May 23, 2005
Board cites leader’s artistic excellence, compelling, entrepreneurial vision for company’s future and fiscal responsibility as chief reasons for vote of confidence.

CLEVELAND, OH – In a demonstrative vote of confidence, Great Lakes Theater Festival’s (GLTF) Board of Trustees awarded Producing Artistic Director, Charles Fee, a five-year contract extension earlier this week to lead Cleveland’s forty-four year old classic theater company through the year 2010. Fee joined the Festival in 2002 as its head. According to terms of the new GLTF agreement which begins in July, he will also continue his joint artistic directorship responsibilities with Boise’s Idaho Shakespeare Festival, which he has lead for the past 14 seasons. Mr. Fee is GLTF’s sixth Artistic Director, following in the footsteps of Arthur Lithgow, Lawrence Carra, Vincent Dowling, Gerald Freedman and James Bundy.

“There ’s no doubt about it. Artistically and fiscally, Charlie has been the catalyst for the amazing progress that we have made as an institution over the past three seasons,”said GLTF Board President Carolyn Dickson of the Festival’s Producing Artistic Director during a recent interview. “As a Board, as audience members and as proud Clevelanders, we look forward with great anticipation and confidence to what the future holds for this company with Charlie at the helm. It ’s a very exciting time for Great Lakes Theater Festival.”

Charles Fee echoed Dickson’s enthusiasm. “The opportunity that has been given to me by the Boards of Trustees in Cleveland and in Boise, to continue to develop a radical new model for the way that we produce the classics, is an extraordinary gift,” said Fee regarding the five-year contract extension. He continued, “Over the past three years at Great Lakes Theater Festival, we have re-energized the artistic vision of this company by renewing our historic commitment to Shakespeare and the classics , upheld the proud tradition of quality for which the Festival is renowned, maintained our standards of educational excellence and assembled a resident company of the finest artists that this community and industry have to offer. And I’m proud to say that all of our accomplishments have been marked with fiscal responsibility. This new contract affirms all these ideas and affords us as a company the chance to see the work that we’ve begun through to successful fruition.”

Bob Taylor, Great Lakes Theater Festival Executive Director, corroborated Fee’s statements. “The Festival’s operations have been in the black in each of the last three seasons,” remarked Taylor about GLTF’s finances under Fee’s leadership. “When Charlie arrived in 2002, our net assets were -$294,000. Today, the company’s net assets are +$602,000. That represents a positive net swing of almost $900,000 in just three seasons. It is extraordinary to contemplate how far we’ve come in so short a time. Charlie’s leadership in developing a revolutionary, sustainable business model for Great Lakes Theater Festival and tireless commitment to secure the financial future of this company ensures that the Festival will be better able to serve our community and the artists we work with for years to come.”

GLTF Board president, Carolyn Dickson, attributes much of Festival’s recent success to collaboration. “Charlie’s commitment to collaboration has been a real key to our renaissance over the past three seasons. Deepened partnerships with Playhouse Square Center, with Idaho Shakespeare Festival, with Cleveland artists, with our neighbor theaters and with our community in general have yielded a wealth of success. I believe that Great Lakes Theater Festival is a wonderful example of what can happen when creative people and positive energies come together in Cleveland. The possibilities are endless. And the truly exciting part is that we’ve only just begun.”

Fee is confident about the Festival’s future. “This company is once again in a position of strength and has a clear vision for the future. We now have the wherewithal and the support from our audience and our community to truly become one of the nation's standard bearers for the classics. If you thought the last three seasons were fun, then hold on to your seats. You ain’t seen nothin’ yet!”