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SPECIAL REPORT: Tough Business
A string of vacant restaurant buildings shows that many restaurants in the region are struggling — and several are closing By Stefan Yablonski [caption id=attachment_11132 align=alignright width=401] Smokey Bones Bar & Fire Grill on Route 31 in Clay closed its doors in April. It had been in operation since at least 2008.[/caption] By their nature, most restaurants have a limited life. An astonishing 60% go out of business within three years of opening, largely due to fundamental flaws in the planning of the operation. But even restaurants that experience years of success almost always face eventual closure. The restaurant business is very hard and because of both personal factors and external factors beyond anyone’s control, restaurants don’t last forever. For many restaurants, age is a big factor, according to Kenneth Walsleben, professor of practice, entrepreneurship and emerging enterprises at Syracuse University. “The owners have been at it for 20 or 25 years, if not longer, they want some time to themselves,” he said. Such was the case for Jocko’s Famous Ritz Diner in Oswego. Jocko Reitz bought the building in the late 1970s from Robert Shapiro. However, when he stepped away from the business, it eventually closed. [caption id=attachment_11142 align=alignright width=402] For nearly 80 years, Vona’s Restaurant passed through three generations of family in Oswego. It closed its doors on Dec. 31, 2025.[/caption] For nearly 80 years, Vona’s passed through three generations of family in Oswego. Vona’s Restaurant officially closed its doors on Dec. 31, 2025, when no family member wanted to take over. It is on the market. The Ruby Tuesday in Oswego operated for about two decades before permanently closing in April 2026. The restaurant faced multiple temporary health department closures in 2024 and 2025 due to persistent fruit fly and foundation pest issues. Management posted a final closure notice on the doors in mid-April 2026 and the building was put up for sale. The same pattern has been happening in Onondaga County. The big building once used by Smokey Bones Bar & Fire Grill on Route 31 in Clay remains empty, more than six months after the restaurant closed its doors in April. It had been in operation since at least 2008. [caption id=attachment_11130 align=alignright width=401] Ruby Tuesday in Oswego operated for about two decades before permanently closing in April 2026.[/caption] Just down the road from Smokey Bones, the popular Outback Steakhouse closed in August 2024. Another restaurant took its place, La Cocina Mexican Restaurant, but it closed shortly after. The building sits empty. Other very popular restaurants in the northern suburbs of Syracuse have recently closed. Among them, Fireside by the River in Baldwinsville and Primo Nestico’s Bistro Bar in North Syracuse. “I haven’t really paid attention to the Syracuse area. There has always been some turnover, but there probably has never been a tougher time to be a restauranter than now. It’s just brutal,” Walsleben said. In the first year, roughly 20% to 25% of restaurants close or change hands, according to the National Restaurant Association. [caption id=attachment_11122 align=alignright width=401] Outback Steakhouse closed in August 2024. Another restaurant took its place, La Cocina Mexican Restaurant, but it closed shortly after. The building sits empty.[/caption] “Depending on what statistics you look at, you’ll find that any business has a high mortality rate in the first year. That is just the nature of entrepreneurship,” Walsleben said. “There are certain ones that are getting hit hard while others are more fruitful. “And when you look at the restaurant industry you have to factor in labor which is a large part — typically a third of your expenses — and those costs are going up. And there is always turnover which means investing money to train people. Then you’ve got food costs, which is also a third of the typical restaurant budget. Since the pandemic labor has gone up 41%, food costs have gone up 35%. That’s a big tight squeeze righty there. That’s two-thirds of your budget that has gone up 35% to 40% in the last few years. And then the only way you can make that work is to raise the prices.” The National Restaurant Association reports menu prices are up 36% since February of 2020. In a survey released by the association, more than eight in 10 restaurant owners reported that their food, beverage and labor costs are now higher than before the pandemic. You have to deal with the reality of are the customers willing to pay for that? Walsleben added. Restaurants historically have very thin margins; their profit margin is about 5%. “You have a third that goes into food, a third that goes into labor and about 28%, 29% that goes into everything else — overhead, insurance etc. So that brings you down to your 5% leftover,” he said. “Everything is going up. Customer expectations are going up and people aren’t going to spend that much more. So, you have a tight squeeze here,” Walsleben continued. “Restaurants who use delivery apps, they pay a fee to those guys. Those guys don’t work for free. So, you can kind of see where the squeeze comes from.” Stuck in the middle There are pockets of opportunity; the two extremes of the market can make a profit. But the middle gets squeezed out. “If you are a low-end fast-food kind of place, there is room for that. People have changed their budgets. They are still going out, but they are not spending more,” according to Walsleben. “The high end remains positive. If you have a restaurant that brings a specific experience … a great food product or you are catering to high end customers who aren’t so budget conscious, those patrons are going to expect a high-end experience. They expect excellent food every time. They are expecting excellent service. If you can meet those expectations there is room for you at the top. It’s just the guys in the middle are getting the squeeze from both ends. Tough competition, customer expectations, costs are up. Menu items, you can’t raise the prices as much as you need to. That is why you are seeing a lot of restaurants baling out.” The ones that can adapt quickly are the ones who are doing OK. “Success is heavily dependent on the strength of a restaurant’s concept development and the planning of its execution. Eventually things aren’t always new. Things change. So, if you are in the restaurant business you have got to change your menu — keep things new, fresh and update your meals. It is very fickle industry. One year carbs are out, the next year berries are out. Everybody’s diet changes — constantly chasing the latest phase. You have got to adjust your menu and move with those modifications. If you have a static menu that you have used the last couple years that hasn’t changed except for the pricing, you’ve got a problem,” he said. A lot of times these buildings are singular purpose, he added. “You have a commercially viable kitchen and you got a seating area. There is not a lot of other businesses that cater to that type of a layout. So, it’s pretty common to see another restaurant slide in,” he said. One of the things a banker learns early on is you don’t lend money to restaurants … because they fail so quickly. It is very hard to predict who the winners will be. So, if you are a restaurant in addition to all the other challenges, it is very difficult to get loans, according to Walsleben. “You might work really well in the kitchen. But that doesn’t mean you are a great businessperson,” he said. “Restaurants can fail because the owner didn’t know how to manage things properly. There are a lot of challenges. “There is opportunity at the high end and the low end. But in the middle, that’s the death valley. There are just so many things working against you. You really need to have something that will pull people in and continue to pull people in because you to constantly have to change. Think about a theme and a product that is unique to the area people don’t travel that far these days you have to be able to deliver it in an innovative fashion and keep updating to keep people coming in the door.” Out of Business? How Fast? Do nine out of 10 restaurants fail in their first year, as commonly claimed? No. Survival analysis of 1.9 million longitudinal microdata for 81,000 full-service restaurants in a 20-year U.S. Bureau of Labor Statistics non public census of business establishments in the western US shows that only 17% of independently owned full-service restaurant startups failed in their first year, compared with 19% for all other service-providing startups, according to ResearchGate. The median lifespan of restaurants is about 4.5 years, slightly longer than that of other service businesses (4.25 years). However, the median lifespan of a restaurant startup with 5 or fewer employees is 3.75 years, slightly shorter than that of other service businesses of the same startup size (4.0 years). What Makes a Restaurant Successful? Opening and maintaining a successful restaurant is not as easy as creating a great menu and serving excellent food. It takes more than that, according to local restaurant owners who have been in business for decades in the region. They all agree that there are some guidelines to running a successful restaurant. • Quality food: Successful restaurants know exactly what they serve and who they serve it to. Delivering the same great taste every single time builds loyal customers. • Smooth operations: Friendly greetings and attentive staff make guests feel welcome from the moment they walk in. Hiring staff for personality and training for skill ensures reliable, caring service. • Smart marketing: Exceptional food and experiences naturally get people talking and sharing online. Word of mouth can help entice customers. Consistent social media and targeted advertising brings in new and repeat guests also. The menu is what keeps patrons coming back to Mimi’s Diner in Fulton, located at 201 N. Second St. “We locally source our produce and our meats. Our chicken and biscuits is a popular, popular special,” said Richard Tagliareni, the third-generation owner and general manager. “It’s all homemade. We have consistently served quality food.” His grandfather started the business more than 55 years ago. Mimi’s is engrained in the community. They cater to the community and are very involved in everything from the schools to local events. The first Mimi’s Drive-In opened in Mexico. Then a second in Oswego and then Fulton. Fulton’s Mimi’s is the only one left. “The last couple of weeks have been kind of slower than normal. October is usually a busier month for us People will start coming back around again. Also, the price of gas is affecting some things,” Tagliareni added. “We try to keep our prices in line. You go out to eat, you’re going to spend about a hundred bucks or so for two people for dinner. You come here to Mimi’s you are probably for two people for dinner it’s between $50 and $60. We are trying to keep our prices in line. We did have to increase our prices a little bit but things are looking OK.” For the Press Box, 29 E. First St., Oswego, it’s also about great food and a family atmosphere. “Our sports bar and restaurant was established in 1984,” said Alison Canale Scanlon, manager. “I think putting the time into everything makes a big difference and treating people like family when they walk into your restaurant. That’s how we have always operated since 1984.” “It’s the family oriented aspect,” she added. “Consistency, quality and presentation of our food — that’s the secret to a successful restaurant. We try to be very consistent with it. We treat people like family when they come in; because we know how we want to be treated when we go to a restaurant. We treat people the same or better.”
Are Bank Lobbies Still Relevant?
Local banking leaders say technology is changing the way customers use their banks — and their lobbies By Deborah Jeanne Post [caption id=attachment_11109 align=alignright width=300] Steve Gorczynski is M&T Bank Central New York regional president.[/caption] When was the last time you entered the lobby of your bank? If it’s been a while, you’re part of a trend of eschewing the lobby in favor of ATMs, drive-thrus, online banking and remote deposit. A 2025 study performed by the American Bankers Association revealed that only 9% of consumers use bank branches as their preferred way to do banking and 76% prefer mobile banking. The trend away from the lobby reflects consumer behavior in other areas of doing business, including online shopping instead of perusing the mall, ordering fast food at a kiosk, not at the counter and selecting curbside pick-up rather than walking into the restaurant. Consumers want convenience and going in the lobby adds another layer to the task. It also places consumers face to face with one or more representatives of the business, something less favorable to people feeling burned out from interpersonal interactions. Nixing or at least minimizing the size of the lobby isn’t necessarily negative for banks. Fewer people passing through their doors reduces overhead for building maintenance, staffing and furnishing. Greater reliance on virtual banking can mean closing brick and mortar locations and hiring fewer staffers to cover roles like teller and lending officer. “Our focus is on meeting customers where they are and giving them flexibility in how they bank,” said Steve Gorczynski, M&T Bank Central New York regional president. “While many everyday transactions can be supported digitally and through ATMs, branches remain important for more complex financial needs, offering face-to-face guidance and a more personal banking experience.” Talking with a commercial lender or working on a home mortgage are two examples where meeting face-to-face is more desirable for many people. They can receive immediate feedback to questions and can possibly reach their goals more quickly. But there’s little need to have a large seating area, long counters and numerous tellers for routine banking that’s quicker to handle virtually. Online banking can also help people on the go more readily complete banking tasks such as depositing checks, transferring funds among accounts and checking balances. [caption id=attachment_11135 align=alignright width=300] Tina M. Stephens is the vice president branch administration for Fulton Savings Bank.[/caption] “The traditional bank lobby is certainly being evaluated by most institutions today, as the typical large, open and cavernous spaces do not necessarily meet the needs of today’s customers,” said Tina M. Stephens, vice president branch administration for Fulton Savings Bank. “Traditional lobbies often bisect traditional teller stations and customer service areas, which adds confusion, especially for the demographic who routinely use online banking and only access the lobby for customer service needs.” Despite the rollback in physical locations across the industry, Fulton Savings Bank began modernizing its six branch offices in Oswego and Onondaga counties about three years ago and have finished four offices so far in Baldwinsville, Fulton, Constantia, and Phoenix. “We made the decision to build a new branch across the street from our current office in Brewerton which will be completed by the end of 2026, and we will begin the retrofit of our Central Square office in early 2027,” Stephens said. “Our efforts specifically address where we think customers will be in the next three to five years and have greater flexibility to make changes out into the future.” The bank may be onto something, as numerous reports state that screen-weary Gen Z young adults crave more in-person interactions than virtual ones. If the pendulum continues to swing in that direction, it’s hard to see all physical bank areas disappear, even if they change somewhat. Fulton Savings Bank has also consolidated its teller and customer service representative areas to larger “universal banker” areas, where the bank representative can address all customer retail needs. A one-stop-shop experience appeals to busy banking customers who want to perform a few different banking tasks in one visit. Stephens also said that Fulton Savings Bank made additional technology and security enhancements and created flex spaces to accommodate bank meetings throughout the two-county branch footprint. At Solvay Bank, Elizabeth Lavier, vice president marketing and communications manager, lauded digital and online services as convenient and flexible for managing finances; however, “technology is not meant to replace what matters most: the relationships behind every account that have always been at the heart of community banking,” she said. “Even in today’s digital-first world, people of all ages still value the opportunity to sit down with a trusted banker for personalized guidance. We understand that some of life’s biggest moments call for more than a screen.” Lavier views digital banking as another way for the organization to serve customers rather than a replacement for branches, tellers and lenders, which tend to serve customers better for transactions like buying a first car, purchasing a home, saving for a child’s education, or planning for retirement. “Those conversations, built on understanding, experience and personal guidance, are what community banking is all about,” Lavier said. “At the end of the day, banking is about more than transactions. It’s about helping our customers achieve their goals and being there for them every step of the way. By combining the convenience of digital banking with the care, commitment, and personal service of a local community bank, Solvay Bank offers customers the best of both worlds.” Are Paper Checks Destined to Disappear? With the ubiquity of debit cards, online payments, virtual checks and peer-to-peer payment platforms like Venmo, Zelle and PayPal, will paper checks become passe? “In my view, paper checks are unlikely to disappear in the near future,” said Tina M. Stephens, vice president branch administration for Fulton Savings Bank. “They continue to serve a practical purpose by providing a clear paper trail and tangible proof of payment.” According to the American Banker, a leading trade publication that covers the banking and financial industry, in 2024, checks accounted for 65% of all payment fraud losses. Paper checks should be phased out, according to the publication. “The phrase, ‘The check’s in the mail’ probably sounds strange to younger people because the era of paper checks is rapidly drawing to a close. Put bluntly, checks are an expensive, insecure legacy that is a drag on the U.S. economy. Rather than wait for them to vanish slowly, the pragmatic choice is to strategically accelerate the transition to paperless payments.”
$1 million state grant awarded to SFM Skatepark in Rome
The SFM Memorial Skatepark in Rome has been awarded a $1 million grant through the Dormitory Authority of the State of New York, which will help push forward Phase 2 of the project to include more amenities such as seating, landscaping and a modified access road, according to Governor Kathy Hochul.
What Does Your Office Say About Your Business? by Jennifer Kraner
What does your space say about you and your business? More importantly, does it give you the best possible first impression? The minute a client, customer or patient walks through your door, they’re forming an opinion about your business – sometimes consciously, sometimes without even realizing it. Your space is communicating something about you, whether you intend it to or not. At Big Sky Design, we work with all kinds of commercial businesses, including many medical practices, law firms and other corporate offices, and I’ve seen first hand how much thoughtful design can influence that first impression. For businesses in medical, legal, and financial fields, three things are particularly important: trust, privacy and professionalism. Your space should communicate all three while also reflecting who you are as a business. That can be challenging, especially in a new construction project. Often, so much of the budget goes toward the actual construction that things like lighting, comfortable seating, artwork and finishing touches get pushed to the side. But those are often the elements that make a space feel complete – and memorable. Think about your waiting room. Is it comfortable? Is the lighting welcoming? Does the layout make sense? When someone walks through the door, do they immediately know where to go and whom to speak with? In a medical office, there’s another important consideration: privacy. Reception areas can become surprisingly noisy places, with phone calls, conversations between staff and patients, and people discussing personal information. Hard surfaces throughout a space allow sound to bounce around, making it difficult to maintain privacy. We recently worked with an eye doctor's office that had exactly this problem. The reception desk had a large opening, and staff were making and taking phone calls right next to patients who were waiting. We designed an acoustic treatment that acted as a divider between the staff and waiting areas. It absorbed sound, but it also became a branded design element. It was a visual reminder to everyone in the space to be mindful of their voices and what others might be able to hear. Those kinds of thoughtful details can make a tremendous difference. And good commercial design doesn't have to mean making your space flashy. Sometimes it’s as simple as a calming color palette, beautiful artwork, plants, carefully selected lighting or comfortable upholstered furniture. In a medical setting, those touches can help soften what might otherwise feel clinical and reduce anxiety for patients who are already nervous about an appointment. I’ve been in waiting rooms where everyone feels packed together, and you can hear every conversation – even what’s happening in the restroom next door. That’s not the experience you want to create. Your office should also feel like your business. Are you telling people that you’re clean and modern? Sophisticated and unique? Warm and welcoming? Or, unintentionally, are you telling them that your business is outdated? You don’t necessarily need a complete renovation to change that message. Fresh paint, updated lighting, new artwork, better seating or a few branded design elements can make a space feel current and intentional. At Big Sky Design, we’ve worked with radiology, dermatology, and dental practices, among many others. Every practice is different, but the goal is always the same: creating a space that reflects the business behind it and gives every person who walks through the door a positive first impression. Because your office is part of your brand. Make sure it’s telling the story you want people to hear. Read more at bigskydesignonline.com.
Chris Koza album release concert Oct. 24
Lanesboro Arts is thrilled to celebrate the release of Chris Koza’s latest album, “Millsmoke on the Skyline,” with a concert at the St. Mane Theatre at 7 p.m. on October 24. Chris Koza is a composer and performer based in Denver and Minneapolis. In his writing, Koza both honors and builds on the vast genre of Americana music. For every song that sounds like it could be strummed from a boxcar clacking slowly across a grassy midwestern plain, there’s a tune sailing from a city rooftop, echoing across a valley of streets and traffic, or a melody twisting and shimmering like a dim frequency deep into the starry night.Both as a solo artist and with his band Rogue Valley, Koza has supported and shared the stage with artists such as Brandi Carlile, Gordon Lightfoot, Ingrid Michaelson, The Jayhawks, Neko Case, Kathleen Edwards, Dan Wilson, and many more. His music regularly appears on ABC’s “General Hospital,” “60 Minutes,” and “Good Morning America.” Koza’s song, “Be Wild,” was also featured in a state of Minnesota tourism campaign.#placement_932485_0_i{width:100%;max-width:550px;margin:0 auto;}var rnd = window.rnd || Math.floor(Math.random()*10e6);var pid932485 = window.pid932485 || rnd;var plc932485 = window.plc932485 || 0;var abkw = window.abkw || '';var absrc = 'https://ads.empowerlocal.co/adserve/;ID=181918;size=0x0;setID=932485;type=js;sw='+screen.width+';sh='+screen.height+';spr='+window.devicePixelRatio+';kw='+abkw+';pid='+pid932485+';place='+(plc932485++)+';rnd='+rnd+';click=CLICK_MACRO_PLACEHOLDER';var _absrc = absrc.split("type=js"); absrc = _absrc[0] + 'type=js;referrer=' + encodeURIComponent(document.location.href) + _absrc[1];document.write('');Koza’s latest offering, “Millsmoke on the Skyline,” grants the newfound outsider perspective of the rich life and golden fleeting days throughout the rural Midwest. Weaving melody and lyrics into vignettes and narratives set in places where love is powerful, dreams are vast, and life is beautiful.The St. Mane Theatre box office will open at 6 p.m. on the day of the concert. Tickets will be sold in person at the door or can be purchased online at lanesboroarts.org. Seating at the St. Mane theatre is first come, first served. Tickets are on sale now for $25 for general admission or $22 for Lanesboro Arts members.The 2026 performing arts season at Lanesboro Arts is made possible by our season sponsor, Poet Refinery, as well as our concert level sponsors, High Court Pub, Krage Insurance Agency & Preble Farmers Mutual, Stone Mill Clothing & Gifts, E2 Boutique/Amish Experience, and The Cottage House Inn, and community sponsors, VIS Plumbing, Granny’s Liquor, Kingsley Mercantile, Batstone CPA, Clara’s Eatery, IGA, Niagara Cave, and Huntington Electric. This event is made possible by the voters of Minnesota through a Minnesota State Arts Board grant, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund. #placement_932489_0_i{width:100%;max-width:550px;margin:0 auto;}var rnd = window.rnd || Math.floor(Math.random()*10e6);var pid932489 = window.pid932489 || rnd;var plc932489 = window.plc932489 || 0;var abkw = window.abkw || '';var absrc = 'https://ads.empowerlocal.co/adserve/;ID=181918;size=0x0;setID=932489;type=js;sw='+screen.width+';sh='+screen.height+';spr='+window.devicePixelRatio+';kw='+abkw+';pid='+pid932489+';place='+(plc932489++)+';rnd='+rnd+';click=CLICK_MACRO_PLACEHOLDER';var _absrc = absrc.split("type=js"); absrc = _absrc[0] + 'type=js;referrer=' + encodeURIComponent(document.location.href) + _absrc[1];document.write('');
Who Attended Trump’s AI Luncheon, and Who Sat Where
A seating chart of the meeting illustrated growing divisions within the artificial intelligence industry and how it is viewed by the White House.
Delta Center unveils fan upgrades before Jazz, Mammoth seasons
Smith Entertainment Group announced new seating, food options and ticket programs ahead of the Utah Jazz and Utah Mammoth seasons at the Delta Center.The announ
New entertainment spot ‘Funder Alley’ opens in Fort Oglethorpe, GA
Discover Funder Alley, a fresh entertainment spot in Fort Oglethorpe, Georgia, offering duckpin bowling, axe throwing, and darts alongside a varied food menu and full bar. Located on Battlefield Parkway, it boasts both indoor and outdoor seating options, perfect for casual fun and group events.
How lip-syncing to AI let Forced Entertainment ‘play the game of theatre’
Today we have a fascinating piece by long-time Forced Entertainment fan Ben Kulvichit, speaking to Tim Etchells about their latest show Cold Sweat, how they are integrating lip-sync and AI voices into their work, the question of ‘authenticity’ on stage, and how lip-sync has even opened the door for them to make “something a little bit like drama”. This piece is a paid partnership with the Southbank Centre, where you can see Cold Sweat next month – we’re very grateful to the Southbank Centre for their ongoing support for Exeunt. Holly Williams ‘It was immediately interesting and uncanny’ **By Ben Kulvichit** “Is the microphone on?” So goes one of the opening lines of Signal to Noise, delivered by a human performer lip-syncing to an AI-generated voice. The voice is American, cheery but sluggish, slowed down into a gelatinous drawl. It repeats ad infinitum in a farce of stuckness; an answer never materialises. I find myself asking the same question as I hop on a Google Meet call with Tim Etchells, the artistic director of Forced Entertainment. We spend five or ten minutes frowning at each other, muting and unmuting, me gesticulating in semaphore into my webcam, checking if I am coming through now, restarting the laptop. To Etchells, I appear exaggeratedly mouthing words, my voice missing. In this gloopy purgatory of broken communication, life imitates art imitates life imitates art. We try a Zoom instead. Forced Entertainment, the pioneering British theatre company who have been at the avant-garde of performance since the 1980s, turned an interesting artistic corner with Signal to Noise, created on the occasion of their 40th anniversary. The whole performance employed this lip-sync technique to AI voices; on the face of it a left-field move from a company whose identity has long been grounded in the earthy, immediate presences of its performers and its unassuming, low-tech approach to theatricality. The technique, however, turned out to provide the company with a “rich new seam” of artistic enquiry, and has now spawned a trilogy of works. The second instalment, Cold Sweat, plays at Sheffield Theatres, Southbank Centre, and Lancaster Arts in October, while the third part, Everything Must Go, has been touring in Europe and is slated to come to the UK in 2027. As is often the case with Forced Entertainment shows, the main conceit for this work didn’t arrive until quite late. They were “four or five weeks into rehearsals for Signal to Noise,” Etchells recalls, and getting nowhere. Away from rehearsals, he had been playing around with feeding “weird texts” to AI voices to see how they would cope with them – “basically for my own amusement” – and was compelled by the uniformly “serviceable, benign, good-natured” tone they would read in, no matter how poetic, fractured or experimental the writing. On a hunch, he brought some examples into rehearsals and the performers gave lip-syncing a go. “It was immediately interesting and uncanny,” he recalls, with the performers having to deal in the moment with the problem of mapping themselves onto another artificial ‘performer,’ which itself was dealing with the problem of a very human text. “Almost all the writing for these projects would be useless to us unless it was done in this way,” says Etchells. “We wouldn’t know what to do with it. It’s too poetic. It’s too fictional. It’s too tangled.” But exploring lip-syncing along to the text has opened “an enormous reservoir of ways of thinking about writing and performing.” Subscribe to Exeunt, and get two in-depth pieces on theatre a week, direct to your inbox Subscribe Forced Entertainment have long been sifting through the detritus of popular culture, from daytime TV to end-of-the-pier vaudeville, magic acts and clown shows, to find frameworks for their own unusual entertainments. Lip-syncing, then, makes sense for them to experiment with. As a mode of performance, it’s wired into popular consciousness through pop stars trying to convince stadium audiences of their liveness, or those same voices as channeled through the made-up lips of contestants on RuPaul’s Drag Race, or movie dialogue spreading virally through the host bodies of TikTok users. For Etchells, lip-syncing is often about “approaching real voices and trying to take on their aura,” subsuming that original human presence into yours. “There’s a very basic, elemental sort of theatre magic to it, produced in this very easy way.” This broad approach resonates with instances of lip-syncing within contemporary performance, too. In works like Re-Member Me and Showmanism, performance artist Dickie Beau acts as a kind of spirit medium for archival recordings (this process of re-membering – as in, giving corporeal form to voices – relies on his masterfully precise actor’s technique), while Frankie Thompson is similarly possessed by a host of characters ranging from a nine-year-old Jacob Rees-Mogg to Cliff Richards, all of whom she finds compellingly nauseating, in the exorcism ritual that is her latest show, Horrible Things. What’s different about Forced Entertainment’s use of lip-syncing is that here, there is no original presence to be channeled. The performers are instead taking on what Etchells describes as “the voices of nobody,” or rather the “phantasmic, aggregated echoes” of the many many voices on whose data the AI has been trained, and which are now conjuring into existence words they never actually said. There is a sort of mournful, empty quality to these voices, having “washed up” far away from the people they originally belonged to, to find themselves in stranger’s mouths listing objects, wondering if anyone can hear them and glitching in interminable loops. There is a cold, sad anonymity to it all. Etchells remarks that occasionally the software company he used has notified him that particular people are withdrawing their voices from the platform, instructing him to cease use of those voices. Using these technologies in performance certainly brings up ethical questions around digital rights, consent, identity and ownership, although in the grand scheme of things, Etchells is fairly blasé about it: of all the purposes someone’s voice might be put to without their knowledge, “an avant-garde performance is probably the least of their worries.” [ ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) [ Frankie Thompson: How I manage my own ‘horrible things’ at the Edinburgh Fringe ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) Exeunt · Aug 25 [ Read full story ](https://exeuntmagazine.substack.com/p/frankie-thompson-horrible-things-essay-mental-health-compulsive-behaviours-pleasance-courtyard-soho-theatre) For the performers, though, lip-syncing to these strange, artificial voices is an odd task, requiring them to bend their live, human presence into the shapes produced by machines. Politically, it mirrors processes that are already at play in the continued computational automation of human life. Etchells brings up James Bridle’s writings on new technologies as a reference point: one example Bridle gives is of “chaotic storage”, a logistics technique employed by Amazon fulfilment centres whereby items are stored not according to traditional methods of categorisation or alphabetisation, but in a way that an algorithm determines to produce the most efficient routes for ‘picking’ based on customer purchase patterns. This appears completely random and incomprehensible to humans, with paddling pools sitting next to USB sticks sitting next to blowtorches, and so for the warehouse workers, the process of picking items becomes completely reliant on technology which tells them where to go. Our world is increasingly being designed not with humans in mind, but rather machines. As Etchells puts it, “technology malforms the space, and then you end up having to live in it.” Initially, Forced Entertainment tried their best to live in the world of machines: “I was in the it’s-got-to-be-perfect school of lip-sync,” says Etchells. But with their aesthetic being so tied to the failing act, the slipping mask, the shoddy costume, “it’s no surprise really that that didn’t last.” Instead, the performers got to enjoy being late for a line, or playing games with each other, “stealing” each other’s voices. Etchells compares it to the principles of ventriloquism, in which a free-floating voice unattached to a body is fundamentally discomforting and “sort of traumatic”. That discomfort is equally as alluring to Forced Entertainment as the satisfaction of precision, the pretence of authenticity only interesting if shown to be a pretence. Lip-sync has also opened up new avenues for the company. Having been allergic all their lives to Plays-with-a-capital-P, with Cold Sweat Forced Entertainment find themselves approaching something a little bit like drama. Rather than the presentational arena of Signal to Noise’s open white stage, Cold Sweat places us more decisively in a “fictional locale”: what appears to be “the aftermath of some disastrous party or backyard drinking binge” where three figures – family members, or neighbours, perhaps – are the last ones standing. “It’s all quite acrimonious and accusatory, everyone’s talking over each other.” For Etchells, this more fictional mode is “a door that we’ve never been able to open. We’ve just never really gone there.” Perhaps it is the technique of lip-syncing, an extra buffer of mediation, that allows them to venture away from the here-and-now without feeling that they have to commit to the “psychological claptrap” that comes along with acting; to be able to “play the game of theatre, without getting one’s hands too dirty.” As I wonder how else the impulses behind Forced Entertainment’s work have changed over time, it occurs to me that over the last ten years of new creations, with the exception of If All Else Fails, the company’s performers haven’t ever spoken on stage: there were two shows without any language at all, Out of Order and Under Bright Light, and then this trilogy of lip-sync works. Etchells agrees it’s a shift away from earlier productions, that were so often about “the actual voices of the performers and their actual presences. We had a lot of money, in some ways, on an authentic approach to what it might mean to speak on the stage.” But this sense of authentic presence itself had a fakeness to it; these days, Etchells can’t stand that mode of being onstage where performers “are here to be cheeky and witty versions of themselves. I don’t want to be charmed.” Pulling back into a more anonymous space has resulted in works that feel slightly sharper-edged, more brutal in a way. “All of these shows are post-Brexit, post-Trump, post-truth, post-everything,” Etchells notes. Speech, charisma, authenticity – these things feel politically loaded, and perhaps warmth and openness just don’t feel like the right tools to reflect the world we’re living in. “It feels like the space is closing down, and we’re trying to deal with the fact that the system, the structure that you’re in, is more oppressive and more powerful. It probably always was, but I think we’re just more tuned to it now.” Yet even without their voices, the performers’ distinctive presences – ones that many audiences have followed around for years, if not decades – still, inevitably, shine through as they physically navigate whatever unending task the system of the piece has set for them. They’re still trying to keep up with the onslaught of text, still running about, changing costumes, moving stuff around. The human is always stuck in the teeth of the machine, jamming the smooth, frictionless cheeriness of the not-real, gesticulating silently, trying desperately to communicate. Cold Sweat is at Sheffield Theatres, 2 to 3 October; Southbank Centre, London, 9 to 10 October; Lancaster Arts, 14 October [ ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) [ Exeunt recommends... the best autumn theatre ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) Exeunt · Sep 16 [ Read full story ](https://exeuntmagazine.substack.com/p/exeunt-recommends-the-best-autumn-theatre-2026-lives-of-others-standard-of-living-our-friends-in-the-north-lanny-) This piece was paid for by the Southbank Centre. Such support helps Exeunt to keep publishing the most interesting writing, about the most exciting theatre. Interested in partnering with Exeunt? Visit our Advertise with Exeunt page, where you can get more information, download an advertising pack, and find our contact details.
A new entertainment and dining venue is coming to Lakewood Ranch. What to know
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Munising business receives $25K grant, and a visit from Lt. Gov. Gilchrist
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KCC Entertainment Design
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Democrats swap candidates in key metro State House race
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Phil LeVota’s indictment tells us a lot about Jackson County politics
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Good Communication Is Good Business by Geoffrey Losee
The following column was contributed by J.D. Fisher. Mixed-use communities are increasingly common. Restaurants, breweries, retail stores, entertainment venues, and professional offices often operate within walking distance of established neighborhoods. That proximity creates tremendous opportunity, but it also means that a business's decisions may affect more than just its customers. Many business owners understandably focus on obtaining the permits necessary to open their doors. However, municipal approval is rarely the end of the conversation. As a business evolves, whether by adding outdoor seating, live entertainment, extended operating hours, or other new amenities, the applicable zoning ordinance may require additional approvals or impose operational standards designed to balance commercial activity with nearby residential uses. From a business perspective, the question should not simply be, "Can we do this?" It should also be, "Have we communicated with everyone who may be affected?" Recent local news coverage highlighted how differing interpretations of a municipal ordinance can quickly become the subject of public hearings, legal arguments, and significant uncertainty for a business. While every situation turns on its own facts, one common theme emerged: practical solutions are more difficult to achieve if communication breaks down. Businesses can often reduce that risk by engaging early with the relevant stakeholders. That begins with municipal staff. Planning departments are oftentimes willing to discuss how an ordinance applies before substantial investments are made. Seeking clarification in advance may identify permitting requirements or operational limitations that can be addressed proactively rather than after enforcement action. Communication should not stop with local government. Nearby property owners and neighborhood representatives frequently appreciate being informed about proposed changes before they occur. A brief meeting, an informational email, or an invitation to discuss concerns can foster goodwill and reveal potential issues while there is still flexibility to adjust operations. That’s why such meetings often required for substantial projects and may be a good idea even if not required. Perhaps most importantly, businesses should view compliance as an ongoing process rather than a one-time event. Operational changes that seem minor from a business standpoint may have regulatory implications under local development ordinances. Periodically reviewing proposed changes with experienced land-use counsel or planning professionals can help identify issues before they become disputes. No ordinance can eliminate every conflict between commercial activity and residential expectations. Nor should every disagreement become a legal controversy. But businesses that invest in transparent, proactive communication place themselves in the strongest position to protect both their operations and their relationships within the community. In today's regulatory environment, good communication is more than good public relations, it is good risk management. If your business is planning to expand its operations, introduce a new use, or simply wants to better understand how local land development regulations apply, the attorneys at Rountree Losee LLP are available to help. Our land use and local government practice works with businesses throughout southeastern North Carolina to navigate municipal approval processes, identify potential issues before they become disputes, and keep projects moving forward with confidence. Read more at rountreelosee.com.
BUSINESS MONDAY: Spotlight on Berkshire Mountain Distillers in Sheffield
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Nebraska fans frustrated by changes in volleyball reseating at Bob Devaney Sports Center
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219 Taproom in Chesterton unveils their JULY LINE-UP for Entertainment
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Back door no more: Griffin Museum of Science and Industry seeks to reopen its south entrance after a century
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Back door no more: Museum of Science and Industry seeks to reopen its south entrance after a century
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Fuel price shock to widen product gap between US airlines
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Not just to New York: Arkia introduces business class on flights to Europe
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Venue coming to North Little Rock will update Northshore Golf Range to offer golf and entertainment options
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IBM goes on the road to find next wave of innovation in sports
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How the White House tried – and failed – to push a candidate out of a Republican state Senate primary in Indiana
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Scene One Entertainment completes purchase of Spectrum 8 Theatres, renovations coming soon
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Alaska Airlines announces fancy new business class seating
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Impossible Science Live! with World Champion of Magic Jason Latimer
Impossible Science Live! with World Champion of Magic Jason Latimer From bending light with physics, to shaping water with chemistry and walking through solid glass with engineering, World Champion of Magic Jason Latimer’s mind-blowing live show delivers an inspiring message of how “The right question changes everything.” Impossible Science LIVE! expands on Jason Latimer’s inspiring TED Talk “ Seeing Beyond the Illusion of Knowledge ” with family-friendly, mind-blowing illusion entertainment. Uniting his favorite illusions from his illustrious career, Latimer reveals the secret to his magic is not special powers but simply a pursuit of challenging the impossible with curiosity. During your museum visit from April 7-11, 2026, drop into the auditorium for one of Latimer’s shows throughout the day. Shows are included with your Spring Break admission and FREE for museum members. Add a membership to your cart for free Spring Break admission! Available showtimes: 10:30 a.m., 11:30 a.m., 1 p.m., 2 p.m. daily, with a 3:30 p.m. show on Saturday, April 11. Open seating; first come, first seated. About Jason Latimer: Jason Latimer has been featured on television around the world as both a scientist and magician. While Latimer is both a curator of the iconic Fleet Museum in San Diego, CA, and a World Champion Magician his network specials, TV series, and appearances span the globe. Jason has been featured as a science host on the Science Channel, Roku, Amazon, and as a magician on the Syfy Channel, History, BBC ONE, and Japan’s NHK. In 2021, SONY partnered with Latimer to bring his unique blend of science and magic to online and to PBS to assist with distance learning. Impossible Science’s growth has been exponential ever since, garnering over a hundred million views and multiple streaming awards as an educational series.
Southwest announces new changes in email to A-List Members
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From Fishing Nets to Furniture: Turning Ocean Plastic Into Usable Products
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Southwest Airlines officially ends longstanding open-seating model, begins plus-size pricing change
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