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Post by Guest00 on Oct 15, 2012 16:13:10 GMT -5
I guess first we need to decide if theatre in Richmond actually wants to be what you all believe it can be. Does it really want to be a premiere theatre destination, and if so, what does that even mean?
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Post by holla on Oct 15, 2012 16:51:53 GMT -5
It means that when people think of RVA one of the first things they think about is what great theatre scene we have. It means that the quality of our theatre is equal to any of the other really good theatre towns. It means actors, designers, and techies want to work here, and audiences want to see what's happening here. Because the most important people are the audience.
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Post by anon on Oct 16, 2012 8:19:34 GMT -5
Sorry, but I'm not convinced the people here actually want anything to change, and I think this experiment of yours is going to prove it. Either they're happy with the way things are and don't think there's any need for improvement, or they simply don't care. My guess is that they just don't care. I think most of them see theater as a fun hobby or a creative outlet to a job that actually pays them. That's why Richmond will never be considered "premiere". To be that, it would need to be more. People here might want that kind of status, but they don't want to do the work it takes to become that. They just want to blame the public for not appreciating what they do.
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Post by Anonymous on Oct 16, 2012 8:57:41 GMT -5
anon - While I do agree that a huge number of the artists in this community have become, frankly, apathetic about the stagnant nature of this community, I don't think that should completely rule Richmond out as a future premiere theater destination. Attitudes can change, and I hope that as these discussions continue to unfold, people will see that those of us who want to improve this community are far more than we previously assumed.
The fact that this is a town of PROFESSIONAL theaters as opposed to community theaters is a definite sign towards the positive. I am seeing more and more young, excited theater artists who love Richmond, love theater, and are hungry to spark change. Most people would assume that those young artists don't have enough influence or enough drive to actually see those changes through, but most of the evidence I have seen is to the contrary. There is strength in numbers, and the number of artists who want to see Richmond Theater reach its full potential is growing.
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Post by anonynony on Oct 16, 2012 9:57:47 GMT -5
i agree with anon, 2 down. sadly.
the young people that anonymous, 1 down, seem to be referring to: it looks like they have the passion but not the work ethic. is still a hobby to them. something FUN and an outlet. see anon post below. but the WORK part is missing.
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Post by theatrel0ver on Oct 16, 2012 12:40:20 GMT -5
the young artists lack work ethic? oh, really? prove it.
there is a wave of new energy in our amazing community. just in the past 2 years, Richmond has seen the birth of at least 3 companies being spearheaded by young people: full circle, stage b theatre company, and TheatreLAB. there is so much work and dedication that goes into NOT ONLY creating a theatre company, but maintaining and expanding it as well. young people must also work harder than our role models because we have time going against us.
to say that "doing theatre" is just for fun is completely ridiculous and a total slap in the face. we didn't spend thousands of dollars majoring in theatre or other performing or visual arts to have a fun "hobby" - this is our lives and we are dedicated to it in a highly passionate way and most of us don't see our future any other way.
complacency will kill this art form and we must do everything in our power to assure that will not happen. we should be striving for greatness, not mediocrity. if you're fine with the latter, then that's a problem you're going to have to deal with on your own - in the meantime, our community will continue to grow and change and build into the next great destination for theatre in our country. all it takes is for all of us to believe in ourselves and our fellow artists.
and "lacking work ethic" is not age-specific. i personally know a ton of lazy, disorganized, apathetic theatre veterans. so, unfortunately, your argument is invalid.
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Post by kirby on Oct 16, 2012 14:11:32 GMT -5
To me, Richmond is vibrant with cultural life here. Look at how many people come out each year to things like the folk festival. But here is the draw of something like the folk festival- it's free. My whole feeling is that I do not think that many theatre companies are responding well to the current economic situation. Yes, it is important to keep the water running and the bills paid, but there just are not enough people in the area who are going to pay more than $10 (movie price) to see a show, sadly (not that I agree with that mentality). The reason the landmark (or, now altria theatre) can charge people out the butt is because the shows that come there are under the broadway monicker.
So how do we make our regional theatre more appealing? Start being sensitive to the fact that there are a WHOLE lot of people who are unemployed, under employed, or the like who are not in theatre. Appealing to them by saying "hey, we have something really great for you to see that won't cost you an arm and a leg". Something that is kind of like a University Discount but more expansive.
I am incredibly proud of the work that the young people of this community have done just over the last two years. The amount of opportunities for all ages is so much better than it was 5 years ago and will continue to grow. I do wish, however, that there was more out there for a high schooler. Studio at SPARC is GREAT, but it only focuses on acting. Why do we not have a community program that's like a glee club for high schoolers? Or an inexpensive dance program that helps kids with the fundamentals to get into the best college programs possible?
Just my two cents (or maybe more than haha)
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Post by TheatreXpert on Oct 16, 2012 15:40:11 GMT -5
In response to kirby: Money in the arts is a difficult puzzle. Theater, by nature, if done well, is expensive. Yes - can you do theater with a cube, in the middle of a parking lot and call it "theater?" Sure. But well-done, professional theater is expensive. There's overhead; administrative staff, marketing, costumes, designers, producers, directors, the orchestra members, dialect coaches, dramaturgs. And then of course (and always the least forgotten), the actors, who often get anything worth writing home about. So it's difficult to justify only charging $10.00 to see "Wicked", or "The Lion King", or even VA Rep's "The Color Purple", or any number of productions. You could never pay for a production with $10.00 a ticket. As someone who has had their feet on both sides of the pond (actor and director/creative in many facets), I see both arguments. I personally do not have $60 to spend to see a show. So sure - do I want a discount? I'd LOVE one! But the artistic/actor side of me says "That ticket price goes towards my paycheck...and paying the designers...and paying for the orchestra...and paying for the costumes that were made....and paying for etc. etc. etc." Also, $10.00, in my mind, cheapens the value of the experience, period. A movie? Sure. And even $10.00 is too much for a movie! (Anyone remember the days of $2 - 3.50 for an evening movie? Anyone? Anyone?) But for a piece of live theater - or the symphony, or the ballet, or opera, or a dance concert, or anything - as TheatreL0ver said earlier - it's more than a hobby, and for many, it's how we make our living. You would never tell a corporate executive "We can't afford that," or "Can we just cut your salary so more people will buy your products?" Nope. Sadly, the world has a view of the arts as frivolous and unmeaningful in relation to a corporate world which makes things keep on going. We know that's not true - but it's all in perspective. So this is a tough argument. No one is necessarily right or wrong - just two sides to the coin that are constantly being flipped  As for why don't we have a Glee club - well, the high schools have Show Choirs. And outside groups that are not academically related to public school systems cannot attend show choir invitationals. The mentality of parents is "Why would I pay extra for my child to participate in something they can get in school?" It's unfortunately the reality. Same things with dance intensives - you want dance? Take classes at the Richmond Ballet, or Richmond Dance Center, or any host of places. The training begins when you, the student, take hold of your own reins and decide to get that training you want. There are many avenues for education other than SPARC, CYT, etc. |
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Post by anonymous on Oct 16, 2012 15:42:57 GMT -5
First let me say that I don't think any opinion posted on these boards should be termed "invalid." As hurtful as it may be to hear something that you don't like, it doesn't change the fact that the perception may exist. Isn't that the point of all this? To get as many opinions on the table as possible in order to start taking action? If we start saying this or that is "invalid" then we're not really being very open, are we? I'll follow that by saying I agree that the young people in this community seem much less apathetic to the state of the theatre scene than the older, more established set. To the point, when was the last time any of them tried to pull off something like this? Apathy and complacency are the greatest enemies to change, and I do think you'll find it much more prevalent in the veterans here. It's still pretty early on, but let's see how many of them speak up and prove otherwise.
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Post by philcrosby on Oct 16, 2012 16:10:20 GMT -5
I have been involved in professional regional theaters in Richmond, Cleveland, Chicago and Boston. Some on full Equity contracts, some not. Some LORT, some not. The best of Richmond theater can stand alongside any professionl theater I have seen in those places, and others. There is no more complacency here than there is in any other city in America. I think there is a vibrancy and a commitment to good work here that is the equal of anywhere in the country.
I applaud TheatreLAB for their efforts to up the conversation and get us all off our duffs to see where we can do better! There is always room for improvement while we celebrate what we do well.
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Post by anon on Oct 16, 2012 16:33:54 GMT -5
We can talk about 'professional" and "premiere" all we want, but its the audience that decides. The public decides what's professional, and the public will tell you that there is only one or two professional theaters in Richmond. Sorry, but that's the truth. If your wondering why that is, go see a play at most high schools or colleges in Richmond and you will see better production qualities than a lot of your "professional" theaters here.
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Post by philcrosby on Oct 16, 2012 16:45:32 GMT -5
Anon --
I am sorry to say I totally disagree with you. I have not seen many high school production lately, granted ... but I doubt their production values are better ... or their actors more polished ... than in the theaters here in town.
There were always be a large part of the audience anywhere that thinks professional is only a Broadway tour. But productions like this year's DESSA ROSE at Firehouse or Henley's THE LIAR or Cadence's IN THE NEXT ROOM totally deflate the production values argument, in my opinion. (Not to mention our own recent REGRETS ONLY.)
Right now Richmond audiences are supporting over a dozen theaters in town. Does that mean they only think one or two of them are professional? Can you help me understand that a bit more?
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Post by RVAer on Oct 16, 2012 19:57:41 GMT -5
Sorry, but I'm not convinced the people here actually want anything to change, and I think this experiment of yours is going to prove it. Either they're happy with the way things are and don't think there's any need for improvement, or they simply don't care. My guess is that they just don't care. I think most of them see theater as a fun hobby or a creative outlet to a job that actually pays them. That's why Richmond will never be considered "premiere". To be that, it would need to be more. People here might want that kind of status, but they don't want to do the work it takes to become that. They just want to blame the public for not appreciating what they do. I'm not sure how anon came to any of these conclusions and I wish he/she would expand on what was meant by the "work it takes to become ['premiere']." It's obvious to me that a project like this is promoting a dialogue within the community about the potential for growth and improvements. I think something like this can ONLY come from a caring place and one that is striving for the very best. As for the perspective that participants "see theater as a fun hobby or a creative outlet to a job that actually pays them" I can tell anon that this perception is EXACTLY part of the problem. There aren't many who tirelessly (and sometimes thanklessly) contribute their time and efforts to this theatre community and do it for financial gain or as a "fun hobby." It's a huge commitment, no matter the contribution. We participate because we care, because it's our passion, because for some of us, we can't begin to imagine doing anything else. Beyond that, most of us CHOOSE to participate here in spite of the fact that this community currently can't support a full-time career in theatre for many. What it does offer is the chance to express oneself artistically, to try new things, to develop new works, to explore opportunities outside of the season offerings by the theater companies in town, AND it fosters an environment where those contributing theatre artists can feel as though they have a stake in the future of the Richmond theatre community and can propose changes, improvements, thoughts, ideas and have their voices heard. I'd venture to say that there aren't many other established theatre communities that can boast that. |
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Post by anon on Oct 16, 2012 22:36:57 GMT -5
I'm just saying what I hear. Sorry if you don't like it. You probably don't hear it because you only hear what people who come to your theater say. But this is what people in the community say. That if you want to see real professional theater you need to go to DC or NY. And even though over half a dozen theaters are being "supported" doesn't reflect what the community in general thinks. Real support would look a lot different. For one thing, the seats would be filled, and not just by other actors. And its not just the public that says this. It's actors from other markets who come here and students who come here for their MFAs. If it wasn't true, you wouldn't see so many of them leave. They would want to stay, but they don't. The work that it takes to become a premiere destination starts with giving serious, professional artists an incentive to stay. Those incentives currently don't exist. And I agree that "the perspective that participants see theater as a fun hobby or a creative outlet to a job that actually pays them is EXACTLY part of the problem." That's why I said it. It is a problem. And it may not be the perspective of some of the people responding here, but it is the perspective of the majority of the people who do theater here. If you think you can change that, more power to you. But I would like to know exactly how you intend to do it.
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Post by shannonmccallister on Oct 17, 2012 1:06:55 GMT -5
Before the theatre community can become something greater than it is, the perception of the community must change. And what I'm seeing here is very disparaging, the assumption that theatre professionals are not willing to invest the time required to meet this perceived standard of "professionalism." This is not true. There are many out there who have risked their health, risked their personal income, risked their marriages, destroyed friendships, even risked their lives to be a professional in theatre. But bills must be paid, shelter must be acquired and in Richmond bread-and-butter jobs must serve as supplemental income. (Sometimes more than one.) Theatre, however, is a full time job. So how does one work a full time job to pay the bills and then work another full time job that is the theatre which often requires 12 hour/day demands? To meet this quality you seek requires three things, time devoted to the work, money for quality supplies, and cooperation of people to make it happen (not competition). The question is if people are investing their time in the theatre to create quality work and do not have the additional time to work a bread-and-butter job, then how will their bills get paid? Where does that money come? Granted, it is possible to do a quality show on a small budget, but not a large show on a small budget (at least from a costuming aspect.) If you have 40 characters in a show, you can't have a budget of $300, as that breaks down to a little more than $7 per character costume (that's the equivalent of a standard pair of shoes and a man's dress shirt at Goodwill.) Of course you could borrow from other theatres, but eventually that borrowing will lead to worn out costumes or seeing the same costume over and over again. So if you want that large cast big production value, then how do you make it happen? You have to have money. So for those of you complaining about the quality of theatres around here, how about you lend a hand in finding more funding? I volunteer (as in I don't get paid) at Dogtown Dance Theatre in marketing. I can find you volunteer work if you are truly interested in getting involved and creating quality art in Richmond and making it accessible & affordable to others. Email me: Shannon.mccallister@gmail.com. If I can't find work for you here, then I have many friends with wonderful theatres who need help too. Stop complaining about it, pointing fingers and waiting for someone else to fix it. The power is in your hands to make Richmond live up to this tremendous potential that we can all feel in the air. You tell me what your strengths are and where your passions in the arts are and I'll find you a way to utilize them for the good of your city. Because a professional realizes that sometimes you have to work behind the scenes to make your stars shine.
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