Marketing for Men

So we all complain that we have a million women auditioning for our plays but never enough men. I'm the first to say, well write for women, but it's not always that easy. My current production 'Flesh Wounds' for example has an even split, male to female with really good roles for either gender. Girls are coming out of the woodwork, but men? I have more auditioning than roles, but certainly not enough to be picky. Rather than whinge that there aren't enough men in theatre, or that there are two many male roles, I'd like to ask how can we as theatre be more attractive to men? It's hard to stage explosions, car chases and extreme sports, but surely that isn't all men are looking for in escapism? 'Flesh Wounds' for example, has actually been really well received by all the men who have read it, either during it's panel process with the Old Mill, being assessed through Stages, or the reading and workshop we staged later in preparation for the upcoming season. Unfortunately all those males are either away during the season or have moved to a different city! Otherwise, they have all expressed they would love to play, what I think are really decent male roles. My question is this, how do we market to men? What are men looking for from their entertainment? How can we convince men that stage plays are worth both auditioning for, and attending? These aren't rhetorical questions, all you opinionated theatrical men out there--I want real answers. What makes you sit up and say, 'that's the role I want to audition for?

The ITA-run Men's Project was quite successful in introducing some fresh male blood to the theatre. I cast one of the "graduates" in Don's Party, earlier this year, and I was quite happy with the results. I'm looking for 3 men for my next project - Albee's The Goat, so far with minimal interest. I don't know if the subject matter is off-putting for some, but these are some really great roles. So, Jess, I don't know what the answer is. I just think that men of a certain age wander off and become involved with families and work, and don't have time for theatre - a very time-demanding pastime. Should we tell them about how many single women there are in theatre, and the dearth of straight men..? www.meltheco.org.au

Yes my own spouse has fallen victim to that age group of men. Having said that he still has time for lan parties... Again, I have a theory it must be in the marketing somehow. 'Flesh Wounds' Manstuff, ergh. Etc.

Beer got me started. Not sure why I hung around though? Might think about that over a beer. hmmm.

Flesh Wounds. Free Beer. (If you audition, and are cast, I'll buy you a beer)

Free beer with Jess. Woohoo! I'd be there, but there's this other thing I need to do... www.meltheco.org.au

From personal experience, men are often extremly time poor, in terms of the demands of work - many are involved in FIFO etc, consequently, often we have no idea what's on. I had no idea Jeff was looking at running THE GOAT, which, depending on when it is, I'd be very interested in audtitioning, if there's a role for an ageing, bearded ham. Ciao, Mr Paravicini ... oops, A thousdand pardons ... Greg Ross.

Here's the audition notice, Greg. http://www.theatre.asn.au/audition/2011/the_goat_or_who_is_sylvia www.meltheco.org.au

Just one beer? Hardly an offer - you'd to offer at least 10 to get a bloke to show up. It's not a known play, men are less likely to get involved. It might be thebest script in the world but it's not a known quantity. Men are more likely to audition for meaty, well- known roles. Less chance of appearing in a dud and more chance of a decent audience.

I am doing Cuckoos Nest next year and need 14 men that is why I have already posted that is coming. I think there are a few good men out there but they are in demand and plan well ahead. I also think, because they are in demand they can be choosy about what they do - I have introduced many guys to theatre over the last few years but it is always hard. Having said that, I have had trouble casting female roles and am still looking for a Joan for the Virgin Warrior - the lead and hardly anyone age appropriate (late teens)auditioned.Jane Sherwood

I am finding it a struggle to find FEMALE auditionees between 30 and 50 for my show. Now ordinarily you wouldn't think this would be an issue, but it certainly is this time.... for a demographic forever complaining that "there aren't the roles out there", this is a chance tailor-made for you all. It just involves committing to coming up the hill to Roleystone around Easter. Eliot McCann

I've had a play where I've been inundated with boys for the role of a teenager, but had only a few woman audition to play his mum! Maybe the real answer is that the majority of the population of community theatre is either retired or uni/school leaver aged. Obviously it's not hard to deduce why that is... Still I feel like my question is yet unanswered. Forget the auditioning issue, how can we market theatre as a whole, as not boring, old fashioned and primarily for women? Theo has suggested more smoke machines and hot girls brandishing guns. (Odd from a pacifist)

I'm reading this and trying to think of how to answer you. And just for the record Jess, I have actually expressed interest in auditioning now so I suppose I'm actually not in the category of man you talk about. I'm originally from Tasmania, which many are surprised to hear has a pretty good theatre scene and acting community of young and old and everything in between. And I just don't understand this man drought that you talk about… well…. Actually now that I think about it there is one thing we do different. In Tassie, the theatre companies would advertise audition notices in the paper. It’s where you looked if you were interested, and we had newbie's turning up all the time. Obviously some had let down nicely, but the point is they came. So maybe if it’s proving difficult simply advertising towards your demographic is the simple (yet I understand sometimes expensive) solution. as for the question “what can we offer to make theatre more attractive” it’s a difficult question because for most of the people that do theatre, everything that is involved with putting on a show is what makes it attractive. And really if your getting people outside of that category to help out chances are they won’t be very good…

I am currently looking into advertising in some local rags, as well as on gum tree and hopefully even Express. To be honest as I said at the start, I do actually have enough men auditioning,(although at least five times as many women) I just know it is the constant catch cry of theater, and for an ensemble play with such large and challenging roles, i don't want to be in the position of casting men who aren't nearly as talented as the women they are acting across. (Also thank you for auditioning)

Seems to me that there is a bigger problem here. That is, there seems to be a discrepency in who the 'people of theatre' are and who we wan them to be. An example being that out theatre going population is evidently aging, and whilst many talented and committed young people are getting involved, they're not replacing the blue rinse crowd who are exiting. Many companies have expressed this as a concern, but the same companies have a bottom line and in order to get 'bums on seats' they continue to cater to the crowd who they know are going to show up, the aging audience. They pitch their shows at the audience they have, not the one they want. This behaviour obviously compounds the problem: the shows attract an older audience, an older audience attracts the shows that would suit them. I think the only way to break this mold is to take a risk and begin a new pattern. Work hard to attract a new audience, and that new audience will indeed attract more shows of their choosing. It's foolish to expect that our young and old audience/performers will be interested in the same kind of works. We need to empower those young people who are already involved to make their own way, and draw their peers to them. I think the same is true of the men-in-theatre, as well as any other sub-group that's under-represented in the theatre. Ultimately, I think we must be the theatre community we want to see, not be the one we are and complain we're not the way we want. In answer to your question Jess, I think a theatre that men will be interested in is one that represents them, is strong, is fun, is real, and says that what they have to contribute is worthwhile and supported both in the theatre and in the world. That's my thoughts anyway. Theo

I think a good point is being made about using means other than this website and the theatre newsletter. When I think about it, I first got into community theatre through an audition advertised in a local free newspaper, having not heard of this website at that point in time. Perhaps a bit of research would be useful via a new poll: how did you first get into community theatre? - perhaps with a break down by gender.

I agree with Theo...despite being almost of an age where I could put a blue rinse through my hair, if I indeed had enough hair to do it with...only so many young guys are intersted in donning Jane Austin garb...without wishing to repeat myself more than I do...the theatre community as a whole, needs to address this problem, for without wishing to sound like a doomsayer, theatre participation at all levels appears to be on the decline... how do we compete with the mega home theatre's and cheap as chips DVD's. I've been watching this for some time, and using my own friends and associates as an example, they'll happily come along to my shows and have fun, but that's it...they don't go on and attend productions eleswhere...maybe my material isn't the best example..ha! I repeat that all for one and one for all is in the very least the way to start, if we hope to arrest a decline of the very thing we love. Johnny

'Only so many young guys are interested in donning Jane Austin Garb' in response to a photo of a young guy in Jane Austen garb, most notably famous in Perth theatre for directing a Jane Austen...(which ironically sold out, and attracted a huge percentage of #gasp# young men to both the auditions and the audience)

Far more women than guys? That should be incentive enough for any male to get involved in theatre!! I first met my wife in a play, and we're still happily married 25 years later - now if that isn't a marketable fringe benefit of getting involved in community theatre, I don't know what is!! I've also made far more long term friends being involved in acting than any other pursuit, and it's their company, not any specific theatre company, that keeps me coming back.

Theo - you say (and I quote) "I think a theatre that men will be interested in is one that represents them, is strong, is fun, is real, and says that what they have to contribute is worthwhile and supported both in the theatre and in the world." What exactly does that mean?? What, for guys, is representative, strong, fun, real and worthwhile??? Once we know the answers to this, we'll write bucketloads of parts to entice guys!! Bree

Absit invidia (and DFT :nono:)

Jeff Watkins

Looking for an Agent? Read this first!!

I would like to consider Antonio, and his hypnotising accent! And I would like to get to know him with the massaging exercise... Do you think he might like to don Jane Austen garb for Mr Knightley next year? Mmmmmmmmmm... Antonio in tights!

@Johnny: thanks for the support mate, I think that you have been doing a great job getting new people involved in Theatre for a long time. @Bree: perhaps you caught me out, I was being a bit vague because I wasn't really sure of the right answer. I think it's perhaps easy to tell what wont work for men. An example being a recently established all female shake spear company, which I'm all for (because there's lots of talented women and barely any good parts for them), but the play itself was marketed for women (set in a fashion-house) who are the people who would come and see it anyway. Best off filling a play with women and marketing it for men. Traditionally plays written by women or staring women have been categorized as plays about 'women's issues' where as plays with male protagonists are seen as general, and almost never seen as 'male' plays. This is because plays with female protagonists often are solely aimed at women, when female writers want to write generally they write male protagonists. I believe that the opposite is also true. We can write and perform plays with women that are intended for male audiences. They'll have to be funny, but take men seriously; they need to contain strong and likeable male characters. They need to be active, not conversational; and they need to have relevant conflict, not conflict over who's hair looks better. Is that more specific? @Jeff: Musicals may be written by the men (because female writers are horrendously under-represented) but they are aiming their plays at middle-aged women audiences. That's the kind of change that needs to happen. @Lee: Very true, and a testament to the community that has been built here. @Jess: With Northanger, we played up the horror, sideburns and empire waistlines. We just wanted the women who were coming to bring their men with them. It was more a play we aimed at young people than men, though it was on our mind.

That was me by the way, browser logged me out. Theo