Do Audiences Want to See New Material?
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URL: http://www.communitytheater.org/forum/forum_posts.asp?TID=3924
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Topic: Do Audiences Want to See New Material?
Posted By: lalunabella
Subject: Do Audiences Want to See New Material?
Date Posted: 4/06/09 at 4:58am
Hum. How do I put this? Does it ever feel like we are in a never ending cycle of producing the same old shows? Even in professional theater its revival after revival. Is it because that is what the mainstream audience wants? What are your thoughts on the struggle of the theater and producing new material?
What do you think is our responsibility to the future of theater in giving a venue to new voices?
What about balancing survival- the need for hit shows and butts in seats and meeting audience needs with keeping things fresh and new?
What do you think about the trend of turning popular films into stage shows?
Just call me a curious little kitty. So what do you think?
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"Yes I am a dreamer. For a dreamer is one that can find his way by moonlight and sees the dawn before the rest of the world." ~Oscar Wilde
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Replies:
Posted By: KEB54
Date Posted: 4/06/09 at 8:40am
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I think it comes down to mission. What is the mission of your theatre? And secondly, what are the goals/direction of your board?
I would assume most CTs’ missions are something about community involvement on both sides of the curtain, and the boards’ goals are to put butts in seats (both short and long term).
Now I assume that new plays are not going to achieve strong community involvement nor put a lot of butts in seats. However, I think both those items need to be looked at by the season not simply by production. So if you produce enough plays in the season, you might be able to take a chance with a new play particularly if it is by a local playwright.
I think this is one of the main selling points of having a community studio theatre in addition to your main theatre, a small theatre of less than 100 seats (maybe even fewer than 50). With a small studio you don’t put your season in jeopardy. You can afford to do plays that are not a box office draw – ones that may have themes or language not in the main stream, new plays, a learning environment for new directors, etc. If it is a black box, it can also afford you the opportunity to direct in a different theatre set up, for instance in the round or 3/4 round oppose to proscenium, etc.
As far as the trend of turning popular films into stage shows, I say why not. Generally they are fun to do and watch (community involvement) and have name recognition and therefore easy to advertise.
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KEB
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Posted By: MartyW
Date Posted: 4/06/09 at 9:10am
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New vs "newer", edgy vs "In your face" We too have a "second stage" where we try to do some of the pieces that stretch the audinence, allow the actors and directors to bite down into somthing less fluffy.. But as far as regularly bucking the trend in the face of deminished audience/revenue... maybe not so much.. Why do the audiences want the classics.. Because the are known.. They were made known on the silver screen or by huge professional success.. Not too many I can think of made the big time by C.T. production... Not sure its our job to make a success of a show that didnt make it in the professional arena..
Slight off topic I know.. but again IMHO..
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Marty W
"Till next we trod the boards.."
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Posted By: pdavis69
Date Posted: 4/06/09 at 10:54am
New vrs old reliable? My take on this is you have to know what your audience likes. I have a netflix membership and when new movies come out the place them into categories and make suggestions "If you liked ____________________ then you may like this one" based on my past responses. This can be applied to your audiences as well. If a new slapstick farce comes out and they have been playing well for the audiences then give the new one a shot and play up the "if you liked........" angle. On the other hand if farces traditionally tank with your group you might want to bypass the new ones.
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Patrick L. Davis
Fort Findlay Playhouse
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Posted By: SpenceKenzer
Date Posted: 4/06/09 at 2:17pm
IMHO true patrons of theatrical arts are always interested in new material.
Let's be honest here: how many of our CT audience members can be identified as "true patrons of theatrical arts"? IMHO most of them are just looking for an evening of good entertainment. IMHO only a very small minority of them are looking for anything challenging, off-beat, edgy, controversial.
So, that being said, we (1) give them the plays they like and want, and (2) give them new plays that are very similar to the plays they like and want.
If your CT is lucky enough to produce multiple plays in a season, then you might have room in your season to choose one of those productions to be a play that is new AND challenging, off-beat, edgy, or controversial. For example, Shakespeare falls into this category, because it is challenging to most of our "Joe or Jane Average" CT play goers. (Yes, even the comedies.)
Finding the balance between "the plays the audience likes to see" and "the plays the actors & production teams want to do" is always tricky, but IMHO a CT survives by leaning a lot toward the first of these two choices rather than the second.
In other words: fresh and new voices, new plays, etc. have their place in the CT repertoire, provided they meet your CT's mission/vision/objectives/whatever. If that is "bums in seats", then you may lean away from plays that are very new or very different or very challenging, off-beat, edgy, controversial. However, if your CT is championing "new plays", then you make room in your season for such plays.
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Saludos, my dahlinks, and you know who you are ... !
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Posted By: lalunabella
Date Posted: 4/07/09 at 4:52am
This is just semantics around the meaning of the word new, but I find it interesting that it seemed to imply edgy or controversial. Its probably just because I did not clarify. "In your face" or extreme was not what I had in mine necessarily. I simply mean new as in more contemporary, or unfamiliar/reliable, or just material by unknown writers.
Interesting comments. I would like to hear more.
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"Yes I am a dreamer. For a dreamer is one that can find his way by moonlight and sees the dawn before the rest of the world." ~Oscar Wilde
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Posted By: MartyW
Date Posted: 4/07/09 at 8:02am
Hey Lulunabella, To clarify, my edgy/in you face was in recognition of Kebs use of a second stage for things so appropriate... But I still hold that, if your just looking to "fill" slots, that as Pdavis recomended, go with something that genre's out to things your audinece has appreciated in the past. If your trying to anchor your season, a "New" musical or major production, as always, might be a risk.. Sometimes it works, sometimes it dosen't.. My most important point to your original post, I think, is that audineces are comfortable with what they know (good or bad) I don't think it is a bad thing to pad your season, when necessary, with a butts in the seat, tried and true... And again, C.T.'s did not make them popular with the audinece, nor is it responsible to make the new ones popular (as in "should we") IMHO
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Marty W
"Till next we trod the boards.."
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Posted By: SpenceKenzer
Date Posted: 4/07/09 at 4:01pm
New plays can be fine if
(1) they are similar in tone to plays my CT's audience likes to attend, and
(2) if they have a catchy or interesting title.
Yes, really!
My CT produced an absolutely wonderful romantic comedy entitled Ethan Claymore by playwright Norm Foster. (It's sort of It's A Wonderful Life meets A Christmas Carol on a struggling egg farm. Go look it up. You'll like it.) But the play has a "ho hum" or "sounds like it's a drama" kind of title, so our attendance was only average -- at our Christmas show! One thing that held some play goers back was the non-catchy and non-interesting title of the play.
On the other hand, my CT is considering producing the play Romeo, You Idiot! I have no idea what this play is about, but I am eager to see it, if only because of it's catchy and intriguing title.
A catchy or intriguing title on a play goes a LONG way to creating interest among play goers to actually come out and see the thing.
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Saludos, my dahlinks, and you know who you are ... !
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Posted By: lalunabella
Date Posted: 4/12/09 at 4:49am
Interesting comments, I really appreciate those of you willing to engage in the discussion. These are the things I think about and am curious to hear other theater people’s opinions and thoughts on the topic. Here are few things that caught my attention.
KEB54 why do you assume that new plays are not going to achieve strong community involvement? Can you share more of your thoughts on this specific statement? I can see how this would apply strictly to the avant-garde or extreme, but I found myself stumbling over that statement. Maybe I am too idealistic, but just because something is untried or new, doesn’t mean it can’t generate strong involvement.
It was mentioned several times by several people if the new show is similar to the tried and true of what your audience likes then it is not so much of a risk. I agree that knowing your audience is essential. I also agree that if you have the luxury of a “second” stage that is an ideal place to try more experimental work.
SpenceKenzer, aptly put. (And I totally agree with the catchy title thing.)
MartyW, your comment on CT’s responsibility is very intriguing to me. I would like to hear more on that.
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"Yes I am a dreamer. For a dreamer is one that can find his way by moonlight and sees the dawn before the rest of the world." ~Oscar Wilde
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Posted By: KEB54
Date Posted: 4/13/09 at 3:26pm
I think there will be less involvement on both sides of the curtain for a new play for reasons others already have mentioned -- name recognition and art vs. entertainment. I don't think that a play needs to be avant-garde or extreme to fall into this. I think those interested in the art will actually be more involved, but those in it for entertainment will be less involved.
You can easily see it when we do plays with name recognition vs those without. Sell out houses vs half houses. It is also noted that the few "serious actors" will audition for the lesser known plays, but many people at all different levels will turn out when the play is known.
It doesn't seem to matter if it is drama, comedy, or musical. To Kill a Mocking Bird had a huge turn out. Something's Afoot not so much.
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KEB
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