Notes From a Local Theatre

Part 3-Notes from Academic Theatre

For those of us trying to build theatre programs (producers, actors, board members, directors, dramaturges, etc.), we know that the best research we can do as far as pulling in audiences and helping them make a connection with our productions is to simply go to the theatre and incorporate what we like into our own programs. Lately, the majority of plays I have seen have been from the academic theatres of colleges and high schools, but I believe these observations may be relevant to most theatre companies. While these observations seem obvious, I believe part of our failure (mine anyway)to make such a strong audience connection comes from excluding some of these things from performances.

Audiences like to learn stuff.

All right, as a director, you've done your homework. Why not turn it in?
Directors make decisions ranging from which actors to cast to the color of the tablecloth using the text, genre, and philosophy of the play. Many of these things have to be researched to obtain a clear picture in the director's mind, and much of this information makes the play more interesting to the director and to the cast. Why not share this information in the program/playbill? I agree with you if you're thinking that this has nothing to do with the success of the play-either it's effective or it's not. Still, I remember in college that the whole experience was enhanced when the playbill program contained some information about the play I was about to see. Even as much as we know about Shakespeare, a production of Hamlet should begin with the director's beliefs about the play, the period, and the author. Not only do I, as an audience member, feel in some ways a part of the production as I find relations between the presentation and what I find in the playbill, but I also have something to read before the play and during intermission, if nothing else.

Audiences like to know your cast.

I have always thought that including information (bios) about each cast member was something the cast members deserved. Now, I believe the audience deserves the information even more. For reasons discussed in more detail below, I really believe audiences enjoy plays where they at least think they know something about the cast members. In many of these bios, especially in the amateur theatre, we have the opposing extremes between those actors who have such a long list of previous works that they are forced to leave works out to those who have just come onto the scene. I am interested in the actor who has done a lot of stuff because I anticipate experience, and I like to see plays in his or her list that I've seen onstage before. I find that I feel a connection with that actor, even if I am fooled into the feeling. On the other hand, I always enjoy the surprise of an actor who has no or little previous experience but who goes on and does a great job. These surprises and connections aren't possible unless I already know the cast or unless the production company tells me this on a poster in the lobby or in the playbill. I prefer the latter unless you're willing to let me take the poster with me.

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