#i need to point out that river has 82% leadership (last i saw it) and cyrus has under 60

[sidesteppostinghours]

Hewooo, good morninggg!

ask game time ✨

For Caine: Philia 4 + Storge 3 in the context of tbe farm or tia elena

For Cyrus: Eros 1 + Storge 4 (sibling au ✨) + Philautia 4

im probably a few hours late when i finish answering this, but morning idle :D! hope you had a good one

Philia 4. Is your OC able to build close friendships with people very different from themselves? Perhaps in terms of culture, age or personality?

i was thinking about this yesterday on my way home from uni actually. the answer is yes, but with one baseline requirement: anybody they become close with needs to be able to ground them in one way or another. mortum and argent are possible, he appreciates their bluntness and strict boundaries. he likes to listen to mortum and occasionally bounce off ideas with her. he already holds respect for argent, and given time, she couldve grown to be a trusted confidante. however, they want to keep mortum as a purely business relationship at the moment, and argent already scared them off before anything could happen. heralds not getting any further than coach or "he seems nice", they like him but they get a headache whenever theyre in a room with him for too long. other than that, anybody goes. hes not picky.

Storge 3. How far does parental approval (imagined or expressed) impact upon their current sense of self-worth? What might they sacrifice or attempt to achieve in order to ensure the approval of their parents?

the answer varies wildly for either, so ill answer for both. in the case of tia elena, parental approval is a bit shocking to him, like with most relationship dynamics. they like it, they just cant fathom the fact that theyre getting percieved, much less in a positive light. hed do a lot to get more, its fascinating to him and it makes him feel like hes doing a good job. but its something they can easily give up if the situation calls for it (aka theyre my only step tia elenas 'im-not-mad-im-just-disappointed' look wouldnt work on).

the farm is...a very different story. they were made to be a tool, and if its a tool they want, a tool they shall get. before their escape he was very single-minded when accomplishing missions. get the job done in any way possible. consequences arent for him to worry about, he only needs to worry about if they mess up. which they wont. they make sure of it. after their escape he leans less into that mindset, but its difficult to let go of, and still bleeds into his relationships most of the time. they dont like to think about the fact they wouldve sacrificed anything for the farm back then, and that theyre not sure they wouldnt sacrifice anything now if the right people asked it from them.

Eros 1. Is your OC romantic in the traditional sense? Do they enjoy giving or receiving gifts of flowers or confectionary? Or are there other courtship traditions from their culture of origin that are important to them?

nobody but him is allowed to be romantic. thats it thats the answer were moving on

in all seriousness, he does do traditionally romantic things alot, though most of them are for the reaction, not courtesy. roses and flowers are a common way for him to try and fluster his dates, and the two people hes dated are both sappy suckers so its worked most of the time. the exception is gift giving, because most of his gifts are handmade, so he tries not to make a big deal about it. unfortunately, his partners always do.

receiving romantic gestures should be something hes used to at this point, but hes not, so it always catches him off gaurd. its embarrassing, but the most embarrassing part is that he gets strangely touched by it. he probably still has a teddy gifted to him thats never seeing the light of day. oh, and chocolates are always welcome. thats just good food.

Storge 4. Does your OC have any siblings? If so then did their parents have a favourite growing up? Has their relationship with their sibling changed in adulthood? If they don't have any siblings then do they perhaps feel they have missed out on an important relationship? Do they have any especially close friends who go some way towards filling that role?

sibling au time✨

does the farm have the normal version of a favourite?? no. do they have a favourite 'im gonna fuck them up for fun' sibling? yes and thats fawn. north is a bastard and he frequently makes cyrus dream of murder. as for how their relationships all changed, cyrus used to be closer to his siblings. a Lot closer. of course, the farm changed that. he became cruel and harsh, which fawn couldnt connect with. even with river who wants to be evil, cyrus became obsessive about control after heartbreak, which i dont think river appreciates. his mental imprint changed extremely, and he started shielding around them. needless to say their relationship was estranged for a good while, but cyrus can never stay away from the people he cares about.

Storge 5. Which of your OC's qualities makes them the most proud? Do they think more people should be like them in this regard? Or do they quite like being rare in possessing it?

hes proudest of his ability to stay logical and composed, unaffected by emotions. that last part isnt true btw, but he gets to believe it to feel better about himself. hes able to think things through and do what needs to be done without external influence. he thinks itd be easier for everybody if they were more like him, but secretly, hes relieved that theyre not. itd get less people hurt, but the poison is addicting, yk? if people were as logical as he wanted them to be, ortega and herald (and maybe mortum, the verdict is pending) wouldve dropped him by now, yet persistent assholes that they are, they stay with him anyway. he likes the trade-off.

questions are from here!

[flynncenter]

A Conversation Between Flynn Executive Directors Andrea Rogers and John Killacky

A conversation between former Flynn Executive Director Andrea Rogers and outgoing Executive Director John Killacky, originally published in the Flynn’s member magazine, the Marquee. Sign up to become a Flynn member at www.flynntix.org.

John Killacky: Andrea, it has been such a pleasure to steward the Flynn Center over the last eight years, building upon the extraordinary legacy of your thirty-year tenure. Our art deco palace was quite derelict by 1981 when Lyric Theatre purchased the building. I understand you were a volunteer at that time and soon became a modestly paid project coordinator as Lyric members fundraised and dedicated ticket revenues to the project.

Andrea Rogers: Yes, and thanks to Lyric’s IBMers, the project secured IBM’s pivotal $150,000 commitment for the purchase and restoration. Together with the Lyric volunteers, we engaged community leaders and friends in tasks as varied as shampooing and stitching the stage curtain to developing the building and operational plans.

By summer 1981, we had developed a management plan and I stayed on in the position of Capital Fund Raising Director, becoming Executive Director in 1983.

JK: Talk about the 1982 flood.

AR: Even as we welcomed performances in the fall, there were contractors bringing the Flynn up to code and making critical repairs. They were using the boiler room as a staging area, and the accumulated dust exacerbated the fragile condition of the heating system. The temperature dropped to 20 below in January 1982. Pipes beneath the roof froze in the cold, and as the temperature rose, those pipes thawed and burst. I received a predawn call from the police saying “There is a river flowing from the Flynn down King Street and you better come down.” I was only ten minutes away and thankfully my husband knew how to turn the water off far under the front entryway. The theater was like a rainforest, water-filled, decorative lighting fixtures were dangling precariously above, paint was peeling, and the orchestra pit was full of water. Within hours, the crew had lowered the light fixtures and we had gas heaters throughout the building. Others machines sucked out the water. The UVM Historic Preservation grad students came that afternoon and took impressions of the historic stencil work as the paint faded. The ceiling’s lathe and plaster, while soaked, was deemed salvageable, and two months after the flood, the Vienna Boys Choir performed to a rapt house packed to its historic rafters.

JK: What was programming like in those early years?

AR: From the start, Lyric Theatre, Vermont Symphony Orchestra, the barbershop groups, and the UVM Lane series performed at the Flynn. I believe there were 40 bookings for the 1981-82 Season when we opened. Our foray into programming was gradual, but when Tony Micocci came to the Flynn, he brought experience in dance and a bravura that kept him charging ahead. He helped start the jazz festival with Burlington City Arts in 1983 and launched a dance festival showcasing local artists. Tony decided we would invest in those art forms and develop audiences for them. Similarly, he saw Broadway as ripe for development for the Flynn.

One great memory from those early years was at the first Burlington Discover Jazz Festival, when we welcomed the great Sarah Vaughan. Just before she went on, she asked for the words of Moonlight in Vermont that she sang exquisitely from a yellow pad as one of her many encores.

JK: At what point did your team begin to build out educational programs?

AR: Tom Dunn, our artistic director in 1987, had experience with managing a student matinee program in Ohio. We built a small series and over time teacher training and in-school workshops were added. Partnerships with the Old North End schools in Burlington were the beginning of what became the Integrated Arts Academy, in 2009. Early education director Joan Robinson was inspirational in her leadership. JK: The programming really seemed to come into its own in the ‘90s.

AR: Phil Bither became the artistic director in 1989, coming from Brooklyn Academy of Music. Focusing on twin goals of artistic excellence and community involvement, we wanted to support artists and art forms, to introduce new artists to the area, and foster education and participation. Conceptually, this became the foundation for the Flynn’s programming, positioning us well both locally and nationally. JK: Exemplary fiscal stewardship is another hallmark of your leadership, but that too has not been easy. The Flynn has never had an operating deficit. I am relieved my team could carry on this fiscally prudent tradition as well!

AR: In 1994, we started a $4.5 million campaign to pay off the mortgage and buy a needed adjoining property. Phase one involved backstage and warehouse improvements, but by the time we approached phase two—to install air conditioning and restore the lobby—we knew we had outgrown our plan. Our education programs had burgeoned and there was no turning back. We needed classroom and meeting space and more room for staff.

For two years, we deliberated before deciding to extend the campaign for another $3 million, in order to purchase the building to our west and become a multi-arts and education center. After two years of dust and construction, we reopened our magnificent new spaces. Now we had FlynnSpace for small performances, a gallery for visual art exhibitions and gatherings, two education studios, and relocated, expanded offices. JK: What impact did the expansion have on programming? AR: Arnie Malina was artistic director during this period, and he expanded multi-disciplinary programs on the MainStage. FlynnSpace became the home for Vermont Stage, and now is booked year-round as a club-like environment for jazz and other music. It also housed summer camps and FlynnArts summer musicals, while the Hoehl and Chase Studios have allowed us to develop year-round FlynnArts classes, a significant expansion led by former education director Christina Weakland. The Amy E. Tarrant Gallery continues to host quarterly exhibitions of Vermont artists and mission-related material.

JK: After thirty years at the helm, you decided to retire. Was this a difficult decision? AR: It was time and I was feted beyond measure. We had had ups and downs, but I had the continuous support of an excellent board, a dedicated staff, and strong artistic directors. It felt good to leave the Flynn in sound financial condition, including the board’s creation of Andrea’s Legacy Fund, an operating reserve fund. I was so lucky you then followed me with such a commitment to everything I held dear, plus unparalleled experience and connections. You have raised the “barre,” making your mark with expanded programs for access and inclusion and partnerships in the community, to say nothing of your improvements to the theater. Now as you prepare for your retirement from the Flynn, what are some of your highlights? JK: I carry with me so many memories, from Broadway blockbusters to inscrutable avant-garde performances, as well as wonderful gallery exhibitions featuring Vermont artists. Laughter and joyful noise from participants in our classes energized me, and when the yellow school buses arrived outside my window, bringing kids to student matinees, I was truly a happy man.

Steve MacQueen is now the artistic director and Jess Handrik is heading our education programs. Your values of access and inclusion were central to our efforts. We work with 81 human and social service agencies to provide discounted tickets for their clients, host 38,000 students who attend student matinees (7,100 attend free), and award $30,000 in scholarships so everyone can participate in ongoing classes and camps. Programs expanded to serve both artists and audiences with disabilities. My most daunting capital project was a three-year $2.3 million renovation that enclosed the loading dock, installed 1,411 comfortable new seats in the theater, increased ADA adaptations in the hall, enhanced the lobby, installed new electronic signage, added beautiful architectural outdoor lighting, created a new box office, and expanded patron and artist bathroom facilities. We even replaced the uneven bricks with a dramatic sunburst design on the entrance walkway under the marquee.

You and I both had the pleasure of working with Gina Haddock as development director throughout these myriad campaigns, and Diana Petrovs as chief financial officer. Andrea Bergeron now carries on her fiscal oversight.

While the Flynn today is the largest arts organization in Vermont, we still function on a fragile and ever-shifting financial nonprofit model. As I get ready to turn over the reins to the next executive director, I am so grateful to the generosity of this community, including our 2,800 members as well as the hundreds of individuals, corporations, foundations, and government agencies that support this extraordinary cultural and community asset.