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falstaff29
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bullet Topic: ever kicked out?
    Posted: 10/29/06 at 6:03pm
Random question, but why not:
Ever get your show booted from the performance space while you were in rehearsals, eg, for being too controversial?  What happened (eg, were you able to find an alternate location in time or did you just have to scrap everything)?
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TonyDi
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bullet Posted: 10/31/06 at 8:06am

We were doing Shakespeare in the Park one year - many years ago - and the commission always chooses TWO Shakespeare plays and one classic theater play or musical.  THEY CHOSE PIPPIN.  Well we were in rehearsal for nearly two months. NOW we didn't get kicked out of the rehearsal space, BUT they wanted the whole thing "toned down" or we weren't going to be able to do the show in the park.  Granted, it's a PUBLIC PARK and there it's open to anyone who "passes by".  But the director had told them of his intentions long before they cast the show and even long before rehearsals started.  And they didn't blink an eye - come on it's a classic musical.  However, it's not for the faint-hearted nor is it necessarily for children by it's very nature.  SO we were told that we HAD to tone it down or they weren't going to do the show.  SO the actors ALL - EVERY ONE, including all the tech people, the director, the musicians, ALL got up in arms and told them that if they didn't allow the show that we'd rehearsed now for two months, to go on as is, then we would ALL walk and they would NOT have a show - much less roughly 40 - 50 lawsuits for breach of contract (yes we all had contracts).  Granted it IS as I said, an adult type show and the choreographer was as TRUE to the concept as everyone involved was and loyal to the nature of the show, the director, producer and choreographers GREAT choreography.  NEEDLESS to say, they buckled because it had generated such HUGE publicity that LOTS of people who were in FAVOR of us doing that show, threatened to boycott the entire Shakespeare season in the Summer park series...that they had to comply.

Result - the SHOW WAS A SMASHING SUCCESS.  The park was FULL TO OVERFLOWING at EVERY performance, such that people simply couldn't get close enough always to see it.  It overshadowed the Shakespeare productions that year - which were also excellent - but people WANTED what they wanted.  And the factions that thought it too adult for SITP, were silenced.  It's kind of sad that they even made an issue of it.  NOT that I am against good taste, but they KNEW what they were getting at the outset - no bones about it.  And they tried to pull the plug. I have to say, that after the fact, they were MORE than glad they didn't because they made GREAT money that year, we were well paid and it was worth every second of angst over doing it or not that it took to get it done.  And in the end, it was probably one of the best shows in the more than 20 years or so they did SITP.  So regrets after the fact were few.  Naturally, they have been more careful to choose more of the mainstream stuff that wouldn't have raised such controversy as this one did.  But they didn't even think to look at some of the Shakespeare plays they were doing and allowing to be done and viewed by the general public that are of equally baudy and adult nature as you can possibly get.  Maybe they thought nobody would understand the language. 

Tony

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falstaff29
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bullet Posted: 11/01/06 at 12:06am
Nice!
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Jennifer
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bullet Posted: 11/06/06 at 2:08pm

I have been wondering this same question as I have decided to give "Forum" a try this year for our high school musical.  (I am the director.)  I have been hearing about possible problems with school board approval, so we will find out for sure on Nov. 16 if we are "allowed" to perform this show....of course, it's not like 100s of other high schools have never done this show before!  But, what does a school board member know about a musical?  I will let you know!

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jenniz
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bullet Posted: 11/16/06 at 11:17am

We did not get kicked out, but were refused back.  We are a children's theatre school and we were using a former church.  The people who owned the building were not pleased to see their former place of worship used as a place to perform Hamlet, full of ghosts, incest, abuse, murder and suicide deliberations.  They knew full well what Hamlet was about, but decided they wouldn't let us back.  Funny enough, the actor playing Hamlet was the son of the preacher of the church!

jenn

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falstaff29
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bullet Posted: 11/16/06 at 4:38pm
Oh, I've been not invited back.

But for Hamlet?  In a church?

Let's play a word association game:
cat- dog
coffee- cigarettes
church basement theater- Hamlet.

Come on, it's THE stereotypical church play....
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POB14
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bullet Posted: 11/16/06 at 5:08pm

Originally posted by falstaff29

Oh, I've been not invited back.

But for Hamlet?  In a church?

Let's play a word association game:
cat- dog
coffee- cigarettes
church basement theater- Hamlet.

Come on, it's THE stereotypical church play....

Please tell me they said, "Get thee to a nunnery, go!"   Please.  Even if you have to lie to me.

POB
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Joan54
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bullet Posted: 12/01/06 at 8:53am

One of the main reasons that we ( meaning my son, friend and me) stopped working with our official community theater is because it is a converted church and the board of directors are fussy and strait laced and censor everything.  We set up our own company, and rent our own theater just to escape their censorship. 

I think that this has always been a problem in the theater and I assume that it always will.  It is human nature to want to impose your opinions on the community just as it is human nature to band together with people who are like-minded.

"behind a thin wall of logic panic is waiting to stampede"
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Chris Polo
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bullet Posted: 12/03/06 at 3:14pm
Sort of in the same vein -- we were doing Ladies of the Camellias. It had been read and approved by our playreading committee, put on the list for directors, and my husband had submitted to direct it. Rights were applied for and received from Dramatists, and the show was publicized as part of our season.
 
Several months later, the show went into production. Mike held auditions and cast it. On the first night rehearsals were to start, the head of playreading showed up at the theater with a letter she had just received from Dramatists -- they had just yanked the rights to the show because a professional company somewhere in the region was considering doing it! We had six weeks to find a show, recast it, rehearse it and put it on the boards. The only possibility was readers' theater, but we didn't feel we had time to order and run through a bunch of scripts to find one we liked -- the only one we'd read and would have considered doing was Love Letters, and we'd already done it a couple of seasons before.
 
Like idiots, we decided we'd write our own -- we came up with the concept of what you might hear if you were randomly twirling the dial back in the Golden Days of Radio, which meant the pieces could be read by the actors, who were supposedly "on the air." Since the group that volunteered to write it is decidely mental, it was definitely a comedy, and we used the same actors who had been cast for Ladies, which allowed us to tailor the pieces for the actors. We had several more or less complete "serials" -- a private eye solving a mystery, the crew of a spaceship landing on an unexplored planet, an intrepid adventurer a la Indiana Jones, and a Green Lantern-like superhero wih his trusty Asian sidekick -- interspersed with wacky commercials, bits of a soap opera and other nonsense. We decided to finish it with an audience participation "This Is Your Life" piece, loosely based on a Sid Caesar parody that involves a highly reluctant "honoree" planted in the audience and the crying, clinging friends and relatives brought forward to talk about him.
 
Scrambled Air and Hams actually turned out to be a hit. The star of the show was the "sound guy," wordlessly played by a very funny physical comedian, who went through all sorts of contortions to produce the sound effects (many of which involved personal injury to himself). We're sometimes asked if we're ever going to do it again; if we do, it needs to be reworked, because now we know what went over and what didn't. Still, it did remarkably well for a first draft!
 
Moral of the story -- ALWAYS have a readers' theater piece ready to go in your theater library!
Chris Polo
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"The scenery in the play was beautiful, but the actors got in front of it." -- Alexander Woolcott
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