Arts Event Management: The Rhino Festival
Artistic events are relentlessly becoming posh and cutthroat undertakings both in the U.S. and globally. Now more than ever before, artists and event organizers are staging lavish night performances, not only to popularize their style, but also to have a dig into the profits of the art industry. In a peaceful society like North West Chicago, only the constraints of time and financial inability can deter one from endless amusement. On Tuesday, February 9, at a ticket price of only $15, I witnessed firsthand a taste of the kind of shows which are being staged in Chicago festivals. I was among the hundreds of an amused audience that watched Plucky Rosenthal perform live at the Rhino Festival Music Series, starting from 8 p.m. to 10 p.m.
From the onset, the thing I loved most about going to this particular event was its accessibility. Located along Elston Avenue, the Pro Theatre where the festival was being held was an easy location to drive into. Even for a first-time visitor like me, I experienced no difficulty in locating it via my satellite map. Moreover, security conscious revelers will find it ideal because it is located along a well-lighted street with ample free parking. Evidently, event managers habitually strive to make their festivals accessible to as many people as possible by staging them in public parks or spacious theatres. In this case, all the three factors of accessibility, security, and space complemented each other perfectly.
To simple ticket buyers attending a thrilling show, maximum satisfaction is the ultimate wish. Judging from the carnival mood of the other attendees, it became clear to me that they expected nothing less than an exuberating night. Their wild expectations only but pointed at the prominence of the cost-benefit factor. Even prior to Rosenthal’s live performance, the atmosphere in the club was tantalizing. The dim lighting illuminated by overhead neon stage lights safeguarded the privacy of the audience, while broadcasting with resolute clarity the night’s performers. Truthfully, the event’s organizers took ample time to orchestrate an arrangement comfortable to be in, and pleasant to look at.
Regardless of the benefits of an astute setting, the pinnacle of any art event is the actual performance by an artist. Rosenthal’s charming performance suddenly made one to forget the comfort of the theatre. She sang with a meticulousness perfect to a confident woman. Also, her endearing charisma and comical nature exhibited her ability to be inventive on stage. As time proceeded, the night slowly progressed to be all about her. For experienced artists, there is an advantage in singing songs which resonate with the audience. But her inventiveness to twist her original songs made them look brand new and interesting.
The lengthy schedule of the Rhino festival also curiously highlights the preference of fringe festivals over onetime performances. Unlike onetime events which in most cases only feature established artists, fringe festivals offer a blend of both amateur and experienced artists. Thus, attendees can be sure to witness fresh and original pieces of entertainment from a complete set of new artists. Even though I attended the festival on February 9, 2016, it will still feature other events which will run until the 23rd day of the same month. Candidly, such events guarantee high profitability due to the prolonged days of extravaganza. On the flip side, they are hard to prepare for because organizers have to search through a long list of probable artists to find those suitable to grace their event.
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