The Knowing

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Joanie: In my case, the staff, managing director, and board had all been at WaterTower longer than I had. But it is also a founder-led theatre, so, for better or worse, everything has been built for the style and the evolution of that human being. I had a lot to learn because I was the new person. The leader and the new person at the same time.

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When I know something, I know something. Joanie: You need to listen to the people around you. Every choice you make—not just the artistic choices, but how you budget, how you structure—all of that is part of the vision. And every level of the organization has to be on that same train.

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Those small choices all build up, taking the train off the tracks. And the business and the art lining up is essential to success. And in order to start something from nothing, it takes so much selfless love and volunteered time. But founder-led theatres are not conventional institutions yet. Sarah: Okay. It was all the same family for so long at the Jungle. Transitioning the business model and vision takes a lot of time and a lot of questioning. During our leadership transition, the person who did our search stayed available to me.

That is ultimately not a sustainable answer. Joanie: I wish I had also had somebody in my transition a little bit longer. The search firm that hired me was gone when I started.

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I only had other stakeholders to trust. You need a neutral person who is experienced coming from the outside. A lot of the things I felt like I walked into, then I would find out afterwards that I changed something. I think we all have our own assumptions about how theatre is made. And you know this from freelancing. I think I know the way theatre works.

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When I came to WaterTower, I made a lot of assumptions about what we do and how and why theatre is made. There were so many culture clashes.

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Photo by Evan Michael Woods. Sarah: I want to go back to one thing you said about that neutral third party. Having that third party was key. He talks about raising money for the transition because there will be a valley. Subscribers will fall off. Your audience and donors will change.

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  7. You will be doing epic vision work while trying to keep the doors open. It would have saved me a lot of sleepless nights. Originally, I thought it would be important to me to have artistic director mentors.

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    And that has been really important on larger philosophical things. But the thing that has made the biggest difference is having an expert in not-for-profit systems and business models, and an expert in the culture of Minneapolis and Saint Paul.

    Looking back, I wish the theatre would have raised money for the transition. Any journal purchased is emailed to you as a pdf attachment. Please note all journals are now only available as pdf. There are however still hard copies available of some of the back issues. Please contact us for details on this. I have been editing this journal since when I took it over from the Founders, Barbara Stones and Jutta ten Herkel who launched it as the Systemic Solutions Bulletin in I am passionate about constellation work and the opportunities it offers for personal and global transformation.

    My commitment to providing a publication for all who are interested in keeping this wonderful approach alive is unwavering. If you would like to become involved with helping this work reach a wider audience via the journal, please contact us. Cage studies the numbers and soon deciphers that the particular sequences are dates of disasters around the globe followed by the exact number of people killed in each event. To give the film cultural resonance, Cage sees that the attacks of September 11 are included on the document and that the last few digits point to the final reckoning in the very near future.

    As the film unfolds, we are treated to the plight of this man of reason confronting matters of faith and enlightenment. Cage must figure out not only what the numbers mean, but also how to warn his fellow scientists and his community about the impending Armageddon.