An artistic bridge

Since the Alys Stephens Center debuted on UAB’s campus in 1996, it has presented an eclectic mix of traditional fine arts, global pop and classical, singer-songwriters, folk and jazz artists and star-studded performers.

By itself or with community partners, ASC has hosted a mind-boggling diversity of acts in its four venues, including opera divas and divos, student ensembles, touring European orchestras, acrobatic arts and dance legends.

In recent years, however, it has veered away from its sharp focus on fine arts. While its principal tenant remains the Alabama Symphony, classical superstars at the level of Kathleen Battle, Mikhail Baryshnikov and Yo-Yo Ma have appeared in diminishing numbers compared with jazz and pop shows, comedians and other box office-friendly acts.

Anna Thompson, ASC’s first executive director since Caron Thornton retired in 2009, would like to see a healthy balance in the center’s fare, broadening fine arts while connecting more with the Birmingham community, and strengthening the venue’s identity with the campus, students and staff it serves.

A Michigan native, Thompson comes to Birmingham from Notre Dame University in Indiana, where she directed the De Bartolo Performing Arts Center from 2007-15. For the 20th anniversary season in 2016-17, she would like to align ASC with performing arts centers at similar university-based organizations. While maintaining a high profile in entertainment and fine arts, the center should be an arts gathering point for UAB and the Birmingham community, she said.

“I didn’t feel the institution was aware that it was a university presenter,” Thompson said. “The role of the university presenter is different than, say, the Alabama Theatre or the Lyric [Theatre]. You’re serving students and faculty, and you’re a bridge to the community. I don’t think that role was forefront in what had been programmed. You have to have things that pay the bills for everything else you do on the season, but you also have to do things that are engaging faculty and students and bringing them in as part of their classes.”

Although the final roster of acts has yet to be finalized, Thompson offered a glimpse into ASC’s 2016-17 season, which reflects that strategy. In addition, the season will celebrate ASC’s two decades by bringing back several iconic acts that have defined the center’s direction.

Among the highlights:

► Bandaloop: The high-flying acrobatic dancers scaled the exterior of the center in 2011.

► UAB Gospel Choir: The award-winning chorus directed by Kevin Turner will perform with Alicia Olatuja.

► Salon series: Three events that bring audiences closer to performers. It will include piano superstar Jeremy Denk surrounded by 350 listeners on the Jemison Concert Hall stage.

► Anoushka Shankar: The celebrated daughter of Ravi Shankar will return following a solo appearance in 2013 and an appearance with her father in 2007.

► Family and dance series: Stage renovations, including a full-length curtain, sound system, side lighting and side drapes, will enhance dance performances in Jemison.

Partnerships with community organizations such as Alabama Dance Council are being renewed, and weeklong residencies by renowned performers will be established. Hispanic Heritage Month and IndiaFest will expand global arts exposure and tie into UAB’s push to enroll a greater percentage of international students.

Thompson has had plenty of experience galvanizing such a diverse array. She held arts administration positions in Minnesota for 10 years and in Indianapolis for 14 years. At Notre Dame, she worked with an annual budget of $2.9 million, but relishes the opportunity to work with the Stephens Center’s larger budget of $4.7 million, of which $1 million is for education programs at ArtPlay and community programming.

“There will be something for everyone next season,” she said. “I hope we left enough of the things our audiences are used to seeing — we don’t want to alienate our existing audience members. We also want to offer new things. We’re a multidisciplinary presenter, so we’re game for a lot of different things. We obviously want to cover costs and break even on what we present, but it’s about the artistic experience we bring to our community. You have to have a point of entry for the community.”