nonprofit professionals with weathering the figurative (and literal) storms.

“All our organizations tried to do something to keep connections with audiences, even when they couldn’t be open,” he said. “We all came together as a sector and found a way through…and though we continue to have challenges, we’re able to manage a lot.”

Looking to the future

Business models for the arts were changing well before COVID, said McKenna, though not everyone was proactive in response.

 “We’re not going to spend our energy trying to create a world that doesn’t exist anymore,” he said. “We move forward.”

But moving forward looks different from organization to organization. The Opera is making a special effort to reach out to new residents in the area with a special invitation event, having noted that if first-time visitors return for a second performance, about 80 percent return on a regular basis.

The Sarasota Ballet has benefitted from the growth of its ballet school, which brings in an increasing amount of revenue not only from training students but from its annual “Nutcracker” performances, which have expanded from two to six.

The Sarasota Art Museum is focused on becoming “a hub for the community” says Shearer, by “saying yes a lot” – to collaborations and outside-the-box programming – while Art Center Sarasota aims for a “depth of engagement,” says Ceaser, by encouraging visitors to return frequently to try a variety of its programs.

As for Caulkins at Key Chorale, the pandemic not only shifted his organization, but his own artistic sensibilities. That has included not only its successful collaborations with Circus Sarasota and The Sarasota Ballet school but adding everything from visual images to a plethora of candles to accompany its choral  performances.

“We realized we could create really meaningful content by being creative and low budget,” he said. “And we still work that way.”

Other arts leaders said their organizations can best move forward by focusing on quality and offering programs that appeal to a broad range of people.

“Everybody loves us that comes to see us. They appreciate the quality of the shows and the excitement of the theater, the warm family feeling when you come,” said WBTT’s Leach. “We just need to reach out to attract more people.” 

And there are still growth opportunities in the region. Venice Theatre, for example, has benefitted from the population boom in nearby Wellen Park.

“We’re doing classes, workshops and shows in Wellen Park and they’re coming to our shows,” said Murray Chase. “That’s where the population growth of South County is and will be for some time. 

Overall, local arts leaders echoed Russell, who said he remains optimistic about the future, while still cautioning, “If we don’t acknowledge things are different, we’re making a mistake.” Shearer of Sarasota Art Museum, believes the pandemic only underscored the essential benefit and value of the arts to our lives.

“Covid really taught us about our vulnerability.” she said. “That every moment is precious. That we should tell the people in our lives we love them. And that we all should be living our best lives.”

Jay Handelman and Carrie Seidman are the co-founders and co-editors of ArtsBeat.org, a non-profit arts reporting and reviewing website covering the Sarasota area.