Are we too cheap?

Setting ticket prices is a perennial problem for theatre companies. Community theatres in particular rely on return trade that they are reluctant to upset by bumping up ticket prices. Community theatres are keenly aware that affordability and value for money are significant factors in keeping an audience coming back for more.The last 12 months have seen some major community theatre companies recording annual losses in excess of a few thousand dollars. Is this due to mis-management, declining audiences, poor publicity or is it that our ticket prices are dimply too cheap?When did your company last put up it's ticket prices? How much was the rise? How did your audience respond? If you are using a shared venue, do you know how your prices compare with other groups using the same venue? What price rises has your company had to contend with in the last 12 months? Two years? Five years?I feel sure that many companies are suffering because they are attempting to absorb rising costs without putting up ticket prices. More insidious still, i know that many companies are finding that they are having to pay for facilities and services that were previously made freely available for community use. How long before your company is going to have to charge cast members $2 per night to cover the cost of your rehearsal space?I recently had the opportunity to look at the financial records of a community theatre company working in Perth in the 50-60's. The vast majority of their budgeted expenditure was on the staple items - props, costumes and set. How many companies now find they spend more on rehearsal space, performance rights, venue hire and paid publicity?Well-made plays well-acted on well-made sets with gorgeous costumes and intricate props were a trademark of community theatre until only a very few years ago. How many clubs now find they are running out of corners to cut? How often have we heard the phrase "minimalist set" used as a synonym for "we can't afford one"? How much of our audience has left us for the extravagence of towering barricades and crashing chandeliers?I earnestly believe that, if they are to survive, community theatre companies are going to have to charge substantially more for their tickets and look very seriously at opportunities for value adding, retargetting and repackaging their product. We'll need to start thinking about adding $5 to the ticket price and giving away programs, complimentary tea & coffee, free sherry and champagne and if you are doing all of these already then Tim Tams with the bikkies at interval. Better still, look closely at repackaging yourself as a "community" company and supplying home baked cakes and pikelets instead!*steps off soapbox*It must be someone else's turn :)CheersGrant

argle!i want a spell checker!;)> The last 12 months have seen some major community theatre companies> recording annual losses in excess of a few thousand dollars. Is this> due to mis-management, declining audiences, poor publicity or is it> that our ticket prices are dimply too cheap?> When did your company last put up it's ticket prices? How much> was the rise? How did your audience respond? If you are using a shared> venue, do you know how your prices compare with other groups using> the same venue? What price rises has your company had to contend with> in the last 12 months? Two years? Five years?> I feel sure that many companies are suffering because they are> attempting to absorb rising costs without putting up ticket prices.> More insidious still, i know that many companies are finding that> they are having to pay for facilities and services that were previously> made freely available for community use. How long before your company> is going to have to charge cast members $2 per night to cover the> cost of your rehearsal space?> I recently had the opportunity to look at the financial records> of a community theatre company working in Perth in the 50-60's. The> vast majority of their budgeted expenditure was on the staple items> - props, costumes and set. How many companies now find they spend> more on rehearsal space, performance rights, venue hire and paid publicity?>> Well-made plays well-acted on well-made sets with gorgeous costumes> and intricate props were a trademark of community theatre until only> a very few years ago. How many clubs now find they are running out> of corners to cut? How often have we heard the phrase "minimalist> set" used as a synonym for "we can't afford one"? How> much of our audience has left us for the extravagence of towering> barricades and crashing chandeliers?> I earnestly believe that, if they are to survive, community theatre> companies are going to have to charge substantially more for their> tickets and look very seriously at opportunities for value adding,> retargetting and repackaging their product. We'll need to start thinking> about adding $5 to the ticket price and giving away programs, complimentary> tea & coffee, free sherry and champagne and if you are doing all> of these already then Tim Tams with the bikkies at interval. Better> still, look closely at repackaging yourself as a "community"> company and supplying home baked cakes and pikelets instead!> *steps off soapbox*> It must be someone else's turn :)> Cheers> Grant

A quick check of Stage Whispers (shameless plug) reveals that NSW and Victorian Community theatres are averaging around the $16 mark for adult tickets (with the median price falling higher especially in NSW).Our prices are obviously lower. The problem is of course that no-one is game to be first to raise their prices- and the struggling clubs are particularly reluctant to do so.On the topic of free food, theatre goers may be interested to hear that wedding cake will be served an interval during Five Women Wearing The Same Dress (Shhhhhhh. Its supposed to be a surprise !!!)KimberleyFive Women Wearing The Same DressDon Russell PACMay 19-29Bookings 9493 4577.

> On the topic of free food, theatre goers may be interested to> hear that wedding cake will be served an interval during Five Women> Wearing The Same Dress (Shhhhhhh. Its supposed to be a surprise !!!)>> Kimberley> Five Women Wearing The Same Dress> Don Russell PAC> May 19-29> Bookings 9493 4577.Is this 1 big dress or 5 tiny, tiny women.?

Thanks for the info, Kimberley.> A quick check of Stage Whispers (shameless plug) reveals that> NSW and Victorian Community theatres are averaging around the $16> mark for adult tickets (with the median price falling higher especially> in NSW).And i certainly don't subscribe to any notion that shows in NSW and Vic are so much better that they are worth the extra money. In fact, i incline the other way.My experience of community theatre in NSW was that on average it was well below par compared with a lot of what we see in Perth. Was i visiting the wrong companies?I feel convinced (and i don't believe it's parochialism) that the quality of community theatre productions on average in Perth is well above what i've seen in Sydney - and i saw upwards of 20 shows in the 8 months i was living there.I'd lay a fair bit of the blame for this (i don't know that it's to our credit) at the feet of our severely depressed professional industry. Community theatre in Perth reaps the benefits of providing performance opportunities for would-be professionals who simply can't find employment in this city.> Our prices are obviously lower. The problem is of course that> no-one is game to be first to raise their prices- and the struggling> clubs are particularly reluctant to do so.i think clubs need to look hard at what attracts audiences to their shows in the first place. Is it the plays you do? Is it the venue? Is it quality? Or price?Personally i wouldn't be surprised if we find that the most significant factor is the elusive quality "community". The notion that the local theatre company is somehow more in touch with its audience, more friendly and approachable than the big pro's. The sense of participation, the excitement of seeing people you know perform. Clubs need to look at ways of leveraging that advantage, drawing attention to this asset. We need to identify what features and activities we undertake generate that sense of community and develop strategies for making this feeling of interdependence far more tangible for our audiences.Then (and maybe only then) audiences will readily pay higher prices because they can clearly see the extra benefits they gain from attending a community theatre production.> On the topic of free food, theatre goers may be interested to> hear that wedding cake will be served an interval during Five Women> Wearing The Same Dress (Shhhhhhh. Its supposed to be a surprise !!!)i'll be surrised if there's any left now!CheersGrant

I agree with your comments. our major cost of a production is the hire of the hall, performance rights and licences. we have recently put our concession price up - by 50cents!!, also our group prices, but are afraid to charge too much, not because we feel our performances or sets are inferior(because they certainly are NOT!!!), but we are aware that our audiences have to sit on hard chairs in a hall, as oppposed to a nice theatre, and this is what we have to consider. I am not too familiar with s of r venues, but the Limelight and Stirling Players at least have a 'theatre' venue, although I am sure their costs would be high.We do give away free sherry (the cheapest we can buy) and cheese and biscuits at interval. Bar sales usually cover the cost of the free sherry and the licence only, so we rarely make a killing there. We have thought of dispensing with the bar, but people do like it, so it is a good PR exercise.we are currently performing "Don't Misunderstand Me" - which I believe was recently performed by Melville Theatre. Last night tonight.> Setting ticket prices is a perennial problem for theatre companies.> Community theatres in particular rely on return trade that they are> reluctant to upset by bumping up ticket prices. Community theatres> are keenly aware that affordability and value for money are significant> factors in keeping an audience coming back for more.> The last 12 months have seen some major community theatre companies> recording annual losses in excess of a few thousand dollars. Is this> due to mis-management, declining audiences, poor publicity or is it> that our ticket prices are dimply too cheap?> When did your company last put up it's ticket prices? How much> was the rise? How did your audience respond? If you are using a shared> venue, do you know how your prices compare with other groups using> the same venue? What price rises has your company had to contend with> in the last 12 months? Two years? Five years?> I feel sure that many companies are suffering because they are> attempting to absorb rising costs without putting up ticket prices.> More insidious still, i know that many companies are finding that> they are having to pay for facilities and services that were previously> made freely available for community use. How long before your company> is going to have to charge cast members $2 per night to cover the> cost of your rehearsal space?> I recently had the opportunity to look at the financial records> of a community theatre company working in Perth in the 50-60's. The> vast majority of their budgeted expenditure was on the staple items> - props, costumes and set. How many companies now find they spend> more on rehearsal space, performance rights, venue hire and paid publicity?>> Well-made plays well-acted on well-made sets with gorgeous costumes> and intricate props were a trademark of community theatre until only> a very few years ago. How many clubs now find they are running out> of corners to cut? How often have we heard the phrase "minimalist> set" used as a synonym for "we can't afford one"? How> much of our audience has left us for the extravagence of towering> barricades and crashing chandeliers?> I earnestly believe that, if they are to survive, community theatre> companies are going to have to charge substantially more for their> tickets and look very seriously at opportunities for value adding,> retargetting and repackaging their product. We'll need to start thinking> about adding $5 to the ticket price and giving away programs, complimentary> tea & coffee, free sherry and champagne and if you are doing all> of these already then Tim Tams with the bikkies at interval. Better> still, look closely at repackaging yourself as a "community"> company and supplying home baked cakes and pikelets instead!> *steps off soapbox*> It must be someone else's turn :)> Cheers> Grant

Hi GrantIt might be just me, but every time WE are mentioned, it is only applied to Perth. I was reading in "have a go" yesterday, even though 2 country groups were advertised - the pre-amble did not to state STATE, only state Perth. I'm sure this is only because they live in the city and Perth means State, the same as when ever anything is said on the News from Sydney or melbourne this is applied as being Australia, only when news happens in another state or city are they mentioned - I get rather confused and unsure, if what is said applies to us or them. It' only human after all and I'm sure it is not intentional!Sorry to mention anything - my bike gets a puncture every now and then.What I want to say is, I agree the east do sell tickets from between $12 to $18They are not better or any worse, except there is a strong barrier between 'Pro & Am' for the reasons you stated, they have more pro theatre.There are lots of reasons why punters don't turn out, which we tend to forget when we review the demographics of attendance and accounting of how much we have or have not got.A number of country clubs, who are lucky because of location, utallise their PAC Venues at least once a year and put a Musical on. This is a way of boosting the bank from $10 000 to $20 000 per 3 to 5 show seasons by using these venues (upto 800 seat). Sure it costs a lot to mount a show, $10 000 to $20 000, but when they can gross upto $55K - why not.Most patrons won't bitch if you charge more, within reason, as it depends upon how it is advertised, pitched and their expectations aren't destroyed. This is like buying a coffee from a vending machine that tastes fowl - you aviod buying another for sometime, even if it's at a different location. Sure you will always have protests - no matter what, it may effect a season - but it is going to happen one day or you don't exist."book the space - they will come"JMc

May I offer what I hope are salient points to this issue?> Community theatres are keenly aware that affordability and value for money> are significant factors in keeping an audience coming back for more.Community theatres are certainly aware that cheap tickets should equal bums on seats, but I'll return to VFM in a moment.> The last 12 months have seen some major community theatre companies> recording annual losses in excess of a few thousand dollars. Is this> due to mis-management, declining audiences, poor publicity or is it> that our ticket prices are simply too cheap?I would put forward the answer "all of the above".1)In my recent experience with the theatre group I have worked with (no names as I don't claim to officially represent them) huge financial risks have been taken which have left this particular group in a most uncomfortable fiscal position. This isn't mis-management, but simple risk-taking not panning out as hoped.2)Audiences for the group I refer to have not exactly been blooming, and this has much to do with the venue, not so much the repertoire or ticketprice.3)Publicity for any club is always going to be regarded as "not good enough", as no group that I know of can afford to pay for "good publicity"- TV, radio coverage, LARGE ads in the major press. A major publicity breakthrough for most clubs is seen as a photo in the local rag (with accompanying spiel), and a miniscule mention in the "What's on" section of the West.4)Simply regarding one's ticket prices as too cheap is not the total answer. Cast a fresh eye over the standard of your shows.> Well-made plays well-acted on well-made sets with gorgeous costumes> and intricate props were a trademark of community theatre until only> a very few years ago.True. Some clubs have now opted for the almost-avant-garde (brave souls, you know who you are!) or the serious "Return of the Son of the Phantom's Sound of the Boyfriend's Salad Days" bums-on-seats approach.> How many clubs now find they are running out of corners to cut? How often >have we heard the phrase "minimalist set" used as a synonym for "we can't >afford one"?Great gag- What's "neo-realism"?. Answer- No Money.Cost of building materials will always be on the rise, and so will the cost of the rights to perform the damn show- particularly musicals. The group that I've adopted as "mine" has eschewed the tested and tried option of putting on yet another "Boyfriend" or yet another "Sound of Music"- maybe to their ruin. Very few of the clubs in Perth can afford the performance rights to the Big New Broadway Smash- and virtually no club can afford the production costs to stage it well.> How much of our audience has left us for the extravagence of towering> barricades and crashing chandeliers?Well, look at the mindless droves flocking to see Les Mis- AGAIN!! What community theatre group can afford the financial or reputational cost of attempting a show with musical cues for the onstage hydraulic lifts, without appearing to be a sad, pathetic group of try-hards?> I earnestly believe that, if they are to survive, community theatre> companies are going to have to charge substantially more for their> tickets and look very seriously at opportunities for value adding,> retargetting and repackaging their product.Agreed.>We'll need to start thinking about adding $5 to the ticket price and giving > >away programs, complimentary tea & coffee, free sherry and champagne and if >you are doing all of these already then Tim Tams with the bikkies at interval. >Better still, look closely at repackaging yourself as a "community" company >and supplying home baked cakes and pikelets instead!Unagreed. This will only enhance the "Hey, Ma Kettle! Let's do a musical right here in the barn! Call Mavis at the CWA to organise the raffle" cringe factor that I believe hampers anything with the dreaded "C" word in front of it ("community", that is). Don't forget, you're not just competing with the telly and the VCR now, you've got to fight Nintendo and the Net now.By all means, arc up the ticket prices in order to appear flash, just make sure you can back it up by actually being flash, or you'll drive what precious little audience you have away for good.

The dreaded COMMUNITY in community theatre.One of the points that Eliot brought up led to to a small "Eureka" moment.Eliot disagreed with Grant's statement> I earnestly believe that, if they are to survive, community theatre> companies are going to have to charge substantially more for their> tickets and look very seriously at opportunities for value adding,> retargetting and repackaging their product. We'll need to start thinking> about adding $5 to the ticket price and giving away programs, complimentary> tea & coffee, free sherry and champagne and if you are doing all> of these already then Tim Tams with the bikkies at interval. Better> still, look closely at repackaging yourself as a "community"> company and supplying home baked cakes and pikelets instead!saying>This will only enhance the "Hey, Ma Kettle! Let's do a musical right here in the >barn! Call Mavis at the CWA to organise the raffle" cringe factor that I believe >hampers anything with the dreaded "C" word in front of it ("community", that is).I suddenly realised that the clubs who are NOT struggling ie Those in the "Oh ! WE book out before we open." brigade TEND to be the ones that have ladies who look like your Mum (or Grandmum) doing front of house and the free bikkies and the cushions on the seats.SO perhaps we should be spending LESS money on the set and PAYING our mothers and nice ladies next door to come down to the theatre (with plate of home made scones in hand) to work front of house.Kimberley(who is getting off the computer so that she can fly her Nana over to do foh for FIVE WOMEN WEARING THE SAME DRESS - Opens May 19 Bookings 9493 4577)

> The dreaded COMMUNITY in community theatre.> One of the points that Eliot brought up led to to a small "Eureka"> moment.Steady now, you'll spill the water! :)> I suddenly realised that the clubs who are NOT struggling ie> Those in the "Oh ! WE book out before we open." brigade> TEND to be the ones that have ladies who look like your Mum (or Grandmum)> doing front of house and the free bikkies and the cushions on the> seats.And more power to them, too. They also tend to be the clubs lavishing their audiences with the familiar. No, this ain't a criticism, but it ain't a coincidence either...> SO perhaps we should be spending LESS money on the set and PAYING> our mothers and nice ladies next door to come down to the theatre> (with plate of home made scones in hand) to work front of house.Sure, pay the FOH- you can answer to the unpaid actors then (good luck!). And sure, spend less money on the set... if you can. I personally detest sets made of cardboard and gaffa.Eliot

You can afford gaffa ????????KimberleyWho did have her tongue in her cheek

hehehe> Unagreed. This will only enhance the "Hey, Ma Kettle! Let's> do a musical right here in the barn! Call Mavis at the CWA to organise> the raffle" cringe factor that I believe hampers anything with> the dreaded "C" word in front of it ("community",> that is).point taken, to a degreein a later past i hope i explained myself a little better..."i think clubs need to look hard at what attracts audiences to their shows in the first place. Is it the plays you do? Is it the venue? Is it quality? Or price?Personally i wouldn't be surprised if we find that the most significant factor is the elusive quality "community". The notion that the local theatre company is somehow more in touch with its audience, more friendly and approachable than the big pro's. The sense of participation, the excitement of seeing people you know perform. Clubs need to look at ways of leveraging that advantage, drawing attention to this asset. We need to identify what features and activities we undertake generate that sense of community and develop strategies for making this feeling of interdependence far more tangible for our audiences."Ok, so it's one thing to identify what sets community theatre apart from professional theatre and quite another to separate what might be attracting an audience from what are decided turn-offs. But we're kidding ourselves if we think the soul factor in attracting audience is letting them know what great productions of good plays we do.> By all means, arc up the ticket prices in order to appear flash,> just make sure you can back it up by actually being flash, or you'll> drive what precious little audience you have away for good.My argument works the other way. I believe that community theatre's shaky reputation for quality is declining because we aren't charging enough to maintain high standards. It's chicken and egg.CheersGrant

> ...> the dreaded "C" word in front of it ("community",> that is). ...Well, it appears that Community when followed by Theatre has developedthe same stigma has Amateur has for almost anything.In my (rather limited I'm sure) experience, the public have generallyplaced Community Theatre and Amateur Theatre into the same thing. They'reabsolutley right in this judgement for sure, but wasn't the name changean attempt to cast new light on small Theatrical productions?Why did those making the desicion first decide to isolate our Theatreby usung a term that basically implies smallness?Before I go too far and start bagging the work thing, the very termCommunity has always made me think of small groups or very local.A Community Fair is a small thing usually done by schools or clubs.The Community News is a small and very localised publication.So the name of Amateur theatre groups (which sort of implies small)was changed to something which was more obvious!I realise this is in complete opposition to Grant's opinion ofCommunity and while he has gone for a nicer interpretation of theword, those particular elements are not those which most peoplefocus on. People tend to find the negative all to easily. Besides,community is not small and localised. I know of many people (myselfincluded) who will very happily travel from one end of Perth to theother to either see or be in a show. For this reason, CommunityTheatre is not localised and not really a group as such.I spent a very short time in London just recently but I did noticethat there is no stigma associated with small theatre groups. Theyalso do not disassociate themselves from professional theatre inany way. Theatre is simply theatre. Can we and should we completelydrop the adjective term for unpaid theatre? Why should we enforcethis division between us and them. Aren't we all here for the samereason, to enjoy performing, to feel the thrill of manipulating andaudiences emotions and getting the clap at the end? To feel thatsense of achievement?Get away from small, get away from groups, just simply be theatre.We are Theatre, we are Performers and we love our work!Jeff WatkinsGee, that soap-box feels reall good under-foot.

> what we need is a word that defines us actors with full time> day jobs who act for a hobby rather than a living but are no less> qualified to entertain the public for a reasonable price.> Kristine "public servant by day" Lockwood>Great idea! - I think everyone has been trying for years!There are plenty of words that pidgeon hole us - but I doubt we can be defined?The only time we were, was by British legislation;- that we are to be regarded as "rogues and vagabonds" and should be treated as such.We are own enemies in the same 'regarding'.So why try and define it - be it and what we are?We can only become what the punter's or we perceive us to be.Give the last rites to the words Amateur and Professional - have a "wake".80% attitude and the balance made up of experience and aptitude."but thats another subject"Does 'ACTOR' include everyone in theatre or just the lowly majority???Joe McCabe

well how many times when you have said "there is this great show on" has the person said "wow who is the stage manager, and who is crewing" oh no all they want to know is who is in it as in who is going to appear on stage, they dont even care half the time who is directing just as long as the people they will be watching all night have a good enough reputation for them to think about spending their hard earned cash, getting off their bums and going to a theatre, and get entertained.but an all encompassing term for those what do theatre for fun not money I guess is a more appropriate cause.Kristine "not 2 cheap" Lockwood>> Great idea! - I think everyone has been trying for years!> There are plenty of words that pidgeon hole us - but I doubt> we can be defined?> The only time we were, was by British legislation;- that we are> to be regarded as "rogues and vagabonds" and should be treated> as such.> We are own enemies in the same 'regarding'.> So why try and define it - be it and what we are?> We can only become what the punter's or we perceive us to be.>> Give the last rites to the words Amateur and Professional - have> a "wake".> 80% attitude and the balance made up of experience and aptitude.>> "but thats another subject"> Does 'ACTOR' include everyone in theatre or just the lowly majority???>> Joe McCabe

> also do not disassociate themselves from professional theatre> in> any way. Theatre is simply theatre. Can we and should we completely>> drop the adjective term for unpaid theatre? Why should we enforce>> this division between us and them. Aren't we all here for the> sameFinally someone has brought some sense of what we are about back to theatre.The only difference between an amateur and professional is A DOLLAR nothing else.You dont see them advertising on the marquee"we are not amateurs" and that they are a " Professional" Theatre.Every time I suggest that maybe we should do it this way or that, the cry goes up "but that's alright for professionals" "we are just amatuers" - this is total crap, but being only one voice, what can you do - let them get on with it or your sent to 'Coventry'.I must try that blue rinse - it seems to absorb in to the brain somehow!JW - you have scored a BULLS-EYE.Joe McCabe

what we need is a word that defines us actors with full time day jobs who act for a hobby rather than a living but are no less qualified to entertain the public for a reasonable price.Kristine "public servant by day" Lockwood>> Finally someone has brought some sense of what we are about> back to theatre.> The only difference between an amateur and professional is A> DOLLAR nothing else.> You dont see them advertising on the marquee> "we are not amateurs" and that they are a " Professional"> Theatre.> Every time I suggest that maybe we should do it this way or that,> the cry goes up "but that's alright for professionals" "we> are just amatuers" - this is total crap, but being only one voice,> what can you do - let them get on with it or your sent to 'Coventry'.>> I must try that blue rinse - it seems to absorb in to the brain> somehow!> JW - you have scored a BULLS-EYE.> Joe McCabe>

> Kristine "not 2 cheap" Lockwood>Thanks for having a go at fixing my buckled wheel!However, my piont was if we can't define ourselves - what chance????I agree JW that if you do it for money, love and/or what ever it's a state of mind. But lets not let these mind sets shoot our own foot off.Once again it was not ment as a 'cheap' one!!!Joe "costly too" McCabe

look my pleasure, I think the problem is that there a many different reasons why we the are involved in theatre, and we have different priorities, such as full time jobs, families, etc and there are those who would be paid to act if only they could get the roles.So when i say we do it for the "fun" I really mean that is our "reward", as in we are involved in the theatre because we enjoy it not because it pays the bills and we also like to keep our skills up or even learn some new ones.Getting this through to the genetal public is a little difficult, in a perfect world we would be recognised for our contrubution to theatre not wether or not we get paid.Kristine "if only I knew what I was talking about" Lockwood>> Thanks for having a go at fixing my buckled wheel!> However, my piont was if we can't define ourselves - what chance????>> I agree JW that if you do it for money, love and/or what ever> it's a state of mind. But lets not let these mind sets shoot our own> foot off.> Once again it was not ment as a 'cheap' one!!!> Joe "costly too" McCabe

> Kristine "if only I knew what I was talking about"> LockwoodI think I must be one of the founding members of that club "if only I knew what I was talking about - incorporated"I beleive I lost the main piont at about the middle somewhere and went off on tangents as they became posted.I beleive in that we sell ourselves short.I beleive there are those who there guts to be the best they can be.I beleive in them all and theatre.But for me to accept and beleive in me - the question is still 'on the table' and only i can pick it up, when and if I'm ready?.But untill then I will keep talking and try and find thew answer.RegardsJoe 'round a about' McCabe

> That is my hope. I'll make it one of my goals. I'll chase as> if it> was one of my dreams.> Jeff.> "I have my running shoes on."Whatch out for windmills - on your quest!another true 'Man of La Mancha'!May "TOA" enhance your endeavours!Joe McCabe

> Getting this through to the genetal public is a little difficult,> in a perfect world we would be recognised for our contrubution to> theatre not wether or not we get paid.A perfect world my be impossible and I'm sure there will always bea stigma to contend with, but every wave starts with a ripple.I'm glad to see that I have at least planted the seeds of concernin some people and help release hidden emotions in others. Thosethat feel strongly about this will tell others and may convinceothers of its merit. These will tell others and so on down the line.That is my hope. I'll make it one of my goals. I'll chase as if itwas one of my dreams.Jeff."I have my running shoes on."