Are we losing the ‘community’ in our community theatres?

 

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I can still remember the opening night of my very first show. As a 15 year old, you are a messy mix of wanting to be noticed and being horrified when you are. Oh, the ‘actoring’.

The joy was that I was surrounded by experience; people who helped me learn to perform and become brave enough to grow. The community in ‘community theatre’ was strong and, while I learned that there are good and not quite as good ways to approach a piece of theatre in the amateur world, I became aware that it was what participation in community theatre did for individuals that made it most appealing to me.

I love the ones who struggle with nerves, but do it anyway; who are brave; who step out of their comfort zones and into the cushioned and understanding arms of fellow performers in their local community theatre company.

Since I began the Idiot project, I’ve studied the challenges of many companies and developed ways to make things better for them. This has exposed me to many wonderful theatre communities who love what they do and support and respect the people who do it with them.

But there’s a disturbance in the force that is really starting to tick me off.

If you’ve read my blog for any length of time, you’ll know that I am passionate about encouraging and equipping community theatre to expect more and to be extraordinary. I see this approach in so many productions, performers, producers and companies and it thrills me to pieces.

But this drive to improve should never be at the expense of people. We should always respect the time and talents offered to our companies. We should never treat our volunteers like staff, we should keep our heads out of our asses and seek to include the diverse range of people who seek to participate in the arts.

It saddens me to see some community theatre companies be overcome by what can simply be described as a sense of embarrassment about who and what they are. They’ve leapt over the line of ‘community theatre doing the very best they are capable of’ and landed right smack in the middle of ‘we’re going to be better than anyone else’ – a very, VERY different attitude.

Working to create a piece of theatre that is the very best that your team is capable of, carries a beauty and value, not measurable at any box office. This attitude empowers individuals to reach further, respect everyone’s efforts, and encourage each other to create something far bigger than themselves.

Once you enter the realm of wanting to be better than everyone else, you do so by stepping over people to get there. Theatre companies make decisions that jeopardise their future. They insist on hiring theatres that are too big and expensive for their budget, everything becomes about ticket sales, and volunteers burnout at an alarming rate.

“But we have to sell tickets,” you cry!

Then let’s step sideways for just a moment.

I have recently come across companies making major decisions for their future based on false information. They have struggled to sell tickets and interpret this as a need to go bigger, change their culture, drastically alter their show choices in a way that does not reflect what their audience wants and build shows that force them to price themselves out of the community theatre market. These changes in and of themselves are not bad. It’s the reasons these decisions are being made that is challenging.

The statement, ‘we can’t sell tickets’ is false. It can be complex, but when it comes to community theatres run by volunteers without marketing skills, it’s false, and here’s why.

You are not marketing your shows! You think you are because you post a few things on social media, maybe spend money on print ads in your local newspaper and badger the cast to sell more tickets but, from experience, I can almost guarantee that YOU ARE NOT MARKETING AND THAT FEW PEOPLE KNOW THAT YOUR SHOW/COMPANY EXISTS.

The mistake people make is thinking that the world is no bigger than their own – “I think this way therefore everyone else does. I know the show is on, I’ve posted on facebook so everyone else knows what I know.”

FALSE. WRONG. NO. NO. NO!

Marketing 101 – Do not market to yourself! And, I’m sorry, but that is exactly what you are doing. Please, please, for the love of all the gaff tape you have used in your career, stop making decisions based on these assumptions.

Improve your marketing first. You haven’t even scratched the surface of ticket sales yet, I guarantee it. It doesn’t matter what the show is. I’ve sold thousands of seats to Gilbert and Sullivan, Rogers and Hammerstein through to contemporary theatre simply with good, basic and inexpensive marketing techniques. Learn the basics, do the basics consistently. Everything else is a bonus but not necessarily sustainable.

DISCLAIMER: I still can’t sell crap! End of conversation.

Stepping back to what’s really important!

Our theatre communities are all different and extremely valuable, making up a smorgasbord of creativity that provides training and companionship, a place for our creativity to thrive and even explore the potential of making it a profession. Size does NOT matter. Bigger is not better. It’s simply different. Whether your season is a series of plays, musicals or cabaret, or whether you perform in a 90 seat hall or a 500 seat theatre, know that you are family to thousands of creatives who need to feel accepted, challenged and seen.

I do not want to be part of a local theatre community that is embarrassed about their amateur status, who feel the need to be better than everyone else or want to be considered ‘professional’, and fail to cultivate a culture of belonging, joy and humility.

I want to be part of something great, but that greatness comes from all of us working together to do our best, not from a company driving their cast and volunteers to be a product, simply for the purpose of selling tickets and satisfying individual egos.

Actors and creatives who have worked with me could tell you that I love the people I work with, I will challenge them and expect them to challenge themselves, I will protect them and I will fight for their joy in what they are doing, but I will never waste their time telling them what they want to hear, only what I believe will make them better – for their sakes.

I love you, community theatre. You are joy, family and passion.

Don’t forget who you are and what you are worth.

It’s everything.

Sher.

 

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Finding the grace of a Disney heroine.

 

An Idiot On Stage Blog Post  16July15

“Red Wine for Idiots” is a series of filmed conversations with community theatre performers, producers and directors and it’s my way of bringing the experience and teaching of others to the amateur theatre community. Its sole purpose is to equip and encourage, not to mention having some fun.

My first guest was Kate Milward, who scored the role of Belle in a large-scale production of Beauty and the Beast straight out of high school. Might sound like a fairytale but you soon learn you have to bring your game on when you’re working with a professional director and other cast members with years of experience and training.

This young lady did it with style and grace and shares some of her biggest lessons in this interview.

This theatre thing is a lot of fun but it’s absolutely BRILLIANT when you share it. Have a great week.

Cheers, Sher.

An Idiot on Stage is written by Sherryl-Lee Secomb to equip and encourage community theatre to expect more and be extraordinary.

anidiotonstage.com.au   |   facebook/anidiotonstage

Shakespeare, Red Wine and Performance Nerves.

An Idiot On Stage Blog Post 20JUNE15

Community theatre is about relationships. Regardless of your views on the importance of performance standard (and I consider it important), you can’t tell many stories on your own. You need people. So why do so many companies and performers make decisions and choices from a position of fear and lack?

  • “Your success means my failure.”
  • “Encouraging you means belittling me.”

It’s a lonely road for the neurotic performer who sees others as competition and it’s a lifetime of ineffectiveness for a company that shields itself by living by the statement, “we’re just amateurs; don’t expect much of us.”

An Idiot on Stage was built on the determination to “equip and encourage community theatre to expect more and be extraordinary.” I’ve been around too long to believe that I can do that all on my own. I may be the Idiot but I ain’t stupid. Our theatre community is full of passionate, talented and courageous people who are willing to step up and share their skills and knowledge with the rest of us. The problem is that most of us isolate ourselves in one little theatre company, never opening our eyes and ears to the teachers around us.

“Red Wine for Idiots” is a series of filmed conversations with community theatre performers, producers and directors and it’s my way of bringing the experience and teaching of others to the theatre community. Its sole purpose is to equip and encourage, not to mention having some fun.

Last night I experienced the beginning of this series as I chatted with three amazing people discussing everything from performance nerves to working with directors, from performing Shakespeare and producing independent theatre. I was so excited by the end of the night that it took me a couple of hours to come down off the ceiling.

This series will be released on facebook and youtube in a couple of weeks. Go to anidiotonstage.com.au and sign up to receive my eNews, “The Idiot’s Notebook”, for notification of the video releases and more.

This theatre thing is a lot of fun but it’s absolutely BRILLIANT when you share it. Have a great week.

Cheers, Sher.

An Idiot on Stage is written by Sherryl-Lee Secomb to equip and encourage community theatre to expect more and be extraordinary.

anidiotonstage.com.au   |   facebook/anidiotonstage