By providing that space, St. Marcus was more than a generous landlord. It became a patron saint of the performing arts, in the same bold tradition of New York City's St. Mark's and the Judson Church, both sanctuaries for provocative theater. The St. Marcus Theatre was a source of theatrical vitality, experimentation and cultural diversity. The theater supported a community of artists willing to take risks and challenge the social status quo.
Not all the productions were equally successful. Some were dreadful, a risk established theaters like the Rep and the Fox run as well. Some offended conventional taste. The nudity and gay themes of some of the works troubled some of the church's members. Those concerns led to the overwhelming vote to close the theater. But to its credit, the church never sought to censor what was produced in its theater.
Last week, Ms. Lipkin, one of St. Marcus' mainstays, was honored with a 2000 Missouri Arts Award for her lasting and profound impact on the arts. Ms. Lipkin is the first to admit that St. Marcus should share in the award. Much of the work she was honored for was nurtured there, she said.
In a perfect world, St. Marcus would reconsider its decision. Or perhaps an angel would appear in the guise of a well-heeled philanthropist.
More in the realm of the possible, the powers behind Grand Center could step in and scoop up these newly homeless theater groups. Grand Center should do more than pay lip service to the incubation and development of new talent. It could help Ms. Lipkin and her peers find and renovate an appropriate performance space and lease it to them at bargain-basement prices.
A community with strong arts leadership and a dynamic arts district would embrace these artists and help them flourish. How many more performing arts groups have to fold before they get the happy ending they deserve?