Code of Ethics for the Theatre

Hey Everybody - This was recently posted on the Northeast Ohio Performing Arts List (NeoPAL here in Cleveland). Thought it was interesting and there has since been some discussion about how to add to the list with some more contemporary ideas. Some additions here in Cleveland even included ethics for Directors and Critics! What would you add?

The Good Old Days?

A 1945 Code of Ethics for Theatre Workers Surfaces

Equity member Kathleen Freeman died of lung cancer in August, 2001 while she was appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty. Equity Councillor Jane A. Johnston, a longtime friend, was executrix for Ms. Freeman’s estate. Among Ms. Freeman’s papers she discovered a yellowed document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team and it was her childhood experience of touring with her parents from which this Code of Ethics sprung, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.”
The theatre was the Circle Players, and among its backers was Charlie Chaplin. That group subsequently evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), nevertheless, Ms. Johnston confirms that all the participants were professionals.
Foreword to the Code
“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism.
“Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.” The “rules” follow:
1. I shall never miss a performance.
2. I shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family.
3. I shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and I shall always be on time.
4. I shall never make a curtain late by my failure to be ready on time.
5. I shall never miss an entrance.
6. I shall never leave the theatre building or the stage area until I have completed my performance, unless I am specifically excused by the stage manager; curtain calls are a part of the show.
7. I shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; I shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and I shall inform all people concerned.
8. I shall forego the gratification of my ego for the demands of the play.
9. I shall remember my business is to create illusion; therefore, I shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre.
10. I shall accept my director’s and producer’s advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front.
11. I shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall I make caustic criticism from jealousy or for the sake of being smart.
12. I shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” I shall not condemn a play while it is in rehearsal.
13. I shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them—either to people inside or outside the group.
14. Since I respect the theatre in which I work, I shall do my best to keep it looking clean, orderly and attractive regardless of whether I am specifically assigned to such work or not.
15. I shall handle stage properties and costumes with care for I know they are part of the tools of my trade and are a vital part of the physical production.
16. I shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when I am in the theatre, and I shall observe the rules and regulations of any specific theatre where I work.
17. I shall never lose my enthusiasm for theatre because of disappointments.
In addition, the document continued:
“I understand that membership in the Circle Theatre entitles me to the privilege of working, when I am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing—as well as acting. I realize it is possible I may not be cast in a part for many months, but I will not allow this to dampen my enthusiasm or desire to work, since I realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.”
All members of the Circle Theatre were required to sign this document. And they must have—because the theatre, and the group into which it evolved, was successful for many years.

Re: The Unattainable "Younger" Audience ('How To'- Points)

I thought there were some great points here and wanted to share them in this forum as well...

...from a recent post from Matthew A Sprosty, Resident Playwright at Fourth Wall Productions, Cleveland on the Northeast Ohio Performing Arts (NeoPAL) list...

Matthew writes:

"Dear Neopal subscribers,

I first want to say that what here-in lies in this posting is the sole opinion of myself, and myself alone. What I write to you does not reflect on any of the opinions by Fourth Wall Productions, a company I am Resident Playwright for.

Second- let me say- Pick up the book: The Tipping Point: How Little Things Can Make a Big Difference by Malcolm Gladwell. You’ll find stuff in this book that will probably help you out. (if you can read between lines...)

At least once a year, maybe twice a year, a debate is started on NeoPal about getting younger audiences into the seats of our theaters. I have read all the postings, but never addressed them. Being a stereotypical writer (I’ll admit it), I like to just sit back and be shy about most things. Only offering an opinion of support if I feel it’s needed, but never throwing my hat into a conversation that could make myself appear disagreeable.

I do want to offer input, and help, for you- if you’ll let me- on how you can start the arduous process of getting younger people into theatre. What I’m about to recommend, and say, will take some out of their comfort zone. Because there are two types of theatre in this area- one where theatre people think is good theatre, and one where the younger generations think is entertaining. (And, under no circumstances, does this mean that the two can’t co-exist in the same production.)

I will be the first to say that I am not a theatre connoisseur. In fact, I find myself feeling like a fake when involved in an interview with the local media. It was never my intention, earlier in my career, to become so involved with theatre, and now that I am 25 years old, I feel blessed that the initial heads of Fourth Wall (Justin Tatum and E.B. Smith) took it upon themselves to make sure that I stayed with this craft.

I do feel I have a unique “in” with the younger generations when it comes to theatre. I find myself a movie-lover penning plays. I think to myself that I do not write for the older audiences, and that what they say (although the constructive criticism is always appreciated) is only trying to make me write another style of theatre that has become “the conventional” form (I can be close-minded sometimes, I warn you). The “conventional form” being the theatre that has underlying (sometimes OVERlying) themes, moral lessons, tales of struggle, and a language (filled with monologues) that gives actors a feeling like their lessons in Greek acting are being put to good use.

This theatre- is not the theatre that the younger generation will flock to. The underlying themes, moral lessons, should be there, but way more subtle than what we’re used to in this theatre world of ours.

Here's a breakdown of some points in finding that play that could entice a younger audience-

Let’s start first with casting-

To intrigue a younger audience, your principle players must be someone of their age. High schooler’s can connect with people ranging from their age to twenty-five years of age. Any older than that, and they will not feel like the person can be relatable to.

(observe the ratings of younger generations as the cast of “Friends” got older…)

You have to look at what these younger generations are watching. “Grey’s Anatomy”, “The Hills”, “One Tree Hill”, “Dawson’s Creek”. Even if it offends your artistic inputs- watch them if you want to get these younger people into your theatre. You have to know what they like.

Check out episodes of “Sex and the City” (HBO version- not TBS), or early seasons of “Friends”.

They like witty people. They like situations that aren’t “dire” by any means, but rather “relatable”. (They get their news from “The Daily Show” more often than not- watch it)

Rent “Garden State”, “Mean Girls”, “Clueless”, “Can’t Hardly Wait”. If you haven’t seen the Shakespeare “Taming of the Shrew” adaption of- “10 Things I Hate About You”- check that out. Rent “Moulin Rouge!” for an up-to-date “Camille”.

Going back to “Grey’s Anatomy”- the show, for it’s current season had to go back to “funnier, more fun” storylines, because they realized that their pathway of going to serious story lines was cutting into their ratings, and that the core audience base of the younger audience was losing interest. While Denny’s death in that show was heart-wrenching, and well-written, kids were more interested in the McDreamy/McSteamy storylines.

What does this tell us? A good plan of action when selecting your plays to intrigue the younger audience is to find a play dealing with young twenty-somethings dealing with a romantic issue.

(Fourth Wall’s “Just Shy of Closure” by David Allan, had the twenty-something female audience members gushing…)

Play picking-

I will touch on the fact of why you should look at One-Acts first for attracting the younger generation later. But, that’s point number one.

Two- Look for something with realistic dialogue. Dialogue that flows, with minimal monologues. If there is a monologue- make sure it’s comedic, or touches on good points, sporadically through it. The younger generation will tune out quickly if it’s a monologue of a character going on a diatribe about something only significant to them.

Remember- a good portion of the problem with the younger generation and theatre is that they are not exposed to it anymore. Most of these audience members I’ve come in contact with through Fourth Wall will say- “The last play I saw was Shakespeare in high school.” A Shakespeare play. After they studied Shakespeare, and were graded on Shakespeare.

They flee to movies to be entertained, because somewhere in their psyche- Theatre can be equated to Education. And why suffer that on a Friday night? We need to get passed this stigma. Find fast-paced plays dealing with issues relatable to them. Romantic issues. Money issues. Sinful issues. Keep it light-hearted.

Also, realize- the younger generation isn’t sitting in on a theatrical play and dissecting it like us (us students of theatre are). They are sitting back and wanting to be entertained.

The theaters-

The best theater I have seen so far in Cleveland that would not make a person of the younger generation nervous to go into is closed. But, Dobama’s theatre on Coventry was perfect. Half the time a “youngin’” goes to see a movie it is just to hide out from his life. Most of the time, it’s not a specific movie that intrigues him, but rather just going to the movies. To sit in a dark theatre, with his/her friends, and escape for a bit.

The biggest thing that bothers the younger generation is meeting with workers. If you go to see a movie with a younger generation in the audience, watch their eyes as the “Usher” comes in to do his rounds. Regardless of how into the movie they are- they watch the “Usher”- unsure if they are going to get into trouble.

Maybe One-acts are the way to go with these audiences members. Maybe the fact that at intermission they will have to run into theatre employees to get through the ten minutes is a turn-off. It’s something to consider… A one-act will ensure the younger audience members that once they are in- they’re in. And they can enjoy the play until they clap and leave. With minimal talking to theatre professionals as they go.

What could be a big help but a little suggestion? Arm rests. Arm rests provide a little sense of security for the younger I’s. Knowledge that even if someone is sitting next to them- they are not invading their space. Sounds stupid, I know, but it could go a long way. (Fourth Wall cannot afford arm rests, yet)

Prices-

Even Fourth Wall’s $10 ticket prices ($7 with a student I.D.) maybe a turn-off because it’s more expensive than a movie ticket, but kids aren’t dumb. They know a deal when they see one. Bang and the Clatter have a good idea of “Pay when you Can”, but it’s a situation where most kids might not understand it.

If you ask a twenty-something if they have seen theatre- they will probably tell you they saw something at Playhouse Square. That theatre is too expensive to see on a regular basis. They still do not understand how the local theatres in the area actually offer cheap tickets. It might be an idea to enlarge your ticket prices in your ads. Especially the ones that speak to their wallets.

Howard Levanthal in the 1960’s performed psyche experiments on college students. He would give them booklets on the dangers of tetanus, and went so far as to say these students should be inoculated. He went so far to tell them that the University (Yale) was offering free shots for them if they wanted to. But, even after they read all the dangers, understood all the dangers, they still didn’t get inoculated. Only 3% did.

He did the experiment again- adding a map to the booklet, describing exactly where the University health center was- and the inoculations went up to 28%. Even though these students already KNEW where the health center was…

What’s this teach us? To get the younger audiences into our theatres- we need to spell out everything for them. It’s not enough to just send out flyers, but we have to find a new way to advertise… A new way which almost puts Theatre in their way. Where they feel, with all the information presented to them, that it’s almost foolish for them not to go…

Also, if you are going so far as to draw a map for these younger audiences, especially include where they can park their car. Pointing out parking will allow them to not have to roam around and find parking. Once their car is parked- you got them. So, make sure you make that hurdle as easy as possible for them…

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This is a hard subject to approach. (I’ve heard through the rumor mill that) Tony Brown has his hands extremely tied at PD of how much he can do. How much space he can use for theatre and the arts. How much theatre he can see and review. In my opinion, the man is extremely spread thin with all he has to cover as far as the Arts go in Cleveland. Would it matter, though? The twenty-somethings I ask of what they view in the “Arts” section of the Plain Dealer is the movie times and the horoscopes.

Is there a way to make local theatre “exciting” in the local printed press? That’s an issue for a later date. But, right now, the majority of theatre coverage is just reviews of productions already going on. If you have a play aimed at the twenty-something audience, I would see if a local reviewer could help you out with a “Preview.” I’m sure the theatre critics support the plight of getting younger audiences in… Shouldn’t we all work together?

But, who knows, like I said- the Arts section of papers has suffered with the “migration” of younger-art-loving generations.

When you advertise your play- pick what parts of it will engage the younger generation. Create a one-sheet (slogan, logline) that will entice this audience you are looking for.

“A play about having a second chance with your first love…” (Just Shy of Closure)

Realize that these younger generations have never heard of most of the plays you might do even if they are published. Try and include as much information as you can in your publicity. Whether it be in the image you use, or just a paragraph on the back of the postcard- whatever. To entice this audience- you’re going to have to explain why they should come.

If you have enough money in your budget- see what it takes to run radio ads on 96.5 Kiss FM. Or Q104. Start your advertisement with something like- “Looking for something to do on a date?” (Being a high school’er in the Cleveland area- I was starved for new ideas to take my unofficial girlfriend out to. I had no idea about the theatre area here. You didn’t reach me. One way you could have is if you got onto my radio stations.)

Another way you can reach someone like me is through MySpace or Facebook. If you do not have a page set up for your theatre- do it now. It’s the easiest way to communicate with the younger generations.

Pickwick & Frolic made me love their establishment by getting me free tickets to come see their comedians. That might be a way to go. Regardless, a younger generation will word-of-mouth your production, your company, to their parents if they enjoy it. Also with their friends, and that might start an epidemic. If a parent of one these youngsters come- that’s a 40-60 year old audience member for you. Which is younger by standards than what we have coming to our shows now, isn’t it?

Fourth Wall does unpublished plays so we have the liberty to write and produce movie trailers for our plays. If you have the right to- you should think about doing the same. The apple.com trailer site is a go-to place for a bunch of people I know who just want a taste of everything that is out there.

For ideas on how trailers connect with the younger generation- go to www.apple.com/trailers .

You can view Fourth Wall’s at: http://www.youtube.com/user/FourthWallProduction
It’s definitely something you should consider doing if you can. It gives the “kids” a chance to take in the feel of the play. Most importantly- it gets them excited to see the production, more so than a postcard can. Or a camera aimed at the stage can…

Me, as Literary Manager, And Resident Playwright-

I pride myself on finding the plays that I think the younger generations will like through unpublished plays. While I’m writing you during the time when Fourth Wall is putting up my show “The Bank Guards”, I simply urge you to search the past productions of our theatre company (Just Shy of Closure, 2 Man Kidnapping Rule, Stained Glass Ugly, All the Way from China), or a theatre company like “Theatre Ninjas”. These companies in the area are searching out, and attaining, these younger generations of theatre go’ers by putting on productions that speak to them.

I realize we all have mission statements to adhere to, and current audience members that might not like the idea of changing up, at least, one play a season to play to these non-theatre go’ers- but I encourage all to take the chance.

Fourth Wall is a catalogue for your companies to see.

So, if you can, come see The Bank Guards. It’s a play I wrote for twenty-something men. The men that were dragged to Fourth Wall in the past by their girlfriends, and I felt- needed a testosterone riddled play. It’s my try at creating an “action” movie for the stage. The non-theatre-go’ers (the young, non-theatre-go’ers who you won’t hear from because they don’t have a voice in our community, yet) have said that it was extremely entertaining to them, and “played like a movie.”

You might not like my play The Bank Guards, but I wrote it to easily entertain the younger generation of theatre go’ers. It might be something for you to check out to understand what I might have meant through my verbose ramblings here… "

to which I replied:

Dear Matthew - Thank you so much for posting your thoughts on this very important subject.

I couldn't agree with you more. For a few years now I've been working to keep the dialogue going among various theatre groups on this topic. Some of us may still cling to the outdated notion that the theatre-going experience is some sort of sacred cow, with a hushed and almost reverant atmosphere. I think we have a stigma among people who don't normally go to the theatre that one must be dressed in one's finest and be on one's best behavior to sit for two (three?) hours watching sometimes, distant, dated and unrelatable material. While I do believe there are some traditional conventions that make the theatre-going experience unique to any other, I also think we must break any negative stereotypes about theatre, especially during these challenging times when people can get entertainment streamed into their computers in their own living rooms. And if there are any disposable dollars left over for entertainment (can you say $4 a gallon?) they ain't spending it in what they may perceive as some "weird" or foreign atmosphere.

If we're lucky enough to get new audiences into our theatres, we have to create an atmosphere they are familiar with, like the movie-going experience - noise, lights, signage, advertising, previews, concessions, etc. (which can also be revenue streams). I've always said if you like going to the movies you'll love theatre - it's the same thing only even more exciting because it's happening live in front of you! Either way you're still sitting in a dark room watching a story unfold in front of you. And I don't think I've ever come out of a really great movie and said " that was awesome! The only thing that ruined it for me was the posters in the lobby and the ads at the beginning." Of course it always helps if we produce a quality product too so they might not only come back again, but generate that most important marketing tool - good buzz.

So how do we reach them? We already know that we need to go to them, they won't automatically come to us. We need to be where they are - and you're absolutely right - MySpace and Facebook, video, podcasting, etc. It also makes sense to be present where people are already buying a ticket for entertaiment....movie theatres, malls, fairs, festivals, etc. This is why I started the outreach performance group Cassidy On-Tour at the Cassidy Theatre. We have performed at movie theatres, malls, arts festivals, etc. which has helped us introduce the theatre to new people. We even have an underwriting sponsor for the group that allows us to pay a small stipend most of the time for the performers' efforts.

You may be interested in a blog forum called "Theatre Tribe" where the focus is on changing the way we produce theatre. The link is : www.theatretribe.ning.com

The following is an excerpt from a recent thread I was involved in that I thought also speaks to a couple of your points:

I think these are really great ideas. My "full-time" career (as if I theatre directing and performing is only part-time!) has been as a media advertising and marketing executive. As such it is my job day in and day out to solve my clients' marketing and advertising challenges with the programming and audience reach my stations have. The same basic challenge applies to theatre and discovering new revenue streams. The ideas discussed here are wonderful, creative ways to develop new revenue streams, but if we don't think of ourselves as salespeople who can effectively translate the value of these ideas as ways to solve a particular clients' specific needs, we're wasting our time. We're so used to presenting and having an audience listen and watch us. We need to flip that around and LISTEN to what potential sponsors are telling us. Then we can use our wonderful creativity to create customized and specific programs that use our unique resources to solve their problems. Sponsors will pay for solutions to their problems. We just have to find out what those problems are and effectively sell OUR solutions. And believe it or not corporate America is more creative that we give them credit for....they ARE looking for new and different ways to market themselves to make their brand stand out among the ever-increasing din of advertising messages (can you say live pre-show "commercials" on the West End or Dove Soap's recent commission of a scripted play detailed in the article "I Don't Care if it Sells Soap" here: http://www.theglobeandmail.com/servlet/story/RTGAM.20080508.wdove08...
As much as we artists hate to admit it..we have to become SKILLED sales executives and business people too.

That's exactly what the "Call-Back" series is all about. Reaching new audiences in new ways and offering exposure for corporate partners. The show airs each week on cable and documents the behind the scenes process of producing shows. I invite you to check out the following YouTube links of past "Call-Back Episodes:

Call-Back: The Dreamgirls Collection

VioletBlog:

Annie Get Your Gun on Call-Back:

A Nightmare of Crime on Call-Back:

Thoroughly Modern Millie on Call-Back:

Thanks again for continuing the dialogue. - Geoff Short

Show Notes from the latest Call-Back Podcast Episode #100

The podcast can be found at www.geoffshort.libsyn.com or by searching iTunes for Call-Back with Geoffrey Short.

Hello! Thanks for downloading. It's been a long time since the last audio podcast episode of Call-Back. The show evolved into a video theatre documentary series airing locally here in Cleveland Monday nights at 10:30p on Cox cable channel 45. But podcasting is so important and it's great to be back!

In this episode:
We talk about musical revues. I was just in one - The World Goes Round - the music of Kander and Ebb at Brecksville Theatre on the Square (www.btots.org) in Brecksville, Ohio and I will be directing another this summers - Some Enchanted Evening - the music of Rodgers and Hammerstein at Huntington Playhouse in Bay Village, Ohio (www.huntingtonplayhouse.com). This prompted the question - "how do you stage a musical revue? Does the lack of a structured book thrill you or scare you? How much creative flexibility can you have with a revue? Do you approach it as sort of a staged concert or with more plot structure? I personally love the freedom a revue gives you and for someone who is so focused on music in all its forms as I am, I think they give us great new ways to present wonderful music.
Speaking of musical revues...in this episode we get a preview of Some Enchanted Evening (www.someenchantedevening.8k.com). This preview is also a video that is on the S.E.E. site as well as on YouTube. In it I discuss auditions, rehearsals, concepts, etc.
We also take a look at starting a "new" 30-year old theatre - The Cassidy Theatre in Parma Heights, Ohio. For 30 years this community theatre has been municipally owned and operated. In light of ever-increasing economic challenges a group of us got proactive and began the process of becoming a new non-profit, independent entity late last year. We formed a new board, wrote articles of incorporation and have been applying for various grants. This is not a unique situation and I would love to hear about similar experiences in your towns. The ups and downs of this adventure certainly provide enough drama for a show in and of itself!
Then we go behind the scenes of auditions for the upcoming CAMEO production of Thoroughly Modern Millie (www.cameo-medina.org) We'll be documenting this show on Call-Back and is the case with every show this is the first step! Enjoy!

Great Discussion about New Theatre Revenue Streams

Hey everybody! I recently joined a new theatre discussion group you should know about called Theatre Tribe:

I got into a great discussion about new revenue streams for theatre groups.

Discussion posted by Scott Walters:

You might want to read the following two posts from Theatre Ideas that I did, and then read The Director's thoughts and questions about "...

Discussion link:

http://theatretribe.ning.com/forum/topic/show?id=1998169%3ATopic%3A2223&xgs=1

I responded:

I think these are really great ideas. My "full-time" career (as if I theatre directing and performing is only part-time!) has been as a media advertising and marketing executive. As such it is my job day in and day out to solve my clients' marketing and advertising challenges with the programming and audience reach my stations have. The same basic challenge applies to theatre and discovering new revenue streams. The ideas discussed here are wonderful, creative ways to develop new revenue streams, but if we don't think of ourselves as salespeople who can effectively translate the value of these ideas as ways to solve a particular clients' specific needs, we're wasting our time. We're so used to presenting and having an audience listen and watch us. We need to flip that around and LISTEN to what potential sponsors are telling us. Then we can use our wonderful creativity to create customized and specific programs that use our unique resources to solve their problems. Sponsors will pay for solutions to their problems. We just have to find out what those problems are and effectively sell OUR solutions. And believe it or not corporate America is more creative that we give them credit for....they ARE looking for new and different ways to market themselves to make their brand stand out among the ever-increasing din of advertising messages (can you say live pre-show "commercials" on the West End or Dove Soap's recent commission of a scripted play detailed in the article "I Don't Care if it Sells Soap" here:

http://www.theglobeandmail.com/servlet/story/RTGAM.20080508.wdove08/BNStory/Entertainment/home

When somebody threw out the idea of video documentaries I responded:

That's exactly what the "Call-Back" series is all about that I produce here in Cleveland. The show airs each week on cable and documents the behind the scenes process of producing shows. I have also been able to monetize the process. Essentially there is no-charge to theatre groups for documenting their shows and putting them on the air (and on-line), but rather a barter system is set up. The theatre groups give me a certain amount of exposure in their theatres (program ads, video screens, lobby space, signage, etc.). I pool these exposure vehicles and re-sell them to corporate sponsors who may want to reach a larger scope of audiences in different theatres in different geographic areas. The participating theatres get the revenue and I keep a small percentage (essentially a commission). The theatres love the exposure for their shows, the sponsors love new marketing vehicles and I can cover my expenses. I invite you to check out the following YouTube links of past "Call-Back Episodes:

Call-Back: The Dreamgirls Collection
http://www.youtube.com/view_play_list?p=AB554CC3DF364CB5

VioletBlog:
http://www.youtube.com/view_play_list?p=6E774025132B1537"

Annie Get Your Gun on Call-Back:
http://www.youtube.com/view_play_list?p=B28E0E7D5FD63EC5

A Nightmare of Crime on Call-Back:
http://www.youtube.com/view_play_list?p=A9512F9461C710A0

Thoroughly Modern Millie on Call-Back:
http://www.youtube.com/view_play_list?p=B99973B8F65D3FA5

Great Stuff! Join the tribe!

Selling Community Theatre - A couple Thoughts

Since this is the first blog I've written here, I guess I should start by saying that I'm Geoff and theatre and performing has been my passion since I was a kid. I have been a media advertising and marketing professional for most of my career and that has bled over into trying to help community theatre groups in the communities around where I live in Cleveland market themselves in new and more effective ways. One of those ways has been "Call-Back" a video cable series that documents the process of producing plays and musicals. Check out the links to the right to see some videos from the Call-Back series. The latest Call-Back project is a show that I'm directing at the Huntington Playhouse in Bay Village, Ohio called "Some Enchanted Evening" - a musical revue of Rodgers and Hammerstein classics. Check out the Some Enchanted Evening site link for more details about the show.

Without getting up on some soapbox, I guess the first thought I want to start with here and one that I have been trying to preach to theatre groups in my community, is that we can no longer depend on "the kindness of strangers" (i.e. charitable or philanthropc giving) to subsidize our theatres. Community theatres have had sort of an identity crisis in that for decades we have sort of sheepishly done an "Oliver Twist" and "asked for more". In these tough economic times, there is "no more". So do we fold up our tents and fade into the sunset? Absolutely not.

I think we have to start thinking of our theatres as real economic engines in our communities with valuable resources. Then we have to sell them like other products and services. What is our most valuable resource? Our audiences. Night after night we have (hopefully) a captive audience that is used to seeing messages from sponsors in just about every other walk of life..why not our theatres as well? We need to know all we can about our audiences so that we can translate the value of exposure in front of them to potential sponsors. Companies will pay for solutions that they believe will solve problems and help them reach their goals. So the first step is to meet with as many corporate partners as possible and LISTEN...don't talk....to get an understanding of what their needs might be. Then it's a matter of matching our audiences with opportunities that help solve a client's problem and we're on the right track.

We are such a creative community on the stage - it just seems like as soon as we start talking about the inevitable business of running a theatre, we start to glaze over. Let's get creative with that too!

Much more to come but I'd love to get your feedback as well. Thanks and break a leg!