Spotlight: Mary Bensel

As the Van Wezel turns 50 in 2020, Scene talks to its executive director about its history, her role, special moments, and plans for the new Sarasota Performing Arts Center.

By Gus Mollasis

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If things had worked out as she dreamed, Mary Bensel would have been on the stage performing just like her singing idol—Barbra Streisand. 

“Unfortunately, the job was filled, and the talent was a little lacking. But I remember singing into a brush in mother’s living room when I was a child and thinking I was the greatest star from Funny Girl,” says a chuckling Bensel.

She may not have become the greatest star, but she did become the next best thing. She got into the business side of show business and she has starred in this role for over thirty years—a pretty good run for anyone. This year marks her 12th year as Executive Director of the Van Wezel Performing Arts Hall and the 50th anniversary of our beloved purple scallop shell. 

When she took the job at the Van Wezel, she didn’t know how long she would have. It has been like one of those great Broadway runs that producers and actors dream about. A big success. Largely rave reviews that even Fanny Bryce would die for. 

Hailing from Trenton, New Jersey, Mary went to college for a degree in Speech, Theater and English. When her mother stressed that she needed something to fall back on, she got a secondary Education degree and followed that up with a masters in Acting and Directing at the University of Pittsburgh. While there, she became the marketing director of the theater department and got the theater group on the Today Show. “When you’re so young, you’re not afraid and anything is possible.” 

Today she still carries that same passion for the footlights, and anything related to theater and entertainment. “I’m a fan. I love it. I’m lucky. I’m a Tony Awards voter again. I go to New York and I see every new show that opens on Broadway.”

It’s part of her passion and pleasure. But it’s also something that is part of her job description. Since 2007, Mary Bensel is always seeking the right show to bring to the Van Wezel—a home that has brought her great joy and her fair share of challenges.

Bensel explains that when the Van Wezel was built 50 years ago, 1,741 seats sounded pretty grand. But the magic number now is over 2,000 seats. “We have to stretch to get some of these big shows here,” she says. “With Lion King, we got it in here with a shoehorn.” 

When the Van Wezel was built fifty years ago, it was a state-of-the-art facility designed by Frank Lloyd Wright’s firm, Taliesin Associates Architects.

Its first major renovation was in 2000, which made public spaces larger and the facility more comfortable and efficient. But according to Bensel, in a city that greatly values its arts and culture, we need a theater that can house any show “that’s out there on the road.”

And the road is where Bensel heads often, seeking new and legendary talent and Broadway shows for our enjoyment.

“I’m going again to see the Hamilton producer. We’re always fighting for shows like that because The Straz in Tampa thinks that we’re the same marketplace, and that’s absolutely not true. I can’t tell you the number of people who tell me they would never go up to The Straz, and if they do go there, they would only do it for a Hamilton once every 15 years.”

Bensel was delighted that The Lion King sold out in three weeks. “That was great. It proved we can do that. But it’s very hard because we fight very hard for every show.” 

It’s not the same case with standard concerts and shows—it’s simpler and more successful. Bensel cites her great relationship with the management at Ruth Eckerd Hall and the Mahaffey Theater who have agreed not block each other from doing a show. 

“That allows an artist such as Harry Connick Jr. or Josh Groban to play two shows in our area—one at Ruth Eckerd Hall and one at the Van Wezel.”  

With Mary Bensel its always been about making the show go on and making that experience as exciting and enjoyable as possible for all her patrons.

Still it’s hard work. But work that she definitely enjoys. Her office, adorned with autographed pictures of stars who have performed there, is a reflection of her love of her life in the arts and show business. From her perch inside the iconic Van Wezel, she’s witnessed her share of stars. When she thinks of those special nights with a full theater and a legend on the stage, a smile of gratitude comes across her face, and once again Bensel becomes a fan. 

We turn the subject to Julie Andrews who recently performed at the Van Wezel.

“She was so lovely. I saw her do Victor Victoria and Mary Poppins. She couldn’t have been any nicer. We chatted and got along magnificently. What a lovely woman.”

We then talk about another legend who also graced the Van Wezel stage—Sophia Loren. “She was in her eighties when she did a show here a few years back. Sophia Loren was still stunning and beautiful, and so warm and charming.”

“One of my favorite shows was Barry Manilow who performed for the Foundation gala. It was actually an arena show and he did it in our theater with huge video boards behind him. It was a fantastic show.” 

“And Josh Groban—absolutely charming and nice. When I told him that he was performing at our Foundation education gala, he couldn’t mention education enough and its importance on stage.” 

Bensel is also fond of Ringo Star who has played here and hopefully will be back soon. “I just love Ringo. My goodness. He’s a Beatle. He is so nice and of course he truly is a star in every way.” 

Another star that stand outs to Bensel is Dolly Parton. “She did one of those blow you away shows. She’s so sweet, talented and plays every instrument. When you have an incredible show like Dolly Parton, Josh Groban or John Legend, I always think will I ever be able to get them back again? There is such joy in seeing performers like that.” 

Bensel found this gem from the first lady of the stage, Helen Hayes, who said “the Van Wezel is an actor’s ideal theater.” And, according to Bensel, “it really is because of the way the seating is—the actors can really feel the audience. When you stand up on that stage you can see almost to the back of the theater. I think it was John Legend who said it was like performing in someone’s living room.”

Her favorite part of her job? “I love sitting in the theater and looking at the audience when they’re having one heck of a great time.” 

The most important part of her job? “I think the most important part of my job is relationships and honesty. I’ve now worked over 30 years in the business and have built great relationships with agents and producers in New York. It’s so important to meet these people one-on-one. So I go to New York about once a month.” 

A white board sits prominently in her office. There is a space for every show from the season filled in with magic markers and magical names of stars like Tony Bennett, Frankie Valli, The Beach Boys and road shows like Once and A Bronx Tale. That white board confronts this executive director daily and is easily seen by her from anywhere in her office but especially from behind her desk. 

What does she see when she looks at that white board with all those names and shows? “I see my life.”

“The reason I love running a performing arts hall versus running a regional theater is because of the diversity. Theater and Broadway are my grand love, but I also love the excitement of a rock concert. One minute I have Dave Chappelle, and the next night it can be Renee Fleming.”  

Bensel is looking forward to bringing to the Van Wezel this year the hit Broadway show Come from Away, a musical set in

Gander, Newfoundland post 9/11.

On what will work and what will not work at the Van Wezel, Bensel say, “That’s probably one of my best qualities—having a real feel for the community and knowing what I think they will like. Sometimes I’m right, and sometimes I’m really, really wrong. I’m probably 8 out of 10.” 

Even with a batting average that would leave Ted Williams envious, Bensel still seeks perfection. On that rare occasion when a show fails to sell, she takes it personally. 

“Booking is the most important thing,” she says. “I started as a press agent and a marketing director. Sylvia Drake from the Los Angeles Times told me when I was very young, ‘If a show does well, it’s because of the show. If the show doesn’t do well, it’s because the marketing people didn’t do their job.’”

Still she’s a pragmatist, and while few shows along the way may not do well at the box office, she is satisfied if the audience that did see it enjoyed it and had a great night of entertainment.  

And there have mostly been great nights of entertainment at the Van Wezel—that’s something we have counted on for 50 years and they have delivered. But Bensel has heard her fair share of misconceptions about the hall along the way, and while she knows it is not perfect, she defends it against opinions that are less than flattering. 

“I’ve heard it’s a fire trap. The ADA (American for Disabilities Act) has conducted many studies that have shown that our kind of seating is the safest,” shares Bensel. “Think about it. When you’re in a theater like ours and it’s time to exit, you go one way. You go straight and you follow the person either way and there are double the number of doors to get out. If you go to a Broadway theater where there are center aisles, you go in the middle and you get stuck. You’re the safest here. Now is it the best when you have to go the bathroom in the middle of the show or get to your seat late? Absolutely not. But you have a great view from every seat and a lot of leg room. Now would I build another theater just like this? Absolutely not,” she admits.

With the new Bayfront project underway (The Bay Sarasota; thebaysarasota.org), the good news is there’s plenty of time to get it perfect, and Bensel has been involved for years with the

project planning.

The new Sarasota Performing Arts Center will have 2,250 seats, many modern amenities, and will be modeled after the modern Perez Art Museum in Miami. Having more seats will help spread the cost of shows, lower ticket prices for patrons, and also help attract big acts. The center will be situated among 53 acres of park filled with an abundance of trees. Plans for this new center are a reminder that the days of the Van Wezel as we know it are winding down.

“This hall has served this community brilliantly for 50 years and will do so for another 10 years until the new hall opens,” says Bensel. And while she can’t tell you what the last show at the Van Wezel will be, you can bet her a backstage pass that she knows the first ever show at the Van Wezel was Fiddler on the Roof. 

There’s little doubt that when the new performing arts hall opens, Bensel will be very excited. “That will be like Christmas morning for me.” And if everything goes according to plan, she will be there on that last day of the Van Wezel and the first day of the new performing arts center.

There is something poetic about that. Something theatrical. Symmetry for sure. Something a guy like Mr. Ziegfeld would appreciate. 

The Van Wezel’s days may be numbered, but as it’s remembered over the years, one thing will be certain. People will not only remember its color, but the color it brought to this town. Hell, let’s face it. It stood out. The paint was donated by a local paint dealer and the color was selected by Frank Lloyd Wright’s widow. The purple color was said to be “a good foil to the turquoise waters of Sarasota Bay,” as well as the color of royalty as Sarasotans looked forward to the royal list of performers appearing in the theater. 

For our “Queen of Booking” with theater grease in her veins and show tunes in her heart, she will continue to reign supreme, booking show biz royalty, binging us great shows, filling in her white board with stars galore. That’s what Bensel lives to do. That’s what she loves to do. She wouldn’t trade places with anyone—not even Streisand. 

The next time you go to the Van Wezel take a good look around. You just may see a lady named Mary Bensel looking back at you enjoying your excitement as you enjoy the show.