off-stage right

Pasadena Playhouse Closes – has the domino effect begun? Is this the first of many?

 

The Los Angeles Times reported some sad news yesterday, but not the least bit surprising.  News like this was coming for a while now it was just a question of which major theatre would be the first. 

 

Pasadena Playhouse is closing (temporarily?) and considering filing bankruptcy.  Unfortunately I think the shuttering of one the oldest theatres in the country – a theatre that has already had one recent turn-around – is a turning point to seeing many more closures and bankruptcies in headlines.  Sorry to be such a “Debbie Downer” but very little I am seeing in the industry leaves much hope for the nonprofit theatre community outside of a few large and several very small institutions.  Since I am a silver-ling kind of gal, at least Pasadena Playhouse is providing (thus far) a map for how to close your theatre.

 

I had the pleasure of spending some time chatting with its artistic director Sheldon Epps this past summer over lunch, so I am not surprised that the situation is being handled with respect and responsibility.  This is NOT a situation like North Shore Music Theatre which was a disaster waiting to happen and whose board and leadership’s actions were a disgrace to the entire theatre industry.   The news of big trouble came out a few months ago, and the company was pretty transparent about it situation.

 

This is a theatre that on paper looks like many if not most of the theatres in this country.  THIS IS WHY I AM WORRIED. 

 

The L.A. Times touches on some specifics (towards the end of this post), but the key issues are the same old ones.  Pasadena had a structural deficit in their annual budget because expenses keep going up and the theatre had a fixed capacity for income (Baumol’s cost problem – for more check out this post of Funding Models).  They had a logical plan for upgrading their facility and expanding – it wasn’t grandiose; it seemed smart; and had several components that could be responsibly managed.  But plans (even good ones) cost money and although “Bricks and Mortar Funds” are “easier” to raise, nothing about fundraising is easy in the arts.   The company has a strong relationship with its community and is recognized for the work they do, but this doesn’t translate into increased government support.  Most importantly Pasadena Playhouse had Epps at the helm, who appeared to actually be an Artistic Director in the truest definition of the job – I only say “appeared” because I didn’t really get to see him in action, but I did a lot of research before our lunch, and I do believe Epps possessed a tremendous love for his institution and I don’t recall speaking with anyone who had a better understanding of his community.  I also feel that he prioritized the institution over his own ego – a rare but true sign of leadership.

 

I fear many other theatres across the company are not making good or responsible decisions, are not respecting or caring for their communities, and are playing a dangerous game of running up debt, shifting liabilities, running through endowment and restricted funding for general operations.  What worries me most is that I fear there are a large amount of theatres that are thisclose to shuttering and they are pretending everything is “hunky-dory” to their community and in some cases to their boards (hmm…sounds a bit like what the banking industry did a few years ago that got the country into so much trouble).    When the news breaks that these theatres are closing, I don’t think their communities will care and I will be surprised if there is any major support to try and help them.

 

In contrast Pasadena does seem to be taking responsible steps and being honest and transparent about the situation which again I credit Epps’ leadership and the true responsibility that he feels to the community.

 

Pasadena is providing a great example of what to do by what it isn’t doing -  not dipping into restricted funds and (this is very important) not keeping unused subscription funds.  My only quibble is that there is not enough focus on the fundamental financial dilemma of the theatre (that the financial model we have been using for 50 years doesn’t work and really never did for long-term sustainability).  The below quotes are from the L.A. Times coverage:

 

The Pasadena Playhouse will close Feb. 7 after the final performance of its current show, "Camelot," as leaders of the 90-year-old landmark theater search for ways out of serious financial difficulties.
Among the options they are considering is a bankruptcy filing.

Executive director Stephen Eich said the playhouse is essentially out of cash and faces more than $500,000 in immediate bills, as well as payments on more than $1.5 million in bank loans and other debts that have dogged the nonprofit company since the mid-1990s. Thirty-seven employees learned at a staff meeting Thursday that they would be out of work.

Eich said that tapping into $6 million donated for a capital campaign to refurbish the playhouse was not an option. "It just would not be any way for us to solve the problems of the place," he said….

The playhouse’s first step, Eich said, will be hiring a lawyer to advise officials on such matters as a possible bankruptcy filing. Eich said he isn’t sure if the playhouse’s 8,000 subscribers will be reimbursed.

The article says they are working on a plan to re-open and goes on to explore some thoughts, but no new ideas yet.  I hope they will find some that create long term sustainability, something that really changes how they function, instead of a band-aid, and becomes an example for others rather focusing on a fingers-crossed dream of an angel that funds the status quo or local government funding which would be unstable and not build a foundation for changing the operating model.  It would be great to be able to write a post in the future that the Pasadena Playhouse provided not only an example of how to close but also a map in how to rise from the ashes.   But the below obviously won’t be it:

 

The playhouse had pinned its hopes on finding someone who would give $5 million to have the 684-seat main stage named in his or her honor, Eich said, but that hasn’t materialized.

Epps said he hasn’t given up hope of a transforming donation. When the Museum of Contemporary Art in downtown Los Angeles was in a comparable situation, philanthropist Eli Broad stepped in with a $30-million pledge.

"Some irons have been in the fire and are now, but they take a lot of time and cultivation," Epps said. "We know that despite the economy, those kinds of gifts are made to arts organizations."

 

One question, Epps said, is whether the city of Pasadena will be willing to offer financial help. The city currently provides a $1-a-year sublease on the performance spaces of the larger, privately owned theater building.

 

How did the situation reach this point?  And what was that expansion plan?  Is this one of those theatres that built a mausoleum that it couldn’t afford to run – the answer is no.  Were they planning some crazy expansion – not really.  They had serious renovation needs and a more or less reasonable plan for a mid-size theatre.  And seemed to be taking things in responsible stages.

 

It did have an issue that is not uncommon – old debt from the past (read: past mistakes) and no way of fixing the financial model that is the crumbling foundation of the nonprofit theatre environment.

 

The Pasadena Playhouse’s financial problems surfaced in late September, when it closed a show a week early to save on expenses: "The Night of the Child," a drama by Charles Randolph-Wright that starred JoBeth Williams.

Eich said at the time that four employees had been laid off, and that the playhouse needed donations of more than $1 million by year’s end to cover up to $600,000 in bills and create a cushion as it headed into the 2010 season.

Before the downturn, the playhouse had visions of bigger things. In 2007 it announced that architect Frank Gehry was donating his services to design a new, 300- to 400-seat theater to augment the main stage, a 684-seat house in the Spanish Colonial Revival building that is a California historical landmark.

Before tackling that larger project, Gehry was going to redo the existing second stage, the 86-seat Carrie Hamilton Theatre….

Although the playhouse had announced fundraising successes in recent years, including a $3-million gift from an anonymous donor in October 2008, Epps said last fall that some of those were pledges to be paid over a long term.

The playhouse’s debt dates to before the present organization existed. The city bought the building in 1975 and later transferred it to real estate developer David Houk. He relaunched the theater in 1986 as a place to develop shows that would tour other California venues under the banner of Houk’s Theatre Corp. of America. The plan made some headway, but in 1994 it crumbled during a recessionary economy, and in 1995 Houk’s business went bankrupt.

The nonprofit corporation that now runs the theater had to shoulder about $2.5 million in leftover debt.

 

Hopefully Epps will pull off a theatre miracle, but I sort of hope he doesn’t.  If Pasadena re-opens (and I hope it does), I would like Epps, his staff and his board to make a visionary shift in how the company functions at all levels that takes steps towards redefining sustainable and acceptable practices in the field.  I think we have all relied on miracles too often and too much.  Epps has already lead the company through one turnaround but sadly it didn’t last.  Maybe he can do it again, make it stick and in doing so help the entire theatre community.

Tyne, Time, and Friends

 

I love those moments in life when you stop briefly, look around and say “wow, this is my life.” 

 

For me there are more or less two themes to these moments – New York and theatre. I can be walking down a street and look up at the New York skyline and be overcome with amazement that I am in the City and my life has been centered here for more than a decade or  I can be in a rehearsal hall and be struck with awe that I get to work in the theatre. 

 

And then there are moments like last night that the two themes merge and the experience is otherworldly. 

 

New York among its many offerings has an endless supply of entertainment offerings – one such treasure is Feinstein’s at the Loew’s Regency.  Home of some of the greatest cabaret performances of the last 10 years. It is here that you can experience some of the most magical performances to be found.  Legend after legend graces the stage on a regular basis (as I learned last night 7 days a week).

 

I have always had great admiration for any one who can carry a tune – I can’t.  Not even a little.  I mean physically cannot even to save my life.  I have a doctors note to prove it.  So it isn’t surprising that my jaw drops for those that can.

 

But cabaret is a giant leap from being able to sing and is even a step up from say a Broadway performance.  It is up close and personal.  It requires a performer to put themselves out there without the guise of a character, without the protection of fellow cast members, and none of the security provided by a proscenium.

 

In a short time Feinstein’s has become legendary in its own right, so last night when I settled into my seat I was in awe that I was in New York and in this magical venue.  I looked around our table of 12 and was giddy to be surrounded by friends of the theatre.  I was actually electrified that I was in their company and that we were there to see none other than Tyne Daly who we had all worked with early last fall.  If you follow my Twitter and Facebook updates you know the friends I was lucky enough to be with (cheap ploy to get you to go follow my Tweets).  

 

First I have to say Tyne is an amazing actor and an absolutely wonderful person.  She is generous, kind, intelligent and outright fabulous to work with.  I am not a music critic and my readers know I don’t really write reviews. 

 

But I want folks to know how I felt in that room, surrounded by friends, listening to Tyne sing great songs (and looking beautiful) from the likes of Johnny Mercer, Al Jolson, Bessie Smith, and Jerry Herman.

 

I felt light, carefree, inspired.  The way you are supposed to feel when you experience a performance so deeply that it reaches inside of you and frees you from the confines of the real world into a space that only contains you and the performance you are bearing witness too.

 

As Tyne tossed witty comment after witty comment out to us and served up song after song, I pondered what she was sharing with us – to enjoy life, to let our imaginations soar, and to cherish the time we have along with each memory, moment and person in our lives.  While she sang, nothing could have removed the smile on my face or dampened the joy in my heart.

 

In other words the night was perfect and what a great performance delivers.

 

Go experience it yourself.

Cheers to women writing about theatre!

 

I certainly have written a lot about the under-representation women in theatre theatre, and I think great strides are being made to work on the problem.  Here is an example of folks making things better!

 

At the end of the year the Guardian’s Theatre Blog posted a top blogs list.  It got a bit of a backlash for not being that diverse, not surprising (the backlash) since a thrilling conversation on diversity was the hottest topic in the theatre blogosphere!  What was surprising was the list being a bit lacking since the Guardian’s Theatre Blog is written by Lyn Gardner (YES, A WOMAN).

 

One response from Drama, Daily created a great list of the women blogging about theatre.   I was honored to be included in the list which the wonderful Issac Butler over at Parabasis quickly wrote a post (does anyone write quicker than Issac – seriously?) and linked to Drama, Daily with an encouraging call to read the work of those on the list.  These two posts have become a great asset in locating a new bloggers for me to follow.

 

And today, I was quite surprised and again honored to find a shout out from the Guardian’s Theatre Blog!  First, cheers to Lyn for re-addressing the issue.   Second, a thanks to Lyn for drawing specific attention to Off-Stage Right.

 

From the Guardian’s Theatre Blog:

Noises Off has, in the past, spoken on several occasions about the under-representation of women in the theatre industry. It’s an important issue and one that bears repeated examination – particularly when the person guilty of under-representing people is, erm, me.

 

In response to my recent list of 2009’s best theatre bloggers, George Hunka (one of those who had been honourably mentioned) made the point that: "Looking at the Top 5 list, I see five white males – no women or bloggers-of-color, nobody over the age of 35 or so … talk about your lack of diversity!" Now, while it is true that I had no idea about the age or skin colour of some of the writers I featured (like Matt Freeman or August Schulenburg), I have to put my hands up to this and admit: it’s a fair cop.

 

Thankfully, however, there’s always someone out there to set you right. Isaac Butler (yes, one of those white men under 35) is drawing attention to this post on the Drama, Daily blog, which has responded to my list with a list of dozens of female theatre bloggers. It includes some familiar names like Alison Croggon and Chloe Veltman but also a host of other great writers. I particularly liked this post from Jodi Schoenbrun Carter on the Off Stage Right blog, where she discusses the idea of music mash-ups and asks whether the same thing could be done in the theatre (Chekhov mixed with Adam Rapp anyone?). And there’s an interesting post from Monica Reida of the Fragments blog about the influential Cuban playwright María Irene Fornés. Links to many other women bloggers from places like Canada and Australia have been added in the comments below the original Drama, Daily post, so, as Isaac Butler puts it "Click through! Read them! Subscribe to the ones you like!"

 

Thanks to all for reading and PLEASE check out the lists.  There are a lot of great bloggers out there and a lot of them are female.  You can always check out my “What’s being talked about on the Blogroll” to follow the hot topics of the theatre blogosphere.

Theatre Mash-ups?

 

Earlier today I was listening to the GLEE soundtrack and got to the songs from the Mash-ups episode.  It got me thinking, most music mash-ups (the combining of two songs) end up being crap, but some end up giving a whole new meaning or perspective to a song.

 

So, would mash-ups in the theatre work? 

 

Not kidding…

 

Imagine some O’neil mixed with Miller or take a bigger leap a little Chekov mixed with Adam Rapp.  The combinations are thrilling and endless.  Of course random pairings could result in utter disaster, but as with any new endeavor there are a lot of mistakes before some strikes a chord of genius. 

 

Now many will say it is sacrilegious for me (who has always championed the playwright and the place of the playwright in the process) to suggest mutilating someone’s play with a mash-up but I think there are playwrights who could really run with this idea and do something amazing.  We have been allowing new translations and rewriting of great works by living writers – so we aren’t exactly far from the idea.

 

So uber-creative playwrights out there – feel free use this idea to create something innovative (but please don’t totally butcher the original work).  Let me know if you come up with something!

Theatre wishes for 2010

 

Just like the rest of the world I hope 2010 will bring – on a global scale – peace and prosperity to all.  I know that’s a tough one, but I am holding out for it.

 

For the theatre world, I wish that communities across the country would embrace the value of the arts, therefore providing arts education for every child; increased funding for artists and organizations, and that artists would remember and fulfill their responsibilities to their communities this of course would result in healthy audiences and future artists for the theatre for generations.  Another tough one that I think we can work towards.

 

Since those two might take a bit longer than a year, I thought I would make some super specific requests that might be a little easier to achieve.

 

 

1. Cromer directs a NEW play in New York. No one can deny that David Cromer is a master in his field.  His Our Town is by far the best show running in New York.  He takes the words of a playwright and crafts magic while being completely and utterly true to the work and characters.  If I was producing a revival of ANY American play, he would be the first person I would call which is why I am itching to see what he would do with a new play. 

 

2. Our Town runs for another year in New York.  If Norman Conquests couldn’t stay then Our Town must (in a perfect world we would have both).  I wish this play were mandatory attendance for, well, everybody.  I really think the world would be a better place and people would be kinder if everyone had to hear Wilder’s message through the vision of David Cromer.  (Hey, look there, I found the first step towards achieving world peace – perhaps someone from the U.N. could get on arranging those tickets and we will need someone from London to send over those handy translators things for the Barrow Street Theatre to install).  You think I am joking, but really I am not.

 

3. Please let someone announce plans/dates for Dolly Parton’s musical based on her life story.  Not a big philosophical, industry-changing request here, I just think it will be brilliant.

 

4. Let above said musical star Kristin Chenoweth.  Come on, can you imagine anyone else?

 

5. Lets make a few stars not just bring them in.  I am not as frustrated as some about the “celebrity invasion” on and off-Broadway. As each show seems to have more and more names filling the lead and supporting roles I do have a concern.  I hope we will still see those wonderful star-making roles that make a “unknown” (read veteran of the stage who is not a household name") into an “over-night” sensation (read been working in theatres all over the country for YEARS). I personally was delighted when the rest of the country discovered the talents of Sarah Ramirez or that magical moment Kristin Chenoweth took the Tony stage and became a world-wide sensation. We theatre folks knew Jesse Tyler Ferguson before Spelling Bee but wasn’t it fun to share his brilliant humor with others – watch Modern Family.  I can’t even begin to count how many times I have seen Golden Globe nominee Michael Stuhlbarg on the stage.  TV and Film (especially TV) are filled with actors who finally were noticed by Hollywood but had been treading the boards for years.  I hope the New York community doesn’t forget to grow a few new stars while filling their shows with household names.  After all in 10 years we need them to return to the stage as celebrities!

 

6.  May Glee maintain it’s quality and not jump the shark during season two.  This show is doing more to promote the arts than anything else has in my lifetime.  Here’s hoping for a long and creative run.

 

7.  Transparency and honesty about the toll of the economy on nonprofit theatre.  Am I the only one waiting for the proverbial other shoe to fall regarding the true fate of the nonprofit field.  It seems to me with the exception of a handful of theatres, we keep hearing everyone saying “it’s been a rough year, but we’re fine.”  Before the economy tanked many if not most theatres were running an annual deficit – that famous “structural deficit” – and everybody is just doing fine?  There sure are a lot of whispering conversations and rumors that it simply isn’t true.  There are theatres that have laid off over half their staff and not a peep from them that they are in trouble.  I don’t want these theatres to go away, but I fear that by the time they speak up it will be too late.  The entire industry knows that the economic model of nonprofit theatre is crap and it never really worked in a broad scale, so let’s have a super honest conversation about it PUBLICALLY.  Funders are going to get really sick of the “if we don’t raise X amount in 3 months we will have to close campaigns.”  In fact they already are.  If your company was poorly run over the last few years – admit it and solve it.  If your company is in debt up to its eyeballs – admit it and come up with a plan to get out of it.  If you have a looming deficit – come up with a plan to eliminiate it in the next three years (including the accumulated debt).  Are we worried we will lose audiences?   We won’t if our work is still good.  Are we worried we will lose funders.  We are more likely to lose them if we aren’t transparent.   I fear with all this “times are bad, but put on a happy face” stuff we are digging a hole we won’t be able to get out of…  The reality is that some theatres are going to close or scale back significantly – but it will be bad for the whole industry and those left standing it is one misleading, cover-up after another.  For the sake of the whole industry it is time for those in trouble to stand up and let the world know, then do something about or exit stage left.

 

8.  The theatre industry needs to do something, anything to get the playwright back from television.  I don’t think that money is the only reason we have lost so many great playwrights to television – although it is a huge reason.  I think control, respect and authority are key factors in addition to money.  Television is the last medium for the writer is in charge (as executive producers).  Theatre seems to have a growing trend stolen from the film world of an auteur/director, except theatre isn’t about editing so the whole concept is more or less flawed.  I think this is a result of the overwrought and deeply flawed development process of readings and workshops and is killing the playwright/director partnership.  We have spent so much time not producing work under the guise of improving it that we have stripped the playwright of much of the control, respect and authority that they used to have in theatre and couldn’t find elsewhere.  It was their story and their stage.  And as it is disappearing in many ways in the theatre it is readily available in television.  But in the current scheme, a director is hired reading after reading, possibly followed by a workshop, rarely followed by a production to WORK on the play.  Well, naturally, if the director wants to be hired again he or she sure better fix something in the play, because if there weren’t big problems to fix why would the play still be in the development process, right? Add in a producer or nonprofit artistic staff who know it is unlikely they will produced the play so they better give enough notes to let the playwright know they care, right?  All along the way, chipping away at the place of the playwright in the process.

 

9. If you have to adapt – than let’s have some more musicals and plays derived from books rather than movies and song catalogues.  There are simply so many great books out there that should be adapted to the stage, look how well that little show WICKED did, if you need inspiration.

 

10.  Big one – let’s put all of our minds together and find a way to fund new ORIGINAL plays and to really develop them.  I know I said these would all be specific, but I had to throw a super tough one in there at the end.

 

 

On a personal note, here are some of my resolutions:

 

I will regularly make more more time to read about what is happening in the industry.  I think there will be a seismic shift in how we produce theatre in this country in the next few years, and I never seem to have enough time to study the trends and read all of the studies I want to, so I am going to make the time.

 

Of course relating to the above, I will write more blog posts.  In the last few months, I have been a slacker (I KNOW).  I will be writing more about the disappearing (eviscerated) line between nonprofit and for profit theatre; the attempts that some nonprofit theatres are making in changing their financial models; how we can remain relevant; and what form that seismic shift above will take!  So here’s to an exciting 2010!

North Shore rises?

 

William Hanney seems to be on a mission to convert failed nonprofit producing theatre companies into working ventures.

 

He came to my attention during the on-going negotiations in Stratford, CT regarding the old Shakespeare theatre building there.  I should note that is still a project in process and has run into some serious backlash from local officials.  Now it seems he is buying North Shore Music Theatre’s space that was foreclosed on. 

 

I have been following the North Shore mess because its demise is a case study in how not to respond to a crisis.  My first round of frustration was expressed in my post North Shore Music Theatre was disaster waiting to happen and the fall-out gives a bad name to theater everywhere.  I thought and still feel that someone should take responsibility.

 

According to the local paper’s (The Salem News) article:

 

Hanney owns Theatre by the Sea in Matunuck, R.I., as well as Entertainment Cinemas, a chain of 10 movie theaters in Massachusetts, Rhode Island, New Hampshire and Connecticut. He said he is confident he can return musical theater to the Dunham Road location by running a leaner operation than North Shore Music Theatre, which went out of business in June due to financial problems and was taken over by Citizens Bank.

 

The Boston Globe reports:

 

Hanney has made a habit of buying closed or distressed properties and quickly reviving them.

 

Those purchases include Theatre By the Sea, a summer-stock house in Matunuck, R.I.; Fresh Pond Cinema in Cambridge; and Falmouth Cinema Pub.

 

Like North Shore, Theatre By the Sea produces musicals, though on a far smaller scale and not year-round. Its upcoming season includes “A Chorus Line,’’ “Little Shop of Horrors,’’ and “Hello, Dolly!’’ There is also a restaurant on site….

 

He didn’t give positive reviews to the organization’s business structure.

 

“It was just so top-heavy,’’ he said. “It just had too many people. It was unnecessary. We do [theater] every single year at Theatre By the Sea. We get great reviews and we make money every single year. We run a very successful 200-seat restaurant, which also makes money.’’But Theatre By the Sea is a much smaller operation, with 500 seats to North Shore’s 1,500.

 

That doesn’t concern former artistic director Jon Kimbell, who has met with Hanney several times leading up to the sale.

 

I don’t know Hanney or Theatre by the Sea, so I can’t really comment on the likelihood of his success with North Shore.  Looking at Theatre by the Sea’s website I sure looks like generic “summer” theatre fare (and I mean this is that frothy musicals done not so great with a TV star from the seventies or eighties like the guy who played Carmine on Laverne and Shirley.  It seems like Hanney is lining himself up to recreate something along the old straw hat circuit that Jim Mackenzie successfully produced for years on the east coast, but Hanney seems to not have the stars that Mackenzie had instead it seems more often or not it is someone who has done a show or two in NYC and is billed as a New York actor.

 

My question is do we really need more theatres like this?  Are there really enough audiences over 60 to fill these theatres.  Sure most people may think there isn’t much harm in this type of producing and certainly there is a place for it, but too much of it simply dumbs down theatre and turns off future audiences.

7 things that the theatre industry should be thankful for this year

 

First and foremost, Happy Thanksgiving!

 

It’s difficult not to think of all of the things I have to be grateful for.  They far out weigh any of the things in my life that I find challenging.

 

But it got me thinking.  This has been a really challenging year for the theatre industry.  We are still facing an uphill battle as we go into the new year, but we have so much as an industry to be thankful for:

 

 

1.  Several nonprofits theatres are not only thriving but producing some of the best and most ambitious work out in years.  Take Hartford Stage and Signature Theatre’s ambitious undertaking of Horton Foote’s nine play The Orphans’ Home Cycle or the Guthrie’s Kushner Festival.  Chicago’s theatre scene is thriving.  Seattle’s scene seems to be undergoing a renaissance.  From coast to coast many theatres are refocusing on mission and on creating great art.  They are facing the financial challenges, re-engaging audiences, and finding a way to continue bringing theatre to audiences of every age group and ethnicity.

 

2.  Rocco leading the NEA is certainly something to celebrate.  His first interview stirred up some controversy, but since then his batting average has been near perfect.  Rocco Landesman is without question the most exciting thing to ever happen to the NEA.  His recent speech at the Grantmakers for the Arts Conference outlined his initial agenda and is well worth the read.  The Arts Work  blog is also a must read.

 

3.  The Obama administration in particular Michelle Obama has proven to have an interest and understanding of the arts.  For the first time in a long time we have a leader who can appreciate the value of the arts.

 

4.  Bloggers are sparking fabulous conversations about the arts.  With newspaper coverage dwindling the real discussion about the arts is happen in the blogosphere.  Independent bloggers like Leonard Jacobs at The Clyde Fitch Report, Isaac Butler at Parabasis are delving into key issues we are facing.  One could get a graduate degree by reading Ian David Moss’ Create Equity.  There are far too many other great folks out there to list (check out the blogroll) – which is why I started posting my favorite posts each week.  I get most of my news from Broadwaystars.com (you know you do too).

 

5. Social Networking sites like Facebook and Twitter are changing the way we reach our audiences.  Commercial and nonprofit theatre has been embracing this new form of communication.   The arts also have a real opportunity to lead the way in utilizing social networking platforms.  Twitter has had a huge impact on my day to day work.  Art is even being created via facebook (Fatebook) and Twitter (Next to Normal’s new song).

 

6.  No other TV show has ever had the potential impact that Glee has.  The starts of musical theatre are front and center and gaining more and more fame.  The show celebrates show tunes, performance, all of the positive effects of the arts.  It makes being in the arts cool!

 

7.  This one will probably generate a bit of disagreement but we have to be thankful for stars on Broadway and off-Broadway.  Hugh Jackman, Daniel Craig, Jude Law, James Gandolfini, Marcia Gay Harden, Hope Davis and Jeff Daniels not only broke box office records, but collectively they were responsible for keeping the straight play on Broadway this fall.  Lots of folks complain producers only wanting shows with stars, but if you look at the list of producers on these shows, you will find that they are the same producers who are on shows like The Norman Conquests and Mary Stuart.  If investors weren’t making money on star vehicles they wouldn’t be as likely to take a leap of faith on more risky propositions. 

You are what you eat so it goes to say that you are what you produce

So today I got a little angry hearing for the umpteenth time about some theatre complaining about not getting the audience they wanted to get.  Okay a little angry is an understatement.

 

Does it really need to be said AGAIN that the first place to look if you aren’t getting the audience you want is at the work you are producing?  Why do we keep blaming the audiences first?

 

This particular theatre was producing a very traditional season – a classic (and old musical) that from their production history and choice of director will undoubtedly be produced at a decent level but with absolutely no surprises; three “classic” plays again no innovation expected but I am sure they will be more or less solid productions and a play that was off-Broadway recently that will be done at 100s of theatres this year.  Sadly, dear readers you can’t guess which theatre I am talking about because this describes the season of many of the professional theatres in this country.

 

And for some reason this theatre is surprised that they are getting the average audience – upper middle class, white, and well-educated?

 

How in the world can they be surprised?  Year after year their season looks the same – just the titles change.  How can you grow your audience if you don’t grow your work? 

 

In the last month hot topics in the blogosphere have been getting younger audiences and diversity.  Lots of folks are saying exactly what I am saying in this post – so how come it isn’t getting through to the theatre leadership?  Of course there is a lot of work to be done about getting folks to experience the arts at an earlier age and tons of work to be done relating to audiences of different ethnicities and cultures – but before you can do any of that you have to start with the work itself.

 

Right now Glee is probably doing more to promote theatre than most of the theatres in the country at least musical theatre but here’s hoping Rachel and Finn give a go at the school’s production of an inspired take on Romeo and Juliet or better yet a student production of some fabulous new work – if they do maybe in one episode they can save theatre for us all! 

When messaging gets in the way of listening

Recently I witnessed a major CEO speaking at a relatively informal event.  This CEO had been making all the rounds trying to reposition a well-known brand.  While speaking with this small group, a compliment was paid to the CEO.  The knee-jerk response from the CEO was to blurt out the well practiced messaging that had been said over and over in the last month.

 

The problem was that the compliment that was paid was reflective of the actual brand not of the new planning or the marketing message.  And it ended up that that person who paid the compliment was insulted by the CEO’s response.  This resulted in a very uncomfortable situation.  I have been thinking about this a lot.  Certainly the CEO didn’t mean to insult the audience at hand?  So if it wasn’t deliberate was it simply that the CEO simply wasn’t really listening because the focus was on the message?

 

Now this got me thinking about messaging.  Messaging reached far beyond marketing at a nonprofit.  Our existence depends on clear consistent messaging – doesn’t it?  At nonprofits we spend a lot of time making sure everyone is on message.  There are a lot of folks who represent the organization, leadership, staff, board, and volunteers and it is vital that everyone sings from the same songbook as the saying goes.  A lot depends on our message to our communities.

 

But can all this messaging get in the way of listening? 

 

If our answers are too practiced, too canned, too automatic are we really paying attention to the people we are interacting with?  In an effort to get everyone on the same page have we lost the opportunity for dialogue? 

 

A central message is vital, but perhaps it is better to ask if the mission and core values are concise and clear enough that they “live” inside of each person and therefore you have time to focus on the conversation not on memorizing your message.

In case you hadn’t seen the full text – Rocco Landesman’s speech to Grantmakers in the Arts – WE KNOW ARTS WORK

 

Rocco’s address last month at the Grantmakers in the Arts conference got a lot of attention.  Here is the entire text.  Good read.

5 reasons why I love Twitter

I actually use Twitter a lot in my day to day life, mostly for work.  Whether I am tweeting about a show I am working on and therefore promoting, looking for topics to blog about or just reading tweets to take a break from a more trying task, I find it to be the most useful of the social networking platforms.  My name is Jodi, and I am a proud Twitter addict.  So why do I love Twitter so much?

 

1. It is a great way to keep up with the latest news about my industry – theatre and the arts.  Over the last year Twitter has become one of my top news sources for work (and often for other topics as well).  Of course daily digests like Tom Cott’s You’ve Cott Mail and Arts Journal are still a must and without question, I check Broadway Stars periodically throughout each day, but I find that Twitter delivers the top headlines from the major newspapers and all the blogs.  more often than not if I miss an interesting article or posting someone re-Tweets it and brings it to my attention.  When it comes to events – like Presidential addresses , awards shows, or Industry conferences – how you experience the event is completely changed.  Back in June I wrote a post about how the entire experience of the Theatre Communications Group annual conference and the Tony Awards changed completely (for the better because of Twitter).

 

2. I have had some wonderful conversations on Twitter.  Certainly the most lively one surrounded Rocco Landesman’s “Peoria-Gate.” But even the quick small exchanges about what someone thought of a show – especially one of mine – have been delightful and insightful.  These conversations have even led to expanded relationships.  For example one follower sent me a direct message asking if I would share some of my career advice which resulted in a great hour long dialogue on the phone.  Another follower who I had several conversations is now a regular lunch date when he is in New York seeing theatre.  Another is helping me redesign my blog’s look (stay tuned for more on that).  These are all folks I would never have met without Twitter.

 

3.  It is a great way to share all of those little things that are interesting but don’t warrant a press release or would otherwise never be put out into the world.  Sure some folks think we are over-sharing and some folks are, but when it comes to shows or nonprofit theatre, I love hearing the inside scoop. 

 

4.  It’s fun.  In addition to my work-related tweets, the folks I follow provide delicious commentary on my favorite TV shows, insider info on shows, and lots of witty insight.

 

5.  You can walk away from it for a few days and when you come back it’s like you never left.  Twitter doesn’t take too much commitment.  If you are really busy and can’t check it for several days, it will still be there when you get back.   you may miss a few interesting tweets, but if you want you can search a topic and see what you missed or you can just join in mid-stream.

 

For those of you who don’t get the point or find it all overwhelming, I suggest giving it a try for a while.  It took me a few weeks to fall in love with it.  You can check out my tweets by clicking on the tab at the left of this post, if you find them interesting – please follow me.  For several more postings on twitter just follow this link.

The arts should be ruling new media platforms.

 

Over at marketing guru Seth’s Blog a few days, I read the below and it has stuck in my mind for a while.

 

The platform vs. the eyeballs

This might be the most subtle yet important shift that marketers face as they deal with the reality of new media. Marketers aren’t renters, now they own.

For generations, marketers were trained to buy (actually rent) eyeballs.

A media company assembled a large amount of attention. A TV network or a magazine or even a billboard company found a place you can put an ad, and they sold you a shot at reaching their audience.

You, the marketer, don’t care about the long-term value of this audience. It’s like a rental car. You want it to be clean and shiny when you get it, you want to avoid getting in trouble when you return it, but hey, it’s a rental.

And so when we buy ads, we ask, "how big an audience" and then we design an ad with our brand in mind, not with the well-being of the media company or its audience in mind. And if we get a .1% or even a 1% response rate, we celebrate.

A trade show booth is an example of eyeball thinking. The trade show organizer assembles attendees and your job at the booth is to grab as many as you can.

Old media was not the same as old branding. Media companies built audiences and then brands rented those audiences.

Suddenly the new media comes along and the rules are different. You’re not renting an audience, you’re building one. You’re not exhibiting at a trade show, you’re starting your own trade show.

If you still ask, "how much traffic is there," or "what’s the CPM?" you’re not getting it. Are you buying momentary attention or are you investing in a long term asset?

Now, when you buy something (that thing you used to call ‘media’), you’re not paying for eyeballs, you’re paying for a platform. A platform you can use to build your own audience, one that you can nurture, educate and ultimately convert. You’ll take care of this audience differently, measure them differently and have a different sales cycle. This isn’t natural, but it works.

 

The rest of the post addresses shifting from capturing immediate, short-term attention to building an audience for a platform and the “expense” of doing so, but what stuck with me and kept gnawing at my at my brain is this – if new media and expanding marketing platforms are all about building audiences, loyalty and extended communication methods, why aren’t the arts leading the way with this technology? 

 

Arts institutions have been doing nothing but building audiences for years.

 

This reminds me of all the branding discussions that ever organization was having a few years ago.  I was completely frustrated by all of the consultants who were telling arts organizations to work on their brands as institutions and offering very expensive services to help do so – institutional branding is intuitive to an arts organization as is audience development, if they aren’t being done well it is a due to leadership failure/lack of focus/poor allocation of resources.  All arts institutions have a brand and all arts institutions income (earned and contributed) is based in audience development.  The quality of these can depend on a lot of things – and that is a different post (and goodness knows I have spent a lot of the blog talking about those relationships that build loyalty, institutional awareness and yes, brand).  For the sake of this post let’s say you accept that statement as an inherent characteristics of an arts organizations.  if that is the case, than why aren’t the arts leading the way in new media?

 

We have an abundance of creativity in our institutions.  We have a large contingent of young staff members and volunteers to whom this technology is integral to their communication and day to day lives. Most importantly, we have been thinking about and working on audience development for ages, we don’t have to change our way of thinking in any way!  We just have to play with the new technology and use it as a creative tool for expanding our marketing efforts.

 

I have written dozens of posts about the great initiatives organizations have been taking.  I have tweeted hundreds of articles on the subject.  So why aren’t we the leading innovators in new media?

 

• Is it that we are doing a lot of the work and not getting credit?
• Is it that we are afraid of change so we haven’t channeled our creative resources to this new form?
• Is it about lack of budget or human resources?
• Is it that the leaders of major institutions are slightly older and not utilizing the technology the way their younger staff members, artists, and volunteers are?
• Are we so insecure in our own value that we look to other industries for ideas rather than exploring the Wild West of new media ourselves?

 

The creative process has been utilized in business theory for years.  The definition of learning organizations could be the definition of the process of creating new work in many arts organization.  Ensemble companies, directors and actors have created wonderful workshops for commercial business that use the skills of artists to make better leaders and business people, but it took a long time for folks to realize this and to take credit for it. 

 

Let’s not let old school practices, our own fear or insecurities, or lack of respect of the arts as a business from the corporate world hold us back in exploring and leading the way with this new technology and taking the credit for it.  Let’s be bold in our ideas and take pride in our work.

 

New media is about communication and relationships – this is what the arts are about.

 

So I am hoping that some day soon, I open my favorite magazine, Harvard Business Review, and I find a case study or article about how other industries can learn from the arts and how arts organizations have blazed a new trail in the use of new media.  Let’s go for it.

Nora and Delia Ephron’s Love Loss and What I Wore – working off-Broadway in style

 

In addition to a fabulous production of Morris Panych’s Vigil (playing at the DR2 in Union Square – get tickets while you can right here), I have been spending day and night with the lovely ladies working on Nora and Delia Ephron’s Love Loss and What I Wore – on the show, I am “wearing a couple of hats” as they saying goes, but as part of the general management team I am at each performance and in all of the rehearsals and it has been one of the most fun and exciting shows I have had the pleasure of working on. The show has been fabulously received – links to the full reviews on the show’s sight but a few quotes below.   Each performance is a sell out, we have set box office records at the theatre, and we have extended through March of 2010.  It has been wonderful to be a part of both shows and the revitalized off-Broadway scene.

 

Love Loss is this collection of stories is based on the best-selling book by Ilene Beckerman, as well as on the recollections of the Ephrons’ friends. Like the popular book, Love, Loss, and What I Wore uses clothing and accessories and the memories they trigger to tell funny and often poignant stories that all women can relate to. The production will continue to be performed by a rotating cast of five all-star actors, who will perform in four-week cycles

 

Check out the full reviews but as promised a few quotes:

 

“THIS ONE SHOW THRILLS ALL!”
NY Daily News

 

“A GREAT SHOW IS ALWAYS IN FASHION!” NY1

 

“FUNNY AND POIGNANT!”
A.P.

 

“PITCH-PERFECT!”
AM New York

 

“AMUSING AND TOUCHING!”
Bergen Record

 

“GET TICKETS! YOU WILL HAVE SUCH A GOOD TIME!”
Joan Hamburg, WOR

 

Make sure you come as see one of the many talented casts – I am willing to bet you will want to see more than one.  The first cast which finished performances tomorrow includes Samantha Bee, Tyne Daly, Katie Finnegan, Natasha Lyonne and Rosie O’Donnell.  Monday we start rehearsals with Mary Birdsong, Lisa Joyce, Jane Lynch, Mary Louise Wilson, and Tyne Daly will be returning but in a different part.  Four weeks later we have Kristin Chenoweth, Lucy Devito, Capathia Jenkins, Rhea Perlman and Rita Wilson.  To be able to work so closely with such amazing actors is astounding – not to mention two of the most talented writers on the planet – Nora and Delia Ephron.  The entire team that producer Daryl Roth has put together makes going to work each day a joy.  And I truly love it.

 

I am also proud to be a part of a production and creative team that is filled with and led women.  There are only 6 men on the main team – partnered with 24 women working on the show.  Considering all the recent talk about women in theatre (and the fact that the majority of theatre audiences are female), it is pretty fabulous that a show about women is being driven by women.  Theatre for women by women – but boys don’t worry you will laugh a lot and learn a lot, in a good way!

 

So come check out Love Loss and What I Wore at the Westside get tickets at www.telecharge.com – and please find me at the show and say hello!

 

Commercial Adventures vs Nonprofit Adventures

During my years in nonprofit theatre I ventured into the commercial/for profit theatre world fairly often with successful shows that transferred into commercial runs.  However this fall I took a full leap into commercial producing and general management by working on two fantastic shows.

 

This new adventure began because of my cherished friendship with someone who I believe to be the best commercial producer in the business today, Daryl Roth. 

 

Daryl and I first worked together on Maggie Edson’s Wit and then continued working together on and off in different ways for the last 10 years.  Her taste in projects is impeccable.  Her treatment of everyone on a production from the running crew to the stars to the creative team is legendary.  For years she has offered advice and guidance that is always spot on and I have always considered myself lucky to know and work with her.  Needless to say when starting a new venture there is nothing better than working with someone you trust, respect, and know you can learn from.

 

I have always argued that there aren’t that many differences between commercial and nonprofit theatre and the last two months have more or less proven that to be true.  Of course as I said I have dabbled in the for-profit, with several shows where the theatres I worked for were full producers, investors, or  participated as original producers of a show.  I have dealt with countless developmental projects and enhancement projects (check out this handy guide to enhancement).  So I was arguing that the two were similar from a point of knowledge and the last two months spent fully in the commercial world have just given me more ammunition for my arguments.

 

What I find funny is that many folks who work in nonprofit theatre see the for-profit landscape as more complicated and more challenging and many in the for-profit world often look down at the nonprofit universe as less important or less business-like or just plain less skilled.  Not surprisingly these folks (on both sides) are just plain wrong.

 

The line between the for-profit theatre and the nonprofit theatre has been blurred for a very long time and frankly in many ways it has almost disappeared.  This has resulted in some good things and some bad things – like any change does.  In New York folks have moved back and forth between the two for years and increasingly across the country this is becoming more common.

 

So what are the differences?

 

First and most obvious is the legal structure – and now is a good idea to note that nonprofit doesn’t actually have to do with whether a profit is made.  Simply put, a commercial production/entity has investors who put money into the project any and all profits of said venture are distributed amongst the producers and investors – and now is a good time to note that a producer doesn’t legally have to put money in a show they are responsible for raising the money although more often than not they do put some investment into a show because sharing the risk with your investors helps you raise money.  In a nonprofit corporate all profits of any venture are put back into the nonprofit corporation, again simply put, no individual benefits financially from the profits.  This means you have to deal with annual audits and different tax structures.  Of course this applies to all commercial and nonprofit businesses.

 

The second factor that differentiates the two and is more specific to theatre is that in a nonprofit theatre you have some sort of “institution that is governed by a board” (and I use the loosest definition of “institution” as possible here) that you have to manage and run.  Whether this involves staff, volunteers, a building or what not you have to deal with it.  The nonprofit theatre’s “institution” always comes with a Board of Directors/Trustees because the IRS requires this as part of the legal formation of a nonprofit.  A for-profit entity in the theatre world can be one person or it can be have many folks in the leadership structure (usually an Limited Liability Corporation).  There is no board although there are managing leaders for the corporation.  An “institution” also has to deal with long-term audience development and community relations because theoretically it wants to exist for a long time.  A commercial show is a one shot deal, although they cultivate audiences it isn’t on the same long-term basis.  Although I should note some producers have built up enough of a “brand” that they can and have managed to cultivate an audience following of their work.  As an institution you also tend to have more regular staff or volunteers whereas a commercial producers may have folks they regularly work with on occasion they don’t have full time marketing departments, production personnel, etc.on the payroll for multiple shows – although this is slowly evolving as well.

 

The third key difference is that investors in commercial productions sometimes are paid back their investment in part or in whole and share in the company’s profits (and losses).  Nonprofits can solicit tax deductible contributions from donors.

 

And that is about it for differences.  When it comes to getting a show up and running the process is almost exactly the same.  What I have confirmed over the last two months is that producing a show is just that.  The same concerns and problems that come up with nonprofit shows come up with commercial productions.  The same highs and lows of audience and reviewer response exist in both.  And the same love and commitment to the art-form thrives in both worlds.

 

So which am I going to stick with?  I think I will be right there on that blurry line as it disappears.  I love what I am doing right now.   I have two shows running and one in development.  I am still consulting with nonprofits and loving working with them.  There are even more worlds that I have dabbled in and could further explore – other art forms – dance, film, music, and – yes I am calling it an art form – television.  The greatest gift of the current times is the crisis-i-tunity we are are all in.  It is a time to explore who and what we are and what we do.  And now more than ever it is a time for art and pop culture to create work that is challenging, entertaining and thought-provoking and I don’t need a label from the IRS to do that.

Posts

For the last two months, I have been very busy with two shows opening off-Broadway and another in pre-production, so I have fallen behind in my blogging and in my reading (which is of course what inspires most of my blogging).

 

You can read about Morris Panych’s Vigil that is playing at the DR2 in Union Square here.

 

I am grateful that folks have kept checking back and have been emailing me asking when I would pick up posting again!  I want to thank all those that wrote me for your kind words and encouragement.  It was great to hear your thoughts and to know that you appreciated the blog.

 

I have also been catching up on my reading so this week there will be a long list of interesting articles and news from the last month and regular updates to the What’s being discussed in the blogosphere section (added to that last night so check it out)

 

I promise from here on out to get back in the groove and promise that in the coming months there will be some exciting developments for Off-Stage Right. 

 

Thanks for sticking with me!

Vigil by Morris Panych opens off-Broadway tonight but gets an early rave review in Variety

 

There are two reasons that I have been a bit too busy to write much the last few weeks.  Here is reason number one: I am producing Vigil by Morris Panych off-Broadway at the DR2 in Union Square.  Opening this evening (but Variety printed the review a day early).  Get your tickets now!

 

From today’s Variety:

VIGIL

 

Kemp – Malcolm Gets
Grace – Helen Stenborg

 

By MARILYN STASIO

Canadian scribe Morris Panych has written a funny play that makes you want to cry. An offbeat two-hander about two of the loneliest people alive, "Vigil" sets up the intriguing situation of a mercenary young man who quits his bank job to keep a deathwatch on a rich aunt he hasn’t seen in 30 years. Under Stephen DiMenna’s shrewd helming, Malcolm Gets and Helen Stenborg turn in sterling performances as this oddly matched pair, trapped in a macabre bond that’s comic on the surface, heartbreaking at the core. With judicious trimming, this little number could have ‘em in stitches crying.

 

 

Read the entire fabulous review here.

The artist’s obligation to smaller communities?

 

Scott Walters, a leader and advocate for participation and creation of art in smaller communities (with populations under 100K for his specific project) has written a very thought-provoking letter to Rocco Landesman that you should check out.  Whether you agree or disagree with Scott, he makes some interesting points about NEA funding priorities.

 

The following statistics jumped off the page and have stuck in my mind since reading it five days ago:

Right now, almost 50% of the Theatre Communications Group member theatres are in six states, while there are an equal number that have none at all. The average population of the counties where TCG member theatres are based is 1.35M people, whereas 96% of American counties have populations under 500,000. 

Forget for now whether the NEA should be concerned with this or focus on democratizing the arts.  Forget about the NEA completely and re-read that statistic:

50% of the Theatre Communications Group member theatres are in six states.

 

The average population of the counties where TCG member theatres are based is 1.35M people, whereas 96% of American counties have populations under 500,000.  

It doesn’t really matter where you stand in the debate about NEA funding being based on “quality” or “geography,” as theatre artists we are obligated to think about the relevancy and future life of the art form; as theatre artists we are obligated to train future artists; and as theatre artists we are obligated to nurture theatre audiences.  (The fact is that the NEA has such a small budget that it can’t fix the problem and money is only part of the solution.)  What can and will make a difference is if we as artists make a commitment to fulfilling our obligations.

 

If we, as theatre artists want there to be an audience in the future and want there to be theatre artists in the future we had better lend a hand to Scott and others who are working to get theatre into those smaller communities.  It doesn’t take a genius to know that if you never experience something you will never miss it in your life. 

 

We cannot sit by idly while a significant portion of the country grows up in and lives in an arts-free culture.

A surprising twist – the residents of Avenue Q have their leases renewed!

 

The Monday after the Tony’s in 2004, the producers of Avenue Q shocked the Broadway and Touring community by announcing that rather than going on the road, the show was taking up residence in Vegas.   Tonight from the stage of the closing night performance on Broadway, the producers again announced an unprecedented course of action. 

 

The Broadway show was moving OFF-BROADWAY???

 

A brilliant move, by a savvy team of producers or a borderline failure like Vegas? 

 

I vote BRILLIANT.  The show (full disclaimer I was General Manager of Vineyard for the original off-Broadway production) has the potential to run for several more years off-Broadway where the financial equation will likely still work perhaps even better.  Maybe Avenue Q is the next Fantastiks!The show will certainly be a boom for New World Stages (although one has to pause just momentarily to ask – why not 37 Arts?). 

 

As usual Kevin, Jeffrey and Robyn also found a way to make the announcement as dramatic as possible. 

 

Ironically, I sent the entire producing team, including Vineyard and New Group Artistic Directors, Doug Aibel and Scott Elliot, emails last night congratulating them on taking big risks that paid off on the show and the group talent young artists on the show Jeff Marx, Bobby Lopez, Jeff Whitty and Jason Moore!

 

So, I now cheer them on for being adventuresome and visionary enough to change the game completely! 

 

Needless to say it’s innovative producing like this that will also keep off-Broadway’s resurgence going strong.

 

Certainly the theme song fits off-Broadway. 

 

Your work real hard
And the pay’s real low
And ev’ry hour
Goes oh, so slow
And at the end of the day
There’s no where to go
But home to Avenue Q!
You live on Avenue Q!

 

From where I am sitting – at home with my Avenue Q blanket on my lap while I type, I have to say Avenue Q ain’t such a bad place to be even if “it’s only for now” after all now just got a bit longer!

 

 

Final reprise:

 

I also have to give the team a second thumbs up on making the announcement such news and for the playful “official release” excerpted below from Broadway World. 

The musical’s Broadway producers Kevin McCollum, Robyn Goodman and Jeffrey Seller announced that AVENUE Q – the hilarious and enormously popular musical about a group of 20-something people and puppets who live as neighbors in an outerborough of NYC — will be presented at New World Stages as it was on Broadway, with director Jason Moore, creators Robert Lopez, Jeff Marx and Jeff Whitty, as well as the show’s designers, choreographer, musical team and, of course, its cast of colorful, furry, outrageous puppets participating in the transfer. Casting for the Off-Broadway engagement of AVENUE Q is TBA. The musical will be produced at New World Stages by Kevin McCollum, Robyn Goodman, Jeffrey Seller, The Vineyard Theatre and The New Group.

 

Research indicates that this transfer is unprecedented, marking the first time that a Broadway musical has, indeed, moved to an Off-Broadway theatre.

 

About the decision to keep AVENUE Q running in New York, Mr. McCollum says, "AVENUE Q is about all of us, so why should it close? People arrive in New York every day hoping to make their dreams come true, so as long as they’re here, we’re here! It’s just one of the funniest, wittiest and wisest musicals ever written and the more you see it, the more you love it."

 

AVENUE Q beloved puppet character Rod says, "When I got the news that AVENUE Q was re-opening five blocks away, I couldn’t have been more delighted. After all, young people are still searching for meaning in their life — even more than when we opened six years ago! So I’m glad we’re here to help them and people of all ages navigate the turbulent waters of today’s world. My only regret is that my next job was going to be dresser for Hugh Jackman and Daniel Craig, but hey, I’ll take stardom any time, baby!"

 

AVENUE Q producer Robyn Goodman notes in an aside that she is also aware that gay puppet Rod is also tickled that he will now be geographically closer, and otherwise, to the male actors in the musical ALTAR BOYZ, running at an adjacent theater at New World Stages.

 

AVENUE Q’s man-hungry puppet Lucy says of the transfer, "I’m a working girl at heart. So the idea of moving Off-Broadway totally turns me on — plus, that means I can call Hooters and tell ‘em to shove that job! And to be at New World Stages is a dream come true. I always wanted to get closer to my audience. Frankly, honey, whether you’re serving 500 people a night or 800, after the first hundred they all sorta blur together."

Apple Tree Theatre Shuts Down

 

Apple Tree Theatre in Chicago has closed.  According to the theatre’s website which does not have any information on the closing since the public announcement is scheduled for tomorrow – the theatre was 25 years old:

 

Apple Tree Theatre is committed to producing a diverse and challenging selection of both dramas and musicals, from new works to classics, all of which illuminate the human condition, celebrate the tenacity of the human spirit, and expand the vision and understanding of artists and audiences alike—culturally, intellectually, emotionally, and spiritually, as they connect with one another. Holding to rigorous artistic standards, Apple Tree is determined to make these productions accessible by virtue of its regional location, by sensitive accommodation to the physical limitations of audience members, and by employing strategies to diversify its audiences.

 

Apple Tree Theatre in Highland Park, Illinois (near Lake Michigan in the Northshore suburbs of Chicago), has been producing award-winning plays and musicals since its inception in 1983.

 

The theatre announced it’s 2009-2010 on July 28, but now 6 weeks later is in such a precarious financial position that it apparently can’t refund the money. The Chicago Tribune reports that the theatre had a long history in education (40 years) and will close immediately:

 

Apple Tree Theatre’s board of directors plans to release a note Monday saying the Highland Park theater is going out of business, effective immediately.

 

In the note, Apple Tree says its doors will close, with the entire 2009-10 season canceled.

 

"This decision has not been made without a great deal of soul searching," the note says, "and only after exhaustive efforts to explore every possible avenue of financial support that would enable us to keep the doors open and the wonderful services and traditions alive." 

 

The note says further that the theater has laid off all its staff (there were six full-time positions, along with numerous instructors and actors who had expected to work with the theater). Students of the theater are told they will either receive refunds for their tuition or be offered alternate options.

 

"It’s the right business decision to make," said executive director Mark Weston on Saturday. "But it’s very emotional for many of us."

 

Weston said that he was working with other area theaters to honor Apple Tree subscription tickets. "I want to do right by our core believers," he said. However, subscribers won’t be able to get their money back.

 

Unlike the recent debacle at North Shore Music Theatre, where apparently according to the board and leadership no one was actually responsible for the horrible management of the company and tremendous pile of debt that it left to be paid with what auctioneers could raise from selling the property, we don’t really have a picture yet of the state of Apple Tree and what led to its (unfortunate?) demise. 

 

The theatre did lose its space a while back and has to relocate, but certainly this isn’t the excuse that will be used?  North Shore tried to blame its situation on an unfortunate fire, rather than the obvious bad management and fiscal irresponsibility that was rampant throughout the leadership, I for one hope that Apple Tree wasn’t the victim of the same kind of failures.  After all there could be lots of reasons other than failure from the board and staff leadership.  Certainly it’s not my place to make a judgment without facts – although it is difficult to reconcile the denial the organization must have been experiencing in July when they were announcing a season, starting a subscription campaign, and taking the funds of loyal patrons.  Certainly there must have been some indication of closing 6 weeks later?

 

As sad as it is for a theatre to close, often there is a time for such things, and sometimes little can be done to prevent it.  But when it happens, it shouldn’t be at the expense of long-time arts supporters.  It is difficult enough to keep our audiences, especially subscribers, and situations like this certainly don’t help! 

 

In advance, thank you to the theatres that will undoubtedly step up and provide an alternative subscription to these jilted theatre-goers who right about now must be feeling like they were snookered out of their money.

100 Great Theater and Arts Articles you should have read in the last few weeks…

 

Okay there are only 97. 

 

Enjoy!  Here are some things that caught my eye from the major papers.  If you want to check out the hot topics in the blogosphere click HERE.

 

‘Jersey Boys’ Theater Chain Names Vornado’s Roth as President – Bloomberg.com – http://shar.es/1myLc

Jujamcyn Theaters sets new prez – Entertainment News, Business News, Media – Variety – http://shar.es/1my23

Jordon Roth officially in charge of Jujamcyn RT @nytimesarts A New Force on Broadway http://bit.ly/iUK3C

What Social Media Can Learn From Multicultural Marketing http://bit.ly/19NOM3

Writers’ Theatre and Glencoe ready to take the next step, check out the Trib: http://leisureblogs.chicagotribune.com.

Cheap Seats Central: Dollar-Stretchers for the Fall Arts Season http://bit.ly/273jUn

"Comparing the arts to social services is the wrong comparison and an unfair one." http://bit.ly/9dBoH

GLEE Star Lea Michele Featured In NY Magazine http://bit.ly/mDTMo

The complete ‘Addams Family’ cast has been announced @ http://cli.gs/yj8bh8

Having her say: Emily Mann celebrates 20 years at McCarter. NJ.com http://bit.ly/ClI7g

Rob Ashford looks to make his mark – Entertainment News, Legit News, Media – Variety – http://shar.es/1aiIK

Broadway box office Aug. 23-30 – Entertainment News, Legit News, Media – Variety – http://shar.es/1aiI7

First twitter opera premieres in London…and doesn’t get panned: http://bit.ly/pvIJs

AD Des McAnuff responds (http://bit.ly/9ND5r) to Shakespeare crisis in Stratford story http://bit.ly/qLIxj

Big City – Sharon Wheatley on Juggling Babies and Broadway – NYTimes.com – http://shar.es/11SzL

Classicaltv.com launches performing arts on a virtual stage http://bit.ly/BDJ4I

GUESS WHO’S GOING TO BROADWAY? (PRETTY MUCH EVERYONE) – New York Post – http://shar.es/11tDM

WAY WILD – New York Post – http://shar.es/1nLv2

SMART Advertising – A Long Wait Stirs Enthusiasm for Fox Show ‘Glee’ – NYTimes.com – http://shar.es/1nNfP

The Footes: Pioneers of Independent Film – Behind the Curtain | Frank Rizzo – http://shar.es/1nMMH

Mel Brooks Sends "Young Frankenstein" On the Road – Speakeasy – WSJ – http://shar.es/1nMTn

Willows Theatre Company asks fans for help – http://shar.es/1nMia

How Cirque du Soleil’s hippy circus took over the world | Stage | guardian.co.uk – http://shar.es/1nMHY

‘VERGE’ OF A SHAKEUP – New York Post – http://shar.es/1nS9t

ArtsBeat: ‘Laramie Project’ Epilogue to Play in Laramie http://bit.ly/38Unn

David Mamet, Neil Simon, Daniel Craig and Hugh Jackman Head to Broadway – WSJ.com – http://shar.es/1njFA

Getting younger people for your boards: Young Turks On Board http://bit.ly/eyrym

Jude Law interviewed by Sarah Lyall in the New York Times http://alturl.com/sp4e

Time Out New York: Julia Stiles on Oleanna. http://tinyurl.com/juliaoleanna

A Mixed Outlook for Media Advertising – NYTimes.com http://ow.ly/nHZJ

Riedel on Spider-Man – Bono to the rescue? http://tinyurl.com/l7pgrr

ACT adds ‘happy hour’ drinks to shows http://bit.ly/xDFU4

Work to Resume on ‘Spider-Man’ Musical http://bit.ly/J5pN3

Angels in America’ Will Receive Its First New York Revival http://bit.ly/2lKXIz

Ed Ruscha, Robert Redford among 2009 Americans for the Arts honorees http://bit.ly/LrgmY

How parents can fill the void when schools cut arts and music programs http://bit.ly/iwOLZ

Chicago theaters and a Foundation team to offer money-back guarantees to theatre goers http://bit.ly/H32mf

Million Dollar Quartet’ Planned for Broadway http://bit.ly/jZS5P

V.F.’s annual ranking of the top 100 Information Age powers  http://is.gd/2Lh2k

What to Do with Board Members Who Don’t Do Anything http://is.gd/2L9sD

Theater With a Money-Back Guarantee http://bit.ly/3WhQqD

Arts Challenge total nearly $5 million | Detroit Free Press | Freep.com – http://shar.es/N6mg

Tom Hanks will return to CLE’s Great Lakes Theater Festival http://snipurl.com/rigaa

Disney unlikely to rescue ‘Spider-Man’ – Entertainment News, Film News, Media – Variety – http://shar.es/NqFt

Eli Broad discusses education reform and the arts http://tinyurl.com/nfbfml

One in 10 members of Congress has relatives who also served http://ow.ly/nrmF

Which generation has cut spending the most http://bit.ly/Uz0d1

Geffen Playhouse counts — and discounts — on its stars http://bit.ly/o9MyV

Jeff Whitty talks about Avenue Q and Tales of the City http://bit.ly/VpA3i

FOX To Air ‘Tweet-peats’ Of GLEE Pilot And FRINGE Episode With Twitter Commentary http://bit.ly/3ejzIC

Why are artists poor? http://tiny.cc/MNSBLl

Ticket Resellers Step Out of the Shadows – NYTimes.com – http://shar.es/MxCo

New NEA chief promotes the arts — in Peoria, too – STLtoday.com – http://shar.es/Mx4Q

Should whites direct black plays, and vice versa? — latimes.com – http://shar.es/Mx47

Seattle’s professional actors feeling squeezed off local stages | Seattle Times Newspaper – http://shar.es/MxhD

Twin Cities theater peeking out of recession? http://bit.ly/D89yD

Used to Be a Major Motion Picture – ‘Catch Me if You Can’ Onstage – NYTimes.com – http://shar.es/M0VT

It’s never to last to find your passion, Nora Ephron http://bit.ly/ofwDU

Linda Winer – Newsday – http://shar.es/PSrf

Arts groups raise unexpected $4.8M http://bit.ly/F6yof

Is collaboration key to survival of arts groups? http://bit.ly/14gVGF

Times Square: Broadway unbound – Entertainment News, Legit News, Media – Variety – http://shar.es/PAil

Pair of fests test the fiscal waters – Entertainment News, Legit News, Media – Variety – http://shar.es/PAzT

Kristin Chenoweth lands a guest judge slot on American Idol: http://bit.ly/10mwJe

Riedel: Supposed rift -Sondheim & Roundabout over "iSondheim" http://bit.ly/XWOm

Opera’s Ian Campbell: How to increase audiences http://bit.ly/rfpXj

Social Networks – Boomers Feel Left Out – NYTimes.com http://ow.ly/lF02

‘Catch’ cast lining up gigs – Entertainment News, Legit News, Media – Variety – http://shar.es/PnY8

AEA Gives Statement Regarding Jeremy Piven Arbitration Decision http://bwayworld.com/rd.cfm?i=66682

RT @artsbeat: New Slicing of Arts-Fund Pie Is Working, Budget Office Says http://bit.ly/194Ch1

Casting Announced for ‘Ragtime’ Revival http://bit.ly/jMLAf

NEA Budget ‘Should Double’ Says New NEA Chairman Rocco Landesman http://bwayworld.com/rd.cfm?i=66648

Broadway’s Best & Brightest! See who’s coming to Broadway this year: http://bit.ly/KZExr

Check out ‘The Addams Family’ musical trailer on BroadwayWorld.com @ http://cli.gs/addamstrailer

NEA Chair Rocco Landesman plans to use Chicago as the national model for the arts. http://bit.ly/moeAz

MoMA Says Out With the Old Junior Associates – Speakeasy – WSJ – http://shar.es/V8PJ

Report shows more arts groups get funding – Crain’s New York Business – http://shar.es/V8VC

Who’s Driving Twitter’s Popularity? Not Teenagers – NYTimes.com http://ow.ly/lnco

Nonprofit Arts Sector’s 25 Most Powerful & Influential Leaders: http://bit.ly/Hduy1

AEA supports marriage equality… http://tinyurl.com/lbpp3m

Boston Globe on relationship btwn money and happiness – not as simple as you think: http://tr.im/x5GY

Rocco talks to the WaPo. http://bit.ly/3Or1qs

Prospecting: Giving by the Wealthy Drops Sharply in 2009 http://bit.ly/3Nd6i9

Pete Townshend at Work on New Musical, Floss http://bit.ly/14lN3l

Is the Social Sector Capitalism’s R&D Lab? http://bit.ly/166FHu

NYT debate about NP CEO salary for lauded High Line Park Founder http://bit.ly/2BlTWg

Social Marketing: Not as Awful as I Feared http://xrl.us/bfemvw

North Shore Music Theatre in Beverly on the auction block http://bit.ly/NdtYc

Dollar by Dollar, Patrons Find Artists on the Web – NYTimes.com http://ow.ly/lety

WSJ Sightings: Terry Teachout on the New-Media Crisis of 1949 – WSJ.com – http://shar.es/TOgR

Fund-Raising Challenge Raises Money for Arts Groups — and Ire http://bit.ly/3O1qJQ

Variety look at last week’s Broadway box office. http://bit.ly/ofasc

Box Office Collaboration http://bit.ly/M06wk

News Among Actors, Jane Lynch Is Leading Lady: http://bit.ly/nccb2

Ben Hur Live coming to London’s O2 Arena – Times Online – http://shar.es/TWxm

Oregon Shakespeare Festival receives an ‘A’ for class participation http://bit.ly/VvnO6

Out of the ashes of a community, a love of theater rises…

 

You know the question.  You have heard it a 1000 times.  Where was your first time?  With who? 

 

I am not talking about THAT first time!

 

I am talking about the first moment you knew you were in love with theatre, that you knew it was your destiny.   I remember the series of events that helped me realize that the arts could make a difference to a community.  This is also when I realized that some communities can’t be saved easily.  It takes years to make a difference.  It takes passion.  It takes the arts.  Can you believe I learned that at the age of ten?  Funny thing is it has taken me 20+ years to realize that was the year that changed my life.

 

I was born in Flint, Michigan and lived outside of Flint in Grand Blanc for the first 11 years of my life. In the late seventies/early eighties, when the Michigan economy was collapsing, one of many times in the last 40 years, Flint and the surrounding areas were ground zero. I bring this up not to make the story longer, but for two very important reasons: (1) Grand Blanc was the site of my first theater class, my first play, and the beginning of my lifelong love and participation in the arts and (2) at a very young and very impressionable age, I witnessed a community crumble to pieces.

 

My mother was a special education school teacher who was laid off when her school was shuttered in budget cuts and my father was a residential realtor left with plenty to sell and no one who had enough money to buy. My father headed west to work while my mother, sister and I spent a year and a half watching the town and community we loved become something we did not recognize. Despite my youth I was very aware of what was happening (around 6, I had developed a lifelong addiction to the news, reading, and information). Friends lost their houses or moved away. The community center where I was a competitive ice skater and gymnast slowly offered less and less opportunities and finally closed. Gradually we lived in a ghost town with almost no stores and despite my mother’s valiant efforts to maintain our activities and lifestyles, as well as morale, it was clear she was fighting a useless battle. The only bright spot in our increasingly bleak community was the local library and the wonderful music and gym teachers at our elementary school.

 

The Grand Blanc Library provided Mr. Rancillio, my first theater teacher. He was a towering, but thin giant of a man (along the lines of Tommy Tune), who made the world better by teaching us to imagine and create stories. Soon every book I read became a play that I encouraged my friends to embark on with me. I would be on pins and needles waiting to spend all day Saturday in the library creating theater. Over at Cook Elementary it was Miss Novakowski and her twin sister Ms. Gentile who took matters into their own hands. As extracurricular activities had been eliminated by the school district, these two fabulous teachers convinced a local nursery to give us their unsold geraniums and we students went door to door selling the flowers for $4 to raise funds to produce two musicals (Willy Wonka and the Chocolate Factory and Mary Poppins) and two all-school gymnastics and dance performances.

 

I had been diagnosed in second grade with a severe hearing problem and truly was unable to sing, but the sisters had faith and cast me in both shows as the chief Oompa Loompa and Jane Banks. I am sure that being the shortest child in grade 3-6 helped me in many ways. Of course as a competitive gymnast with years of dancing under my belt, I was vested in making sure that all four events happened with great success. Thus begin my first fundraising experience for the arts. I went door to door and sold geraniums as if my life depended on it—looking back in some ways it did. Needless to say, for two years I was one of the top sellers in the entire school.

 

At the age of 10, I learned the valuable lesson that when I was passionate about something I was able to talk about it well enough to make other people passionate about it, so passionate that they would give me money to make something happen that was beneficial to the community.

 

At the age of 10, I realized that the arts could make the worst circumstances better.

 

At the age of 10, I discovered the magic of make believe and story-telling.

 

At the age of 10, I was faced with the stark realization that sometimes the arts weren’t enough to hold a community together, but they were a necessity to rebuild it.

Quick theater folks, steal this Twitter idea!

 

Okay theater producers looking for a hook on Twitter.  Steal this from Fox TV:

 

Twitter, as you may know, has become all the rage in the TV industry, with networks and studios using the snappy, direct communication with viewers to promote shows, while writers and actors tweet their hearts out from sound stages from Los Angeles to New York.

 

But, in an unprecedented use of social media, Fox will feature on-screen twitter feeds — "tweet-peats" — by producers and actors during the broadcasts of "Fringe" at 9 p.m. Thursday and "Glee" at 9 p.m. Friday (This is a repeat of the "Glee" pilot that previewed in May — not the special director’s cut that airs on Fox at 9 p.m. Wednesday )

 

During the episodes, viewers will be able to follow the cast and producers’ tweets online via Twitter and on the air via a lower-third scroll. The actors and producers will provide commentary, answer questions, and offer insights about  the upcoming season.

 

Think how easily this planned tweet session could work in theater (here a just a few ideas):

 

A twitter rehearsal or matinee

Tweet a production meeting or ad meeting

Twitter talk-backs have already started join the club

Tweet a summary of your upcoming season – show by show

Tweet the entire back story of a play or musical

 

Set a time, get in the word out and just do it!

Is Michael Kaisers ARTS IN CRISIS 50 State romp nothing more than a book tour?

 

I have been following up on the newspaper articles and summaries from Michael Kaiser’s tour, and I am beginning to wonder if it wouldn’t have made more sense to send a free copy of his book to every arts administrator.

 

Back in early July when the tour was announced – I wrote the following post.  I state again that I think Kaiser is brilliant and one of the great leaders in the arts, and his book Art of the Turnaround is a great, inspiring read.  I also know firsthand he is a fabulous speaker and can really energize a room. 

 

So, I was a bit disappointed to read articles from Charlotte to Madison that seemed to be summaries of the book.  I really do hope the discussion is going further, because it is desperately needed.  But if the discussion isn’t going to dig deeper than the book, what’s the point?  Now certainly one can hope the local conversations are happening and not being reported on, but is that what we really need documented?

 

So, I am waiting on pins and needles for Andrew Taylor of Artful Manager’s in-depth report on the Madison stop, where Taylor served as an on-stage facilitator.  He gave a teaser here. 

 

Here are some articles from that stop (thanks to Taylor for pointing me to 77 Square Arts):

 

• 77 Square arts: Advice for arts in crisis: Plan something exciting
• Milwaukee Journal Sentinel: Kennedy Center leader stops in state to make case for art
• Cultural Alliance of Greater Milwaukee: Michael Kaiser Offered the Wisconsin Arts Community Good Advice
• Artsy Schmartsy: Michael Kaiser want you to do some planning, and I want to be inspired

 

The articles seem to reinforce that Kaiser is using Art of the Turnaround as a base but don’t report it going further which leaves so many issues on the table locally and nationally.

 

More from my July 1 post on Kaiser – you can read in its entirety here:

 

I think the reason the Arts in Crisis initiative hasn’t taken off as much as the Kennedy Center thought it would and the reason why sadly it probably never will is that a lot of organizations don’t have the necessary leadership.  Not that the leadership makes bad decisions (there are certainly plenty that do) but simply there is a lack of organizations in the field that have quality, committed, and trained key leadership at the artistic, management and board level.  They might have two out of the three, mediocrity in all three or more likely one bending the others to his or her will.   Many organizations have to reach a crisis point to do anything about this – all of the organizations Kaiser has “turned-around” were in critical danger.  Kaiser took organizations that were lost and turned them into survivors.

 

Kaiser in his book insists that someone must lead (it is actually rule number one), that organizations in trouble “suffer from a diffused leadership.”  Don’t mistake this as a dismissal of the relationship between artistic, management, and board for one almighty, all powerful leader who all else must bow to.  Quite the opposite.  It is about BALANCE and ALIGNMENT between artistic, management and board leadership.   It is about trust, authority and responsibility for the art, vision and health of an organization being placed in the proper hands.

 

Today, the companies that I observe being innovative, growing, thriving or changing the landscape seem to have some version of this balance and alignment. Those that are on the cusp of bankruptcy seem to have leadership that is unbalanced, in conflict and sometimes at war with one another.    But most of the companies are in that middle area.  They aren’t on the at the risk of closing and they aren’t highly successful, they just are open.  As much as these company would benefit from Kaiser’s work or the work of several others out there (there are a lot of great thinkers and workers out there), those companies don’t seem to have leadership who will or can pull themselves up above the day to day to look at the bigger picture so they will simply stay flat, mediocre, unbalanced, or on the brink, choose your phrase, but they won’t reach the potential of the impact they can have.  I am not saying this is wrong.  It just simply is.  In any industry there is going to be a continuum of size, success, and quality – it is key to the ecosystem of the industry.   However there is a lot of room for improvement across the field the “top of the continuum” is not toppling over no matter what criteria you use for placement.  I do think if/when we have more quality leadership structures at more arts organizations we will see an increase in arts participation and the modern renaissance of the arts will flourish! 

The remains of North Shore Music Theatre – what a mess, any one have a few million bucks and want to buy a theatre?

 

 

I first wrote about the travesty at North Shore Music Theatre in this post. I called it a disaster waiting to happen and an embarrassment to theatre everywhere.  It a lesson to all theatres out there. 

 

Today the news was pretty much every where that North Shore Music Theatre put on the auction block.  Well it looks like Beverly, MA could have a new mall or apartment complex.  What a waste!

 

The auction will include the main theater building, the former education building and a separate restaurant on 26.5 acres.

 

McLaughlin’s auction listing says the location has “tremendous redevelopment potential.”

 

The property is assessed at $12.1 million by the city for tax purposes.

 

Fellows said in June that the theater’s mortgage is $5 million and that while the land, buildings and other assets were worth $5 million at one time, it isn’t worth that much now.

 

“Our guess is that it’s half of that or maybe less," he had said.

 

In addition to the mortgage, the theater owes an additional $5 million to other creditors, including about $2.5 million in season ticket payments made for the 2009 season from about 4,400 subscribers. Boston Culinary Group, which ran the theater’s food service, also has a $250,000 attachment on the property for unpaid bills.

In London starting Sept 17 – Ben Hur Live with 400 actors, 100 live animals, Gladiators, Chariot Races and more gives new meaning to spectacle in live theatre.

 

I have been following updates on Facebook about what seemed like an insane and crazy adventure in theatre – no I am not talking about Spiderman and whether or not it will happen. 

 

One of my absolute favorite people in the world is the amazing and talented fight director Rick Sordelet.  There are very few people in the theatre industry who can hold a candle to Rick in terms of kindness, generosity, good nature and talent.  For months Rick has been sending out Facebook updates like – worked with the horses today and the gladiators are amazing (not his real updates just my summary of them – his are much more entertaining). 

 

All of this is because Rick is working on what I think has to be the wildest and ambitious shows attempted in modern day theatre, Ben Hur Live.  EVERYONE who reads this post should also go see the website for the show.  The video intro and website are pretty cool (if this translates to the “stage/arena” it could be a rival to Cirque du Soleil in terms of eye candy, precisions, and amazing feats!). 

 

Of course most folks know the story – if you don’t here is the Wikipedia link.  The show is fifteen years in the making; features over 100 animals, from birds to horses, and over 400 actors from all over Europe; uncountable special effects, and music by Stewart Copeland!  Take that Spidey! 

 

Now whether the story will be swallowed by the spectacle (how can it not be) or what the show will actually end up being as an audience experience is still to be sorted out – it could be a jaw-dropping, totally enveloping experience or something equivalent to a skit at a local carnival fun house, but either way it is the definition of true theater spectacles.  I am hoping for the tingling, out of body, immersive experience myself because this is close insane spectacle that was integral to the early history of theater.  After all this is as close as we will probably come to recreating something as monstrous as an ancient Rome’s Naumachia.  The show will start in London in September and than tour Europe.

 

No matter what the end result of the production’s performance is, I can’t even begin to imagine what opening night will be like or the first full performance!

 

A recent London Times article Ben Hur Live coming to London’s O2 Arena captures just a bit of the insanity of the rehearsal process and the undertaking of such a ambitious project.

 

The voice of the director, slightly weary, booms across the ISS Dome, in Düsseldorf. “A little more wailing, prisoners!” Then another voice translates this into Russian, then another into Czech, then another into Polish, then another into Hungarian. The prisoners wail a little more.

 

It has been a trying morning for the director. The guards have been driving him mad, especially during the riot scene: “I can’t seem to get the Roman guards to be aggressive.”

 

An assistant director runs out into the arena and harangues the guards, who are wearing red T-shirts and carrying wooden spears. “Imagine you’re saying to them, ‘F*** you! F*** you!’” The guards start shouting “F*** you!” at the rioting people and brandishing their spears with intent. “Better,” the director booms, “but I don’t want to hear anybody saying f*** out there. I don’t want to get 3,000 letters from mothers telling me their daughters heard the word f***.”

 

Outside, a man whose head is too large for his body — an effect exaggerated by his bouffant-romantic hair — is raising money on a mobile phone, and horses are standing impassively in a tent, contemplating human folly through semicircular openings in the canvas. “Will not be cheesy,” Alex Reinhard says as he takes me to see the horses. Alex works for the large-headed man, whose name is Franz Abraham. What will not be cheesy, according to Alex, is Ben Hur Live. This show — or “monutainment”, as the press handout calls it, rather cheesily in my view — will have its world premiere on September 17 at the O2 Arena, in southeast London. Abraham has been planning this moment for 15 years. “And so,” he tells me, “we are almost through to London, with all seriosity… This can be the most successful show on earth. It can run for 50 years.” His English is great, utterly original; “seriosity” isn’t a word, but it should be.

 

Certainly the idea of touring such a show comes with it’s dilemma’s the Times digs into but it the sheer will of a single person who has brought this to fruition that amazes me:

 

What, exactly, this all costs is complicated. By one calculation, it will consume £6m by the time it gets to the O2. But Franz has bought, rather than (as is normal in such ventures) leased, all the gear. He’s also had trouble getting venues to take on any of the risk, so he is financing most of the 18-city tour. He has “no investor, no sponsor, no rich guy”. Every day, he’s on to the banks. Financing seems to be via the venerable theatrical method of a MasterCard and mirrors. Tickets have been selling reasonably for the London shows — 30,000 when we spoke, with expectations of 45,000 — and it has been booked to return in January. Yet, as Franz solemnly acknowledges, everything now depends on the buzz generated by that first night.

 

It just goes to show what one man’s passion can accomplish.  And in the days of conservative theater choices and unimaginative productions, you can’t help smiling at Abraham’s accomplishment and energy.  Although is certainly might be inspired madness, I am intrigued and rooting for the show’s success.  He also won over the TIMES writer and broke through his wall of cynicism:

 

Later, sunning myself outside the arena, I watch Abraham having a blazing row with the director, Philip William McKinley. I think he’s losing, but I hope he wins. I like Abraham. He looks like a Napoleonic general painted by Ingres, he speaks English like a comedy German and his show is one of the craziest projects I’ve ever come across. But I think he gets it, this life business. He just goes for it, probably in the name of God.

 

I’d also just seen Pfeifer [Nicki Pfeifer who plays Ben-Hur] driving his chariot, pulled by four magnificent black friesian horses at full speed around the arena. It made me shiver. Was not cheesy.