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by Paige Travis

What bothers us so much about the Bijou Theatre’s closed doors and the sputtering attempts to revitalize it as a viable venue is the contrast between the dark house and our vivid memories of the theater’s better days. Some of our best experiences of live music have taken place in the 750-seat theater, for example concerts by Gillian Welch and David Rawlings. The packed house could be quiet as a mausoleum while the duo’s haunting harmonies drifted high into the upper balconies, or as thunderously loud as a NASCAR event as the audience cheered raucously to break the intensity of one of Rawlings’ rambling guitar solos. Other concerts by Tony Bennett, Junior Brown, Cowboy Junkies, John Prine, They Might Be Giants, Laurie Anderson, and series like Bluegrass in the Bijou, linger in our minds. Like a sermon whose message can imprint salvation upon your very soul, this concert and others like it have impressed upon music-lovers that the Bijou is a holy place like no other in Knoxville.

Which is why we had mixed feelings upon learning of the concert series designed to raise money to chip away at the Bijou’s enormous debt, incurred over many years by a pricey renovation whose cost was never recouped, general mismanagement, and a spendthrift theater company. Regardless of how we felt about the plays performed there for the past two-and-a-half years, we missed the days of regularly scheduled concerts in that hallowed hall (which were prevented by the play schedule and further impeded by a poor working relationship with booking agents).

Our tentative excitement plummeted upon perceiving the lack of vision behind these means of helping the Bijou. Given the difficult position of the theater’s board of directors, we’re just as likely to shake our heads and bless their hearts as shake our fists and bless them out. With a massive donation, Home Federal’s David Sharp saved the theater from foreclosure, but neither that money, nor the ineffective Board of Trustees, has done the theater any favors other than attempt to throw money at the problem.

In a seeming effort to replace a theater company with live music, Morris appointed Darryl Frith as the new scheduling and house manager. Frith, better known to locals as former radio personality Greg Williams, is the mastermind behind this weekend’s Elvis Tribute starring Jesse Wade. “Who’s Jesse Wade?” you ask. As far as we know, he’s a self-promoter adept at convincing inexperienced booking agents that he can draw enough people to a small downtown theater to justify opening the building for a night to get further in debt with KUB. The event’s promoting sponsor, Citadel-owned country station WIVK 107.7, doesn’t have anything about the event posted on its website. But we have seen the show’s posters posted around downtown.

Last weekend’s benefit, a Celtic music concert featuring several talented performers of local origin, drew 100 fans for $20-$25 per ticket. Another concert featuring talented folk guitarist Bill Mize with Beth Bramhall and local bluegrassers Roddy Branch is planned for Aug. 21 at the same ticket price.

We mean no offense to musicians who donate their talents toward keeping the Bijou open for live music and entertainment. It’s a cause we all believe in, and clearly someone else besides Frith is working behind the scenes to bring these performers together. But three fundraisers drawing a few dozen people each aren’t going to put a ping in the giant behemoth that is the Bijou’s debt, clocked at $750,000 at the end of June 2004. Most fundraiser organizers would roll their eyes to even speculate on using a concert to raise money of any significant amount, especially when those players perform regularly around town for free or a minimal cover charge.

A turnout of 100 for a mildly promoted event consisting of locally admired performers is encouraging. But it’s not a saving grace for the Bijou, nor is it a full-fledged campaign to inform the public about the Bijou’s situation.

When the Tennessee Theatre set forth to collect donations from the public for its restoration project, an onslaught of print, radio and television ads, and editorials resulted in a clear portrait of what the Tennessee Theater board and its sponsors intended to do: refurbish the theater’s innards to the tune of $20 million. This completely above-board information campaign told donors exactly to what purpose they were contributing their hard-earned cash. Over the course of its recent beleaguered history, the Bijou has asked and asked and asked again for money. Perhaps it’s a non-profit organization’s right to relentlessly beseech the community for donations, but it’s not the smartest way to earn the trust of people who have been hit up for donations countless times. A darkened theater threatened with foreclosure is a formidable threat, but “This time we really need your money,” only works for so long.

Full disclosure of the situation and a well-planned mission is the best way the Bijou can communicate its needs to the public. Its current approach is like putting a Band-Aid on a hemorrhage.

Is the Bijou’s current situation the difference between having an active, engaged board of directors versus one that’s out of touch with an operating theater’s needs? Is it the difference between a campaign launched by an experienced promoter like Ashley Capps versus one handled by inexpert, if well-meaning, managers? The absence of Capps’ affiliation with the theater that at one time hosted at least one AC show per month is conspicuous. He’s not the only person in Knoxville capable of booking quality performers who draw crowds, but his reputation for success is beyond compare. Deeply connected and well-respected booking experience is what’s needed for a benefit concert series to really work.

We aren’t afraid for the Bijou’s existence; the historic theater won’t be demolished, but it might be left to ruin. (Since the theater company left, the backstage area is in shambles—a poor example to anyone who might want to invest in the theater or merely rent it for an event). We’d be more fearful if its footprint were big enough for a parking lot. Official foreclosure resulting in a swift purchase by an able manager might be the best thing that could happen to the dark house. We are talking now of the theater’s ability to live up to its potential. Is there a single-bullet theory to save the Bijou once and for all? We don’t know, but we believe the answer isn’t to host concerts drawing 100 folks at a time. Frith’s inexperience or hesitance has already played a large part in ruining the chance for Scott Miller (an important local recording artist with a national following, but one whom Frith hadn’t heard of) to perform a show that would arguably sell out the place. The Bijou—and the performers past, present and future hosted on its venerable stage—deserves more than hapless attempts by inexperienced schmoozers. Knoxville audiences want to save the Bijou and see great music. Make it worth their time.

August 12, 2004 • Vol. 14, No. 33 © 2004 Metro Pulse