It pains me to say so, but it's the truth: Denver is not a dance town. Never has been.

After 20 years of covering the region's rich and varied dance scene, I've watched every ballet and modern troupe labor to attract an audience, often with indifferent results. Despite the welcome revenue from the Scientific and Cultural Facilities District, lack of money has remained the biggest roadblock.

No need to revisit Colorado Ballet's struggles. And they're not alone: David Taylor Dance Theatre is fighting off a six-figure debt and other small troupes compete for limited audiences and even more limited financial supporters. Many must settle for (and often compete for) cramped rehearsal space.

For two decades I've enjoyed companies led by Taylor, Kim Robards, Cleo Parker Robinson, Danelle Helander, Nancy Smith, Robert Sher-Machherndl, Deborah Reshotko and other fine dance-makers - and I know there are some terrific, dedicated dancers in the region. So lack of quality hasn't spawned public apathy.

A major factor in this battle for survival is the absence of a proper venue. Without a comfortable, convenient place to view dance, audiences can't be blamed for staying away. In the past four years, a pair of new halls opened, testing my theory of "Build it and they will come." Since their openings, the 900-seat Gates Concert Hall in the Newman Center and the Ellie Caulkins Opera House have hosted many dance performances.

Has my theory been proven? Yes and no. Recently, Aspen Santa Fe Ballet returned to the Gates, performing in front of a nearly full, decidedly enthusiastic house. Dance has rarely looked or felt so good.

Ah, but we remember when an equally tickled crowd gathered to see ASFB at the dingy old Paramount a few years ago. So the main attraction appears to be the company, which has developed a lively local fan base.

That said, there's no doubt that the comfort, intimacy, good vibes and superior sight lines at the Gates added to the enjoyment of that performance. Same with a show last year by the Diavolo troupe (which returns to the Gates next season).

Here, then, is an ideal venue for small-to-midsize troupes. Problem is, the Gates is one of the most heavily booked halls in town - its calendar filled by Lamont School of Music students and faculty, Friends of Chamber Music, Denver Brass and several other groups. And we understand it's not cheap to rent.

Now let's look at the Ellie, home to Colorado Ballet and Opera Colorado. After struggling to draw crowds at the Paramount during the Ellie's construction, I expected balletomanes and newcomers to pour into this luxurious venue when it opened in September, 2005. Instead, audiences have been inconsistent.

Last Sunday, I attended the matinee of Colorado Ballet's thoroughly entertaining "Dance Creations" at the Ellie. Let's just say that tickets were still available: The top two balconies were closed off, only a few patrons sat in the Mezzanine with me, while the downstairs seating had more than its share of empties. I heard that Saturday's opening night show was better attended, but a family-friendly Sunday matinee should attract a larger crowd.

There's no way to know why ticket-buyers stay home, but a top price of $143 may be part of the reason. Still, we're told that bottom-price tickets at $27 are available in each of the Ellie's seating areas. Colorado Ballet's executive director Lisa Snider told me that she's OK with a half-full house, and that the top balconies are not great for watching dance, anyway.

But wait a minute: This is a brand-new, high-tech theater, home to an energetic, talented ballet company that wisely tailors its programming to please the widest audience. And yet, not enough folks care. Maybe it's simply because Denver dismisses dance.

Want more evidence? It's been more than a decade since the Colorado Contemporary Dance series went belly-up, after bringing in such companies as Alvin Ailey and Pilobolus. Since then, no presenter has stepped in to book touring companies, apart from a few much-appreciated shows sponsored by Colorado Ballet (which will team with Cleo Parker Robinson to present the Ailey troupe next season).

Even Boulder, home to many of our most interesting dance troupes, has shown a lack of commitment. The town's nationally respected Colorado Dance Festival folded in 2001.

There is, in Denver, a potentially fabulous place for dance. Off to the east side of the Ellie, a large vacant room gathers dust. It's hoped that one day it will become a performing space for dance, experimental theater and chamber music.

All that's needed is a few million dollars. Will such a place awaken the city to the pleasures of dance?

Slim pickins

Some places to find dance in Denver and Boulder:

• Downtown Denver: Until recently, there have been two choices, the Auditorium Theatre or the Paramount Theatre, both poor for dance-watching.

• Five Points: The much-used performing space at Cleo Parker Robinson's headquarters remains in need of a face-lift.

• Southwest Denver: The Teikyo Loretto Heights Theatre is tough to find and only hosts sporadic performances.

• Lakewood: Way out west, the Lakewood Cultural Center's raked seating offers ideal sightlines - but its capacity is less than 400.

• Boulder: The Artist Series at Macky Auditorium hosts the occasional dance troupe (Pilobolus just sold out there), but such shows are rare. The Dairy Center is home to several worthy modern-dance troupes, and offers a couple of small spaces in facilities that are hardly state-of-the-art.

Marc Shulgold is the music and dance writer. Shulgoldm@RockyMountainNews.com or 303-954-5296

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