"They found somebody else for the role," she remembers. "I thought, 'That's it. That's the end of my career on the stage.'"

But, as fate would have it, Dill ended up in a job that takes her to the theatre every day of the week. As general manager of The Playhouse Theatre in downtown Wilmington, Del., she plans and books the theatre's schedule, hobnobs with key Broadway players and belongs to the elite group that votes for the coveted Tony Awards.

"Patricia is one of the best in the country at what she does," says Ed Sandler, member services manager for the League of American Theatres and Producers, the organization that votes for the Tony Awards. The league has been named "the most organized and powerful group in the arts" and Dill, its only Delawarean, serves on the Board of Governors.

Dill, who majored in physical education and athletic training, never dreamed she would be where she is today. However, her career is testimony to her willingness to jump in, pull up her sleeves and get down to work. It all began when she got a job as an office coordinator at The Playhouse in 1982.

"I started as the lowest person here, making copies in a two-person office," she recalls. "But, the beauty of a small office is that you learn to do everything. And, I had a great manager, Greg Moore, who was willing to teach me. I did whatever was needed--marketing, payroll, box office, ushering, you name it. If the theatre needed cleaning, I would be there picking up the trash. I tell my staff that, in those days, I used to know everything about everything, but now that I'm general manager, I know nothing!"

Dill may not work on the same kind of details any more, but she does know the ins and outs of the theatre business. In a typical day, she might be negotiating contracts with unions and professional touring companies, providing strategic direction or working with the news media to maintain a strong, visible presence for The Playhouse. Under her watchful eye are a staff of 15 and a multimillion-dollar budget.

"I have to pinch myself sometimes and ask, 'Why am I here? Why am I doing this job?'" she says. "It's scary, when you think about it, to be managing that amount of money. But, I just try to think of it as a household budget."

One of Dill's major tasks as manager is planning the season. That process can take years, between scouting in New York for shows, negotiating with the touring companies, advertising and dealing with unforeseen events. For the ever-popular Broadway series, she begins by deciding on one or two "anchors," or tried-and-true hits, such as this season's Sunset Boulevard and The Civil War. Then, she aims for variety in size, cost and type of performance, always focusing on a series that carries a common theme. Audience preference, of course, takes top priority.

"You always have to keep in mind the likes of your audience," she reflects, "which, in Wilmington, tend toward happy musicals. If I am bringing shows that are current to Broadway and are well-done, I feel I have done my job. And most of our customers are happy with that. Everybody won't like every show, of course. But, long ago, I gave up trying to make everyone happy."

Working out the schedule is Dill's next challenge. She tries to avoid offering shows during major holidays and off-months like September.

"Pretty soon, you've narrowed down your time frame," she says. "Then, you start work on plugging your selections into the slots."

At The Playhouse, size matters. The 1,200-seat theatre, which by today's standards is small, can't accommodate the larger Broadway productions. The Playhouse has the advantage of being intimate, but the cost of a production is the same as it is for a larger theatre.

"We have a higher risk," notes Dill. "A small theatre has a tremendous disadvantage. The name of the game is selling enough tickets to stay ahead."

By December, if all goes well, Dill has the following year's September-to-May series nearly put together, like pieces in a puzzle. Still, there are no guarantees.

"Even after we've printed the brochure and finalized the season, it can still change," sighs Dill. "It's not uncommon in this industry for a show to fold, and then it's lost completely."

Dill had to deal with that situation several years ago when the booking agent for Nunsense II canceled at the last minute. With only seven weeks before the scheduled date, she had to scramble to come up with something for the 8,000 theatregoers who had paid for tickets.

"Our solution was to buy another production of the show," she recalls. "Although it cost us a lot more that way, there wasn't much else we could do."

When a show bombs, it's hard not to take it personally, but Dill tries to be philosophical about it.

"I do get personally attached to shows," she admits, "and it's disappointing when they don't come through as expected. It's a humbling experience. In this industry, though, you won't make it if you're not resilient. When you stumble, you have to pick yourself up, no matter what, and move on."

From disappointments, good things can grow. The near-miss of Nunsense II pointed the way to a new way of running the business that has helped lessen the nail-biting unpredictability of shows that might flounder.

"In the past year, we've been experimenting with co-producing instead of hiring touring companies," she explains. "This year, for example, we co-produced Company, and the results so far have been positive. It's less hassle for about the same cost."

Meeting budget requirements is an ongoing concern, and the costs of running the operation are myriad. Upkeep on the theatre, which was built in 1913, entails hidden expenses. Things like plumbing, electric problems and "the infamous water leaks" only get worse as the building ages. Under Dill's management, more than $1 million has been spent on refurbishing seats, carpets and restrooms. Personnel costs also are high.

"This business depends on people," says Dill. "You can't replace them by computers. If you need 12 people to do a show, you can't make cuts. Yet, there's a limit to how much you can increase the cost to playgoers. The ticket price only has so much elasticity. People won't buy tickets if you charge too much."

The DuPont Co., which has owned The Playhouse since 1946, expects the theatre to be run as a profitable business; however, revenues can be unpredictable. The musical Annie, for example, did well in every other city, but, for some reason, it foundered in Wilmington. Conversely, some shows have done unexpectedly well. Chicago, for example, brought in an unprecedented $1.32 million in box-office sales.

"This job is not for the faint of heart," Dill counsels. "You can't predict. Sometimes, I miss, but it's becoming less often. I'm always on the lookout for ways to make it less risky."

With the demands of meeting the budget, negotiating contracts, co-producing shows and serving as a Tony voter, it would seem that Dill's plate is full. Yet, this tireless organizer is one of the forces behind the DuPont Co.'s Hospitality Community Outreach Program. Once a month, she and other staff members from The Playhouse, the Hotel DuPont and the DuPont Country Club organize a charitable project, such as spending the day baking at Ronald McDonald House.

"It helps us remember that our problems aren't so big," she says.

Dill manages these burgeoning responsibilities by handing tasks to her staff. One of her staff members, sales manager Sara Lu Kline Schwartz,
AS '61, has worked closely with her for 10 years. Though officially retired as of the end of December, Schwartz is working on a special project till spring.

"Patricia has a wonderful management style," Schwartz says. "Once she knows you are capable, she hands you wonderful projects, then steps back and lets you run with it. She doesn't stand in the way of creativity, nor does she demand that you do the work in a certain way. She tends to guide people, and she is more of a mentor than a boss.

"Patricia's an interesting combination of a linear thinker and a creative person," Schwartz continues, "and in her job, she can wear either hat. She served for two years as co-chair of the major spring conference held by the League of American Theatres and Producers, and she did a bang-up job. People loved the way she organized it, which was the same way she runs the office--building relationships, letting people run with ideas and building consensus."

Those skills also come in handy in union contract negotiations, says Schwartz. "Without being a great negotiator, there's no way you can get Broadway shows."

Dill says she believes growing up in a large family helped her learn to use her resources.

"I think that being number five of seven children definitely influenced my management style," she says. "With three brothers and three sisters, I learned to find my own way. And, I'm lucky, because I have a great staff. I couldn't do it without them."

Dill's brothers and sisters (all Fightin' Blue Hens) are Elizabeth Anderson West, CHEP '70; James T. Anderson Jr., AS '69, BE '72; Sharon Anderson Huey, AS '75; Roberta Anderson Collins, AS '78, HNS '82; John Anderson, AS '86; and William Randolph Anderson, EG '89.

She also gives credit to her husband, Ken, AS '82, and her daughter, Alexandra, for pitching in where needed. She manages the demands of home and work, she says, by being "super-organized."

Keeping an active lifestyle also helps. A Wilmington resident, Dill normally walks to and from work, finding that the exercise helps her prepare for and leave behind the demands of the day.

In a larger sense, the road beckons to Dill, whose success in her field has opened up doors for advancement. But, she has decided against moving to New York.

"The logical direction is to move to a bigger theatre, but do I want to?" she says she asks herself. "I have many ties here. I'm still learning. Personally and professionally, it's still a challenge. I enjoy what I'm doing. And, being on the board of the American League is satisfying because it gives me the ability to influence a wider sphere."

Occasionally, Dill likes to take the time to remember why she does it.

"I sometimes forget how special it is and just take it for granted," she reflects. "So, when it's quiet and nobody's around, I go and sit in the theatre or go backstage. You can really feel the presence of all the exciting people and things that have gone on here. That's when I get back that sense of awe."