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.
Walter PlingeFri, 25 Mar 2005, 07:47 pm
I 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.
NaFri, 25 Mar 2005, 10:46 pm
Re: Why is there so much drivel in community theatre?
If 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.
NormaSat, 26 Mar 2005, 01:08 pm
Re: Why is there so much drivel in community theatre?
I think you are being rather hard, 'Concerned' even while admitting that you have a point. Having to get bums on seats is quite probably a good part of what you see as a problem. however it's a fact of life that if you do plays which don't attract an audience then most of us - meaning the local amateur companies - will be out of business quite soon.
By the way Blak Yak don't do the tried and true. I do admit that I hope NOT to see either Educating Rita or Shirley Valentine advertised again for at least the next ten years, excellent plays tho they are!
THe Old Mill will produce a contemporary Australian play in May, it will be interesting to see the size of the audience.
Committes of local companies are, on the whole very conservative in their choices, we all have one eye on the bank balance, or lack thereof
you've thrown out the challenge, interesting to see who responds!!
Thou paunchy beef-witted puttock!
By the way Blak Yak don't do the tried and true. I do admit that I hope NOT to see either Educating Rita or Shirley Valentine advertised again for at least the next ten years, excellent plays tho they are!
THe Old Mill will produce a contemporary Australian play in May, it will be interesting to see the size of the audience.
Committes of local companies are, on the whole very conservative in their choices, we all have one eye on the bank balance, or lack thereof
you've thrown out the challenge, interesting to see who responds!!
Thou paunchy beef-witted puttock!
WordartSat, 26 Mar 2005, 03:23 pm
Re: Why is there so much drivel in community theatre?
You make many good points.
If you could spare the time to come to our little theatre I would be happy to vote ( at committee) for you to produce whatever you wanted. Highbrow, lowbrow, shakespeare, marlow ibsen. Yes please oh please.
Just remember that most amateur actors have other jobs and large roles take a long time to get down. 4 months reheasrsal are not uncommon.
Oh and budget...well lets say you pay for it and we will reimburse you as the ticket sales come in...fair?
Hmm audience..as most parents dont take their children to the theatre I cant see any renaissance in the next generation..the gen after that? yes I think they will rediscover theatre. I hope so anyway. Most young adult theatre goers dont get much South past the blue room anyway at present
Our company is putting on a contemporary Australian production in August, I shall offer you a ticket...also in July we are doing a locally written musical in the pantomime tradition...hardly highbrow, but local, fun and entertaining.
We just finished a very sucessful run of Ayckbourn, challenging for the actors anyway!
I would loove to run Merchant, but I would love it more if you came and did it for us...
Thankyou for bringing your points to the larger audience..it allowed me to point out we are already doing what you say isnt being done.
I do agree that companies do put on the same plays..I cant understand it. But I suppose thats the nature of the beast in WA. Lots of small empires. It would be very nice to swap ( not stage and pay...SWAP) productions even more between theatres...that would be fun and give the audiences wider choice. And the actors more experience.
Thanx again for your input I have printed it for my committee.
Thou spleeny rump-fed bladder!
If you could spare the time to come to our little theatre I would be happy to vote ( at committee) for you to produce whatever you wanted. Highbrow, lowbrow, shakespeare, marlow ibsen. Yes please oh please.
Just remember that most amateur actors have other jobs and large roles take a long time to get down. 4 months reheasrsal are not uncommon.
Oh and budget...well lets say you pay for it and we will reimburse you as the ticket sales come in...fair?
Hmm audience..as most parents dont take their children to the theatre I cant see any renaissance in the next generation..the gen after that? yes I think they will rediscover theatre. I hope so anyway. Most young adult theatre goers dont get much South past the blue room anyway at present
Our company is putting on a contemporary Australian production in August, I shall offer you a ticket...also in July we are doing a locally written musical in the pantomime tradition...hardly highbrow, but local, fun and entertaining.
We just finished a very sucessful run of Ayckbourn, challenging for the actors anyway!
I would loove to run Merchant, but I would love it more if you came and did it for us...
Thankyou for bringing your points to the larger audience..it allowed me to point out we are already doing what you say isnt being done.
I do agree that companies do put on the same plays..I cant understand it. But I suppose thats the nature of the beast in WA. Lots of small empires. It would be very nice to swap ( not stage and pay...SWAP) productions even more between theatres...that would be fun and give the audiences wider choice. And the actors more experience.
Thanx again for your input I have printed it for my committee.
Thou spleeny rump-fed bladder!
Walter PlingeMon, 28 Mar 2005, 03:59 am
Re: Why is there so much drivel in community theatre?
Dear Concerned and Norma...
I take it your comments about "Educating Rita" stem from the fact that both Roleystone Theatre and Plalovers are staging it this year within a couple of months of each other?
I think you are very small minded to apparently condemn this when it seems to be the leading edge of a new era of cooperation between clubs, and therefore something to applauded and lauded from the rooftops!!!
For those not in the know... which seems to be a lot of people, Playlovers have borrowed Roleystone's production to fill in a gap in their season that they would not have otherwise been able to fill.
I can't wait to see if the shows has developed over its couple of months of rest...
I take it your comments about "Educating Rita" stem from the fact that both Roleystone Theatre and Plalovers are staging it this year within a couple of months of each other?
I think you are very small minded to apparently condemn this when it seems to be the leading edge of a new era of cooperation between clubs, and therefore something to applauded and lauded from the rooftops!!!
For those not in the know... which seems to be a lot of people, Playlovers have borrowed Roleystone's production to fill in a gap in their season that they would not have otherwise been able to fill.
I can't wait to see if the shows has developed over its couple of months of rest...
Walter PlingeMon, 28 Mar 2005, 04:19 am
Re: Why is there so much drivel in community theatre?
"The Old Mill will produce a contemporary Australian play in May, it will be interesting to see the size of the audience."
Last year Roleystone did "Corporate Vibes", a 1999 David Williamson to pretty good houses
Personally I think the reason clubs only seem to do the tried and true is that the vast majority of amateur directors have very little knowledge of what is out there, and it seems even less desire to fill that gap in their knowledge.
Here's the challenge...
What is the most recent play or musical you have read or listened to?
"Flatfoot" by David Williamson, premiered 10 June 2004
"The Frogs" by Aristophanes/Sondheim, the new extended version, premiered 22 July 2004.
Last year Roleystone did "Corporate Vibes", a 1999 David Williamson to pretty good houses
Personally I think the reason clubs only seem to do the tried and true is that the vast majority of amateur directors have very little knowledge of what is out there, and it seems even less desire to fill that gap in their knowledge.
Here's the challenge...
What is the most recent play or musical you have read or listened to?
"Flatfoot" by David Williamson, premiered 10 June 2004
"The Frogs" by Aristophanes/Sondheim, the new extended version, premiered 22 July 2004.
Walter PlingeWed, 30 Mar 2005, 12:43 pm
Re: Why is there so much drivel in community theatre?
I agree in general terms with both the original proposition, and with the replies which point out that many community theatre groups would close within one or two shows if they didn't draw audiences.
However, to temper the original post with a little reality, I checked this site's "What's On This Month" (March) page. And it shows a slightly different picture. There are several of Shakepeare's 'other' plays, an Arthur Miller, some strong Australian fare, plenty of American shows, and a few of the fluffy comedies and inane musicals that audiences are happy to pay for.
So maybe it's not quite the cultural wasteland that is being suggested. But yeah, let's see some more challenging stuff put out there, and hope the audiences roll up.
However, to temper the original post with a little reality, I checked this site's "What's On This Month" (March) page. And it shows a slightly different picture. There are several of Shakepeare's 'other' plays, an Arthur Miller, some strong Australian fare, plenty of American shows, and a few of the fluffy comedies and inane musicals that audiences are happy to pay for.
So maybe it's not quite the cultural wasteland that is being suggested. But yeah, let's see some more challenging stuff put out there, and hope the audiences roll up.
Walter PlingeWed, 30 Mar 2005, 01:35 pm
Re: Why is there so much drivel in community theatre?
It really comes down to Kent's throwaway sentence "So maybe it's not quite the cultural wasteland that is being suggested. But yeah, let's see some more challenging stuff put out there, and hope the audiences roll up."
Shows thrive on good publicity and fail on poor publicity so "hoping the audiences roll up" is what is fundamentally wrong with community or amateur theatre.
Lets face it, you have'nt seen too many dud shows over the years have you, either in amateur or professional theatre. Even shows such as Saturday Night Fever that miss the mark in some areas succeed due to strong promotion.
People need to know what is being offered so if you want to give them something different, or exciting or thought provoking, tell them about it and not on this web site as they don't use it, we the converted use it. get out onto more public web sites, school drama classes, local papers and sell your play.
The publishers know not to let several different productions exist in the same geographic area in the same time frame, so you need to use the ITA to help timetable your production calendars, programming several years ahead where necessary.
We all share similar resources or have access to it, but a few good publicists shine in shows such as Playlovers Grease which sold out most nights at The Regal.
Everyone in theatre affects the overall outcome of a production, well known actors make it easier to promote, but good promoters can turn unknown actors into well known actors.
Don
Shows thrive on good publicity and fail on poor publicity so "hoping the audiences roll up" is what is fundamentally wrong with community or amateur theatre.
Lets face it, you have'nt seen too many dud shows over the years have you, either in amateur or professional theatre. Even shows such as Saturday Night Fever that miss the mark in some areas succeed due to strong promotion.
People need to know what is being offered so if you want to give them something different, or exciting or thought provoking, tell them about it and not on this web site as they don't use it, we the converted use it. get out onto more public web sites, school drama classes, local papers and sell your play.
The publishers know not to let several different productions exist in the same geographic area in the same time frame, so you need to use the ITA to help timetable your production calendars, programming several years ahead where necessary.
We all share similar resources or have access to it, but a few good publicists shine in shows such as Playlovers Grease which sold out most nights at The Regal.
Everyone in theatre affects the overall outcome of a production, well known actors make it easier to promote, but good promoters can turn unknown actors into well known actors.
Don
Walter PlingeWed, 30 Mar 2005, 01:49 pm
Re: Why is there so much drivel in community theatre?
See KVETCH:
Artrage : The Bakery (Northbridge)
Steven Berkoff
First 3 weeks in MAY 2005
Artrage : The Bakery (Northbridge)
Steven Berkoff
First 3 weeks in MAY 2005
Melissa MerchantWed, 30 Mar 2005, 02:36 pm
Whoa There
"I would loove to run Merchant, but I would love it more if you came and did it for us..."
There will be no 'running' nor 'doing' of this Merchant, thank you very much :)
Melissa
There will be no 'running' nor 'doing' of this Merchant, thank you very much :)
Melissa
Walter PlingeWed, 30 Mar 2005, 03:07 pm
Re: Whoa There
What about "playing with" or "experimenting" ?
WordartWed, 30 Mar 2005, 03:13 pm
Re: Whoa There
oh, Melissa, oh.
Well of course I wouldnt like to run you, or experiment or explore any old Merchant off the streets without a known pedigree.
You would have to be of Venice of course. I wouldnt like to strain your qualities or even Lorenzo your Jessicas. ( Which does sound painful)
Thou puny dizzy-eyed malt-worm!
Well of course I wouldnt like to run you, or experiment or explore any old Merchant off the streets without a known pedigree.
You would have to be of Venice of course. I wouldnt like to strain your qualities or even Lorenzo your Jessicas. ( Which does sound painful)
Thou puny dizzy-eyed malt-worm!