Every once in a while I attend a performance that is so remarkable that I forget about ticket sales, fundraising, budget cutting or any other aspect of my job. A recent performance of Le Corsaire by American Ballet Theatre was such a moment.

This multiplier effect has been discussed for decades. We know that arts organizations are critical for local restaurants, parking, taxis, hotels, etc. Yet it is equally clear that the economic importance of the arts is not fully understood in most cities across the globe.

Dancers try things in rehearsal that they may not feel comfortable attempting in performance. And watching dancers in rehearsal clothes always strips the movement to its barest, most wonderful essentials.

Reducing staff time and cost is only one of the benefits. The exciting innovation of this new venture is that all member theater companies will also be allowed to borrow the stored items of the other companies, as needed.

The leadership of the Metropolitan Opera recently announced that they were lowering most of their ticket prices for next season. At the same time, they announced that it is now clear that their highly successful movie theater broadcasts are cannibalizing ticket sales for their live performances.

Artwork is work. Art does not come into existence in a single fell swoop of expressive resolution. Art is not a hobby to a professional artist. Art is labor. Choreographer, painter, composer: these are occupations.

Without a clear vision for the future, executive directors are doomed to making marginal changes that do not truly move their organizations forward. And without a bit of dreaming, it is difficult to create this vision.

The desire of arts managers and artists to want to do more is important, attractive and draws people to our organizations. Controlling these impulses is vital, however.

While you have access, no doubt, to a wealth of advice and knowledge, I humbly suggest that you fully exploit the expertise of your arts community and the power of cultural diplomacy.

One of the frustrations of being a consultant is that one doesn't have control over the implementation of the plans you develop.

Just putting on stage a full complement of performances is enough to tax us. And mid-season is when we (should) acknowledge where we are falling short in terms of financial performance.

The mystery surrounding fundraising has led many people, usually board members, to ask: What makes a good fundraising executive?

A fascinating article recently published in the L.A. Times evaluated reasons why arts organizations and other not-for-profit institutions have problems meeting their fundraising goals.

I hope the Search Committee finds a remarkable person to run the Kennedy Center, someone who can take the institution to new places and can educate and entertain our audience in ways I could not even imagine.

Eight months ago, the Miami City Ballet was a mess. The remarkable Edward Villella was beginning his last season as artistic director, the organization had run out of cash, its executive director had left and the survival of the institution was truly in doubt.

While reading the financial reports of numerous arts organizations recently, I have been alarmed at how many of them are taking large percentages of their endowment as income each year.

As government funding for the arts has fallen (as it has in most European countries), museums are trying to fill their budget gaps by asking the public to contribute.

It is unfortunate that "zirkusschadenfreude" is not an actual German word, because there seemed to be a lot of it flying around last week, that is to ...

I have been anxious about the precarious nature of this country's arts organizations of color; it is ironic that while minorities are becoming a majority and playing increasingly important political roles, arts organizations of color are at a low ebb.

So much great art is dependent on the need for ensemble. The great orchestras and dance companies are great not simply because of the agglomeration of talented artists but also because of the amount of time these artists have worked together to create an aesthetic.

I have tremendous sympathy for arts organizations that are facing fiscal challenges. But it is difficult to feel much sympathy for an organization that causes its own demise by failing to fill out basic paperwork.

What the arts world needs is fresh vision that can adapt to the new crop of talent being cultivated, continually inspire the guard currently in place and make innovative, rather than obligatory use of new technology and ways of communicating.

Simply slashing budgets cannot save us from fiscal ruin. But it's disappointing that Michael Kaiser continues to dismiss the possibility that salvation may be more complex or require more radical innovation than simply doing more of the same, better.

I do hope we can bring together managers, musicians and board members from orchestras large and small and begin a coherent, comprehensive, solution-focused discussion on how we are going to maintain and build this vital sector of the arts ecology

It is not uncommon to read about huge deficits and cancelled seasons. Not surprisingly, orchestras are suffering the most. This has left many suggesting that we need new models for running arts organizations and others looking for draconian cuts.