Scott is doing and saying all the right things concerning the regional theatre situation. He has done the research, crunched the numbers, proposed small actions people can take if they are dissatisfied with the status quo, and has been getting some good positive attention from many of the big-city bloggers. It’s very inspiring and very timely - things seem to be coming to a tipping point which may produce some real change.

So for the time being, grab some of the debate going on about the regional theatre scene and follow up on the comments and links from Scott’s site. Add him to you blogroll or RSS reader if you haven’t done so already. I’ve really nothing to add to the debate for the time being, so for now just forget about me and read up on this issue. And if you’re a theatre person struggling to figure out what to do with your life in relation to your art, consider not thinking anymore about the status quo. Think about something other than NYC or the west coast. Throw away anything you may have learned in school about headshots, resumes, and begging other people to cast you. Think, instead, about serving the community or region you grew up in and finding ways to offer them a theatre scene which is connected to their lives and situation. You may find more reward in that than in anything you could possibly do elsewhere. -twl

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So bear with me, and in the meantime, if you haven’t already, you can read Scott Walter’s response to my “One New Play A Year” campaign. No doubt I will follow his suggestion at my own institution with a “special topics” course in contemporary drama for the fall of 08. We’ll see where that takes us. -twl

Dunkirk NY - Extended vacation? Boredom? Laziness? Dry rot? Empty thoughts? I would suppose some of all of these reasons would count in some part to explain not writing. What I can tell you is that I came many times in front of the keyboard, stared at the blank screen for a few minutes, and walked away. Yes, holidays and end of semester take their toll. Yes, I’ve been busy. But there are other issues at play, not the least of it being what to write about.

I am a person who likes to believe that whatever I am doing has some meaning, some impact. I do not like getting involved in activities merely for the sake of my own ego or sense of personal achievement. And if there is one thing I have learned so far about blogging, it is this - it has little impact. I am not saying it has NO impact, but the impact that blogging in general (and theatre blogging in particular) seems to have is fragmented and is of concern only to a small handful of insiders. To be sure, blogging has begun to have some impact on the indie theatre world, and to that extent it might be useful. But if you’re not tightly connected to that world, as I am not, then what impact can you say you’re having?

This past semester I have tried two different sorts of experiments to gauge what interest there may be out there in the theatrical ideas I hold to be important. Both experiments were relative duds. Now, I don’t exempt myself from blame in the sense that I did not do much follow-up on either experiment, but nonetheless the amount of noise generated was, again on a relative basis, minimal. Both the 5-part series on reforming theatre education written with Scott Walters of Theatre Ideas (who has also come back, so click that link to get some new and very interesting ideas from him) and the survey of Fredonia students have not raised any interest beyond the usual suspects. It’s not as if a torrent of comments, suggestions, or anything else came my way. I was hoping that a small number of practicing artists would at least make some comments of some sort, but nothing hit. There appeared to be a lot of traffic, but in terms of generating feedback, something along the lines of a dull thud was what transpired.

I totally blame myself, because of course what was needed was aggressive follow-up, not a “wait and see” attitude. So I took a long time trying to decide what steps I should take next. During this month of January what I hope to do is lay out a plan of attack, and present some ideas on which I intend to follow up. And as something of an unintended follow-up to Scott’s excellent posts on regional theatre and new plays, here is the first idea I want to announce and promote: the “One New Play” campaign.

I think it’s simple: every theatre department in the country should commit one of their production slots a year to the production of one new play. Ideally, that play should be regional in nature, featuring the work of a playwright from within the region. But I would not make that a requirement. All that matters is that one new play a year gets done on every college campus each year. It can be either a student-produced play or a department-produced play. It can be the work of a student in the department (!) or the work of an outside playwright. Any work that remains unpublished (i.e. not available through Sam French or Dramatists or Baker’s Plays or any other publishing outlet for royalties) would qualify.

At this point in America’s theatrical development, it’s clear the regional theatres won’t do this. It’s also clear that, given financial constraints, university settings have the most finanical resources at their command to help developing playwrights see their work produced. Finally, it’s also clear that the idea of a regional theatre will no longer be something that will be the responsibility of professional regional theatres. That task has to be passed on to universities, which need to move from a pre-professional model of training to one which encourages regional theatrical voices. By starting something like the “One New Play” campaign, hopefully some impact can be made. I have to do some further development with this idea, but I am going to try to make this one of the projects on which I can do some decent follow-up.

Of course, you have to put your money where your mouth is, so I am going to be directing a new play at SUNY Fredonia starting in a couple of weeks - Aunt Raini by Tom Smith from New Mexico State. Loosely based on the life and work of Leni Reifenstahl, the play presents some interesting ideas about ethics, art and relationships. Attached to that I am running a symposium of events around the ideas contained in the play, most notably where is the line between art and propaganda. So - if you’re someone who works in a theatre department and you’re right now in the midst of selecting your season, why not consider a new play? I invite you to join the “One New Play” campaign. If you have any ideas about where I might go to follow up on this idea, let me know through the comment section. Perhaps together we can have an impact. -twl

“Making a living” was defined as earning money. Income earned through teaching theatre was not included as being “in the business.” Out of a listed 320 members, 85 have so far responded to the survey, which is a 27% sampling of the group. I have prepared a small document which shows the responses and some observations about the results. If you’re interested, you can download and read it here. Responses would be welcome, but in order to comment, please remember you have to register on the site to do so (see the tab at the top of the page). -twl

But I have been trying as much as possible to keep up with various assorted blogs. I am sure anyone reading this will no doubt have themselves been kept abreast of things like the Local 1 strike and whatnot. At any rate, much that has been going on for me has been mundane in nature. So all you get after a hectic week is nothing but a report of a hectic week.

And notice of an upcoming hectic week. Fredonia has always had a tradition of taking the entire Thanksgiving week off. To do that we sacrifice a few other days here and there in the calendar that might ordinarily be off. So I have arrived this evening at my parents’ home on Long Island, preparing for a week of family visitations. By last count there figure to be about 22 people here on Thanksgiving Day. My brother, who lives about 5 minutes from here in the old neighborhood, is having his house remodeled inside, so he has temporarily moved in with my parents, complete with his two cats (which, combined with my other brother’s dog, makes for an interesting menagerie). But the week is going to be filled with all sorts of family business, so it does not appear I will be getting out to do much more than spend time with people here. So, if you are someone in the NYC metro area thinking I am in town and it would be nice to get together, forget it. I won’t have the time to spare. That’s just the way it is. Not even time to catch a show in NY. Sorry.

And I do like Thanksgiving. It’s my second-favorite holiday after New Year’s Day. I like New Year’s Day the best because it’s the last American holiday left without a single social or card-sending responsibility attached to it. Thanksgiving comes next because I like the meal. So have a great Thanksgiving for yourselves and I hope to get back to some worthwhile posting when I come out of my tryptophan coma.  -twl

In the course of my internet journeys, however, I did run into two blogs which I think people should be aware of. The first is The Humble Nailbanger, a blog written by an IATSE member who apparently works in a TV studio and is a third-generation stagehand. The second is One NYC Stagehand, a guy with 30 years backstage experience in Local 1. Both these blogs are relatively new, and I think over the course of the strike will probably provide some interesting feedback (h/t Theatreforte).

I am generally favorable to the concept of unionization, but I am also painfully aware that, like every human activity on the planet, they are as subject to corruption, stubbornness and self-centeredness as any other organization. Local 1, for example, is notorious for being a “family business” - it’s next to impossible to get in that local unless you have a family connection. So I don’t think there’s any purity to this strike: each side is out to get its cut. After all, Broadway is, in this context, nothing more than a business, no different from watching the UAW strike against Ford, Chrysler or GM. There’s no art at stake here, people - only money and profit for each side. -twl

(Mailer) recalled something he had said at the National Book Award ceremony in 2005, when he was given a lifetime achievement award: that he felt like an old coachmaker who looks with horror at the turn of the 20th century, watching automobiles roar by with their fumes.

“I think the novel is on the way out,” he said. “I also believe, because it’s natural to take one’s own occupation more seriously than others, that the world may be the less for that.” -NY Times obituary of Norman Mailer

I remember when Norman Mailer and Jimmy Breslin ran as a team for Mayor of New York City back in 1969. The more I think about it today, the more I’m convinced that their secessionist platform for the city of New York was a correct one. Make NYC the 51st state in the union. Then perhaps the city would not be bleeding upstate NY so dry. I’d couple that to add Long Island, Westchester, Rockland and Orange County to the mix.

His quote seems so right to me now as I think about theatre as an art form. Even a literary mind as great as Mailer’s understood he was a dinosaur. Simply substitute the word “theatre” for “novel” in the second paragraph and you have pretty much the same situation. It’s not that it’s unusual for styles to disappear, but whole forms like theatre, the novel, poetry and the like; this is something new to current culture. I doubt we’ll see another Norman Mailer. Who reads, anyway? -twl

I have not had the survey up more than 24 hours as of this posting, and have received 41 responses so far. I hope to gain a minimum of 65 so that I would have a statistical sample of 20% of the membership. I thought readers of this blog might be interested in the results so far and open them up for comments and interpretation. So here they are, and I apologize in advance for any formatting issues represented by the vagueries of HTML and font/display issues:

1. When did you graduate?

Percent Response

a. Before 1985 0.0% 0
b. 1985-90 14.6% 6
c.1990-95 39.0% 16
d. 1995-2000 14.6% 6
e. after 2000 31.7% 13

answered question 41

skipped question 0

2. What is your total estimated annual gross income for 2007 (include only the money you make. Do not include the income from any other member of your household. Include income from all sources.)?

Percent Response

a. below $20K 22.0% 9
b. $20-35K 24.4% 10
c. $35-50K 19.5% 8
d. $50-75K 22.0% 9
e. above $75K 12.2% 5

answered question 41

skipped question 0

3. Of the amount listed in Question 2, what percentage of it is income derived from employment in the general entertainment business (theatre, film, radio, television, voiceover, commercials, industrials, etc. DO NOT include income earned from teaching in any educational setting. You MAY include income earned as a guest artist in an educational setting.)?

Percent Response

a. none 24.4% 10
b. 1-25% 26.8% 11
c. 26-50% 9.8% 4
d. 51-75% 0.0% 0
e. 75-99% 7.3% 3
f. 100% 31.7% 13

answered question 41

skipped question 0

4. Of the amount listed in Question 2, what percentage of it is income derived from employment in legitimate theatre ONLY (live performances of staged plays)?

Percent Response

a. none 43.9% 18
b. 1-25% 26.8% 11
c. 26-50% 0.0% 0
d. 51-75% 0.0% 0
e. 75-99% 9.8% 4
f. 100% 19.5% 8

answered question 41

skipped question 0

5. Do you earn the percentage of income listed in Question 3 primarily as:

Percent Response

a. an actor/entertainer 31.7% 13
b. a technician/designer 31.7% 13
c. Production/Management 12.2% 5
d. Not earning any money in the arts/entertainment business. 24.4% 10
Other (please specify) 3

answered question 41

skipped question 0

6. I have the following union/professional affiliations/memberships (choose as many as apply):

Response
Percent Response
Count
a. none 64.1% 25
b. Actors’ Equity Association (AEA) 15.4% 6
c. Screen Actors Guild (SAG) 12.8% 5
e. American Federation of Television and Radio Artists (AFTRA) 12.8% 5
f. Writers Guild of America (WGA) 0.0% 0
g. Director’s Guild of America (DGA) 0.0% 0
h. Society of Stage Directors and Choreographers (SSDC) 2.6% 1
i. United Scenic Artist (USA) 0.0% 0
j. International Alliance of Theatrical Stage Employees (IATSE) 2.6% 1
k. United States Institute for Theatre Technologies (USITT) 10.3% 4
Other (please specify) 5

answered question 39

skipped question 2

Anyway, I only wanted to write this quick post to say I am slowly getting up off the mat and will pick this up soon. I’ve begun a little data-mining project using some alumni, and I do have an idea that I’d like to suggest which may help kick-start in a simple way some theatre education reform. This weekend I have opera-viewing duties, but hopefully I can squeeze in some of these notions in a more extensive post this weekend. -twl

-twl