Why is there so much drivel in community theatre?
Fri, 25 Mar 2005, 07:47 pmWalter Plinge12 posts in thread
Why is there so much drivel in community theatre?
Fri, 25 Mar 2005, 07:47 pmI wish to provoke a bit of debate here, not because I wish to be spiteful or scornful towards amateur theatre (or community theatre as some patrons wish to call it) but because I was just wondering where community theatre seems to be heading.
I am dismayed at the lack of challenging theatre these days. The only type of plays that seemed to be performed these days are inane musicals, light fluffy comedies, preposterous melodramas and murder whodunnits. There seems to be a lack of both imagination and will in community theatre in putting on contemporary dramas and even the classics are ignored. It's like Strindberg, Ibsen, Brecht, Pirandello, Beckett and Pinter never existed.
Even Shakespeare's other plays seemed to be neglected. I know 'Class Act ' and 'Grads' seems to be making some effort in producing his other works, but most theatres seem to only produce 'A Midsummer Nights Dream' and 'Romeo and Juliet' as though these are the only plays he ever wrote. To make matters worse these plays are constantly rehashed and churned out so there is no opportunity for the average punter to go out and explore other works from this great artist. In 2005 we can expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream' and in 2006 we can expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream'. In 2007 we can also expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream' etc. etc.
There is also a lack of imagination and consultation by theatre houses in the choice of plays in the same year. I noticed that Noel Coward's play 'Fallen Angels' - which is regarded as one of his weakest plays - is on at both the Old Mill and Marloo Theatres. Although they are not on at the same season, judging from the narrow spectrum of audience members touring the theatre houses, it would seem unlikely that those audience members who saw the production at the Old Mill are going to waste much time in seeing the Marloo production. Variety, after all is the spice of life.
And what of American plays? Not too many of those around. I know there is one community theatre director who specialises in American plays, but again he produces the light fluffy American equivilent of the mostly British plays that are performed here. Arthur Miller, Tennesee Williams and Eugene O'Neill are firmly excluded. And that's ashame. Miller died this year although I doubt whether many of the theatre companies have noticed. One suggestion to the ITA is to create some kind respective of Miller's work for next year, each theatre producing a play of his. The programme could be Marloo - 'A View from a Bridge', Old Mill - 'The Crucible' and Garrick - 'Death of a Salesman' and you can stagger the programme throughout the year. But I doubt whether that would happen.
What we can expect instead is a murder whodunnit called 'The Butler did it' followed by the usual sex farce comedies ('The Vicar and the Actress' as well as its sequel 'The Vicar and the Actress does it again!') a couple of nonsense musicals and an umpteenth version of 'Educating Rita' double billed with 'Romeo and Juliet'. Throw in a soppy romance, a histrionic melodrama and 'A Midsummer Nights Dream' in the middle of winter and that's your year.
It's puzzling as to why theatre companies play to the lowest common denominator. Sure it's good for the blue rinse set, but when they pass on, as we all do, what kind of audience are you going to have then? Judging from last years production of 'Salad Days' when all the older members were gleefully clapping along to the encore while the younger members were shaking their heads wondering 'what the f**k was that about', it doesn't look promising.
I am dismayed at the lack of challenging theatre these days. The only type of plays that seemed to be performed these days are inane musicals, light fluffy comedies, preposterous melodramas and murder whodunnits. There seems to be a lack of both imagination and will in community theatre in putting on contemporary dramas and even the classics are ignored. It's like Strindberg, Ibsen, Brecht, Pirandello, Beckett and Pinter never existed.
Even Shakespeare's other plays seemed to be neglected. I know 'Class Act ' and 'Grads' seems to be making some effort in producing his other works, but most theatres seem to only produce 'A Midsummer Nights Dream' and 'Romeo and Juliet' as though these are the only plays he ever wrote. To make matters worse these plays are constantly rehashed and churned out so there is no opportunity for the average punter to go out and explore other works from this great artist. In 2005 we can expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream' and in 2006 we can expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream'. In 2007 we can also expect Shakespeare's 'Romeo and Juliet' and 'A Midsummer Nights Dream' etc. etc.
There is also a lack of imagination and consultation by theatre houses in the choice of plays in the same year. I noticed that Noel Coward's play 'Fallen Angels' - which is regarded as one of his weakest plays - is on at both the Old Mill and Marloo Theatres. Although they are not on at the same season, judging from the narrow spectrum of audience members touring the theatre houses, it would seem unlikely that those audience members who saw the production at the Old Mill are going to waste much time in seeing the Marloo production. Variety, after all is the spice of life.
And what of American plays? Not too many of those around. I know there is one community theatre director who specialises in American plays, but again he produces the light fluffy American equivilent of the mostly British plays that are performed here. Arthur Miller, Tennesee Williams and Eugene O'Neill are firmly excluded. And that's ashame. Miller died this year although I doubt whether many of the theatre companies have noticed. One suggestion to the ITA is to create some kind respective of Miller's work for next year, each theatre producing a play of his. The programme could be Marloo - 'A View from a Bridge', Old Mill - 'The Crucible' and Garrick - 'Death of a Salesman' and you can stagger the programme throughout the year. But I doubt whether that would happen.
What we can expect instead is a murder whodunnit called 'The Butler did it' followed by the usual sex farce comedies ('The Vicar and the Actress' as well as its sequel 'The Vicar and the Actress does it again!') a couple of nonsense musicals and an umpteenth version of 'Educating Rita' double billed with 'Romeo and Juliet'. Throw in a soppy romance, a histrionic melodrama and 'A Midsummer Nights Dream' in the middle of winter and that's your year.
It's puzzling as to why theatre companies play to the lowest common denominator. Sure it's good for the blue rinse set, but when they pass on, as we all do, what kind of audience are you going to have then? Judging from last years production of 'Salad Days' when all the older members were gleefully clapping along to the encore while the younger members were shaking their heads wondering 'what the f**k was that about', it doesn't look promising.
Re: Why is there so much drivel in community theatre?
Fri, 25 Mar 2005, 10:46 pmIf I might say, it's like opera - there's so much money spent on sets and costumes, that community theatres are almost only repertory companies. I'm generalising here, but speaking as a professional theatre worker (and a puppeteer which is extremely expensive to produce), theatres need to reuse objects in order to ensure their money has been put to good use.
Another factor is rights - some plays are easier to get the rights to, and cheaper!
Community theatre also means that the companies have to satisfy their audiences as well as their cast. A professional company can rely on getting people who are truly interested in their show/script, whereas community theatres must provide scripts which are challenging, yet easy to produce. Many people involved in community theatres also produce short play competitions, so there is some new stuff getting out there.
As for American plays, there is plenty of American stuff being done by professional companies - too much! - and I think all round there needs to be more challenging Australian work being done.
As an existentialist, a lover of Pirandello and Beckett, I can say there isn't enough of this stuff around either. But unfortunately, most audiences do not appreciate/understand the performances, and one needs to produce these plays really well in order for them to be enjoyable. I once saw an actor's school (graduating class!) do 'Three characters in search of an author' and it was terrible. The acting was over the top and the 'Madame' appearing out of nowhere was done with no class whatsoever. They were performing in a professional theatre too, so had all the tech. specs to do something interesting. The fact remains that that kind of theatre tends to be left to the professionals, and usually during fringe festivals.
Ultimately the answer is bound to be money - all companies, professional or amateur are tied down to the costs involved in staging shows. And the more money you can squeeze out the better. I'm sure community theatres tend to stick to the 'oldies but goodies' because the cast enjoy it, and it brings in the audiences. After all, people go to see Shakespeare because he's considered the best playwright - people don't go to see Pirandello. After all, how many people have heard of Pirandello outside of the industry?
If you're ever in the need of some absurdist one act plays, email me. I've got six of them all ready to be performed, and ready to challenge Aussie audiences.
Another factor is rights - some plays are easier to get the rights to, and cheaper!
Community theatre also means that the companies have to satisfy their audiences as well as their cast. A professional company can rely on getting people who are truly interested in their show/script, whereas community theatres must provide scripts which are challenging, yet easy to produce. Many people involved in community theatres also produce short play competitions, so there is some new stuff getting out there.
As for American plays, there is plenty of American stuff being done by professional companies - too much! - and I think all round there needs to be more challenging Australian work being done.
As an existentialist, a lover of Pirandello and Beckett, I can say there isn't enough of this stuff around either. But unfortunately, most audiences do not appreciate/understand the performances, and one needs to produce these plays really well in order for them to be enjoyable. I once saw an actor's school (graduating class!) do 'Three characters in search of an author' and it was terrible. The acting was over the top and the 'Madame' appearing out of nowhere was done with no class whatsoever. They were performing in a professional theatre too, so had all the tech. specs to do something interesting. The fact remains that that kind of theatre tends to be left to the professionals, and usually during fringe festivals.
Ultimately the answer is bound to be money - all companies, professional or amateur are tied down to the costs involved in staging shows. And the more money you can squeeze out the better. I'm sure community theatres tend to stick to the 'oldies but goodies' because the cast enjoy it, and it brings in the audiences. After all, people go to see Shakespeare because he's considered the best playwright - people don't go to see Pirandello. After all, how many people have heard of Pirandello outside of the industry?
If you're ever in the need of some absurdist one act plays, email me. I've got six of them all ready to be performed, and ready to challenge Aussie audiences.