Thankful

Contributed by Amanda Feldman


In grade school during in the weeks leading up to Thanksgiving, we were taught to make a list of what we are thankful for. I know I have said it before but I am thankful for the downtown theater community – which for me is really an extension of family. Of course, the best part about my Indie Theater family is how inspired and moved I am by the really wonderful plays that they produce.

Personally when I go to the theater, what I’m especially drawn to is really interesting stories told in unique ways. In additional to the shows that I produced, which of course I’m biased to love, the two productions this year that felt did an extraordinary job were The Honeycomb Trilogy by Mac Rogers, produced by Gideon Productions and Pool (no water) by Mark Ravenhill produced by One Year Lease.

On the surface, The Honeycomb Trilogy, which, yes, I know is technically three plays, tells an epic story of an alien invasion. The reason Mac is a genius is not because he was able to craft a fascinating sci-fi story (although he does brilliantly), but because Mac tells a beautiful story about family. The relationships throughout all three pieces of the play are all so vivid, heartbreaking, and real, that they stay with you long after the curtain comes down. I think I mentioned to Sean Williams, one of the producers and an actor in the first play, the only thing I didn’t like about the play is that Mac had to kill off so many characters from play to play that I was sad when the actors didn’t reappear in the next installment of the trilogy. For me this epic adventure, directed flawlessly by Jordana Williams, is everything good theater should be.

One Year Lease’s production of Pool (no water) was exceptional for a very different reason. The story was fairly simple; group of quote/unquote friends get together, there is an accident, and then there is the slow and painful recovery. As often occurs with a group of struggling artist "friends" when one achieves success beyond the others, there is jealously, anger, and resentment. What is so incredible about this production is how it was almost a choreographed dance piece. Using only a few coffee table-like set pieces and the actors’ physicality we were transformed from one location to the next. As the play was told from memory, there was a ton of “he said/she said,” but in part thanks to Ianthe Demos’s incredible direction you were never lost or confused. It was captivating story telling at its best.

To conclude, I am thankful that I got the opportunity to see so much great theatre last year. I am especially thankful to my husband who successfully put my daughter to bed on the nights I was at the theater. And as always I’m looking forward to another wonderful year of theater.

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Amanda Feldman produced The Play About My Dad by Boo Killebrew, Theives by William Yellowrobe, Jr, Lake Water by Troy Deutsch, Prison Light by Austin Flint, HOTEL PLAYS, The Deepest Play Ever: The Catharsis of Pathos by Geoffrey Decas O’Donnell, and Olives And Blood by Michael Bradford. She is the Managing Director of CollaborationTown, A Theatre Company and a Producer with Neighborhood Productions.

Our International Theatre Community

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Contributed by Guest Blogger of the week Amanda Feldman.

Before I start my final blog this week, I wanted to thank the Shay, Morgan, Nick and everyone at the New York Innovative Theatre Foundation for giving me this opportunity. I’m normally not the blogging type… I barely keep up with Facebook, but having this forum to put my thoughts in cyber space this week has been pretty awesome. So thank you IT friends and thank you to everyone who has read my four blogs this week.

Anyway, enough prologue… today I want to blog about the international theatre community. The trick is that it is not so much a community, as it is thousands of communities. But every single theatre artist across the world celebrates the age old tradition of story telling in his or her own way and every theatre practitioner knows that when a performer and an audience member breathe the same air there is an intense connection possible that exists in no other art form. These shared values create an incredible bond that stretches from playwrights in Uganda to designers in Hong Kong from directors in Mexico City to stage managers in Mumbai.

To be a member of the international theatre community means three things:

1. One should always do his or her best art as bravely and as passionately as possible. I know this first qualification is a bit cheesy but there is some crazy force driving us to this unstable and insane career. 
2. One should endeavor to discover fellow international theatre artists and get to know their work. Working at the Lark, I have the pleasure of getting to know playwrights from around the globe and it’s amazing to bear witness to not only their unique and eye-opening stories but also to get caught up in the way they tell their stories. I think we are extremely lucky here in NYC that there is so much international and multi-cultural theatre happening, so why not take advantage. 
3. Finally, I think to be a practicing member of the international theatre community, once a year on March 27^th one must pause for a brief moment to recognize World Theatre Day, because we are part of an age old globe tradition that touched people from all corners of the map.

Now you are thinking to yourselves, how does one celebrate World Theatre Day? Don’t worry I will tell you. You can celebrate World Theatre Day but just simply reading the international message, which is given each year by a theatre luminary. (This past year Dame Judy Dench gave the international message and then Lynn Nottage gave the US World Theatre Day message). But if you are in NYC and you want to do more you can get involved in the NYC World Theatre Day Coalition. Some of you know I coordinate the NYC World Theatre Day Coalition, so in a way this last blog is a bit of self-promotion, but really all I am asking is for you to take part in some cool flash mobs, to maybe attend a panel, and then to party… just a little. You know, throw a streamer in the air for Shakespeare, honk a party horn for Checkov, and maybe boogie down for the great Kabuki playwright Chikamatsu Monzaemon.

I know I’ve piqued your interest so now you can find out more information about World Theatre Day in NYC here - http://nycwtd.com/ and nationally here - http://www.tcg.org/international/events/theatreday.cfm. If you are interesting in getting more involved we will be planning a meeting this December to solidify our March plans.

Finally, an addendum… if I had more time in my life, I would have also written a fifth blog entry about being a part of our national theatre community of which I am a proud member. And there is definitely a lot to say as about the theatre in our great nation. The regional theatre movement is not without it’s shortcomings, however, the dedicated American theatre artists and managers I have met are smart, inspirational, and totally up for the challenge.

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Our NYC Theatre Community

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Contributed by Guest Blogger of the week Amanda Feldman.

I once heard it said that the theatre industry was the second largest industry in NYC behind finance. I’m not exactly sure how this statistic was measured or who stated it, but it sounds accurate so I’m going with it as fact. Figure if you count Broadway, Off-Broadway, Off-Off-Broadway, non-profits and for profits we are a pretty huge force to be reckoned with, but I don’t think we have ever acted as a singular group and I think that’s sad.

Last year I tried to coordinate activities for World Theatre Day and I was taken aback by some of the resistance and mistrust that I encountered. Theatre Communications Group was skeptical about Broadway getting involved and stealing their limelight. ART/NY was interested but mainly concerned about what was in it for their members and were protective of their resources, because after all the World Theatre Day Coalition wasn’t a member of ART/NY. The Theatre Development Fund was surprisingly very interested in getting involved, but I didn’t seek them out in time to really help the cause. I wasn’t asking for much but I was surprised by how protective everyone was. I’ll talk more about World Theatre Day in my next blog, but what I hope to one day achieve is a much friendlier open New York City theatre community.

Based on a T-Shirt idea that Jenny Greeman and Lanie Zipoy came up with at a Dish meeting last year where they wanted to create a T-Shirt that said, I Heart OOB, which I still think is a genius idea, I would like to create a T-Shift that says “I Am New York City Theatre.” Then for one day a year everyone should wear it - from the Broadway theatre owners to the Indie theatre stage manager to all actors and designers alike. I think it would make a huge impact on the City and perhaps foster a sense of community amongst us. I think if we always identified as theater artists - not downtown theatre artists versus Broadway theatre artists - it would do a lot to encourage unity. Plus proceeds could go to a cause we all care about such as the Department of Cultural Affairs to be re-granted to us or could go to an arts education programs or Broadway Cares/Equity Fights AIDS.

Speaking of BC/EFA, I think the way Tom Berger brought that post show fundraising campaign to the Indie Theatre world last year for a week was genius. I’d love to see more and more Indie Theatre companies take part in doing the post-show fundraising drives for such a good cause. Sure we won’t raise as much money as Broadway but proportionally I bet we can reach equally as much.

Perhaps my dreams of a singular NYC theatre scene may be naïve but as someone who has worked on Broadway, Off Broadway, and in the Indie theatre world, I can guarantee we have more in common than we do separating us.

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Our Indie Theatre Community

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Contributed by Guest Blogger of the week Amanda Feldman.

I remember when I discovered there was an indie theatre community. I had been the Managing Director of CollaborationTown for over a year, when I went to my first Community Dish Meeting. I remember being so excited to discover that I was not in it alone. It opened up new possibilities to me… cross marketing opportunities, producing advice, and most importantly an opportunity to get to know other theatre artists. I hate to think that there are young artists out there today who do not know the support networks that are available to them.

I think the tricky thing about nurturing an Indie theatre community, is that we are so diverse. I know it’s been said on this blog before but sometimes it’s hard to identify us - we can’t be categorized by aesthetic, a geographic location, kind of theatre, or anything aside from an Equity code that we all love to hate. Its difficult for veteran indie theatre artists who have been producing for ten plus years to put themselves in a category with young upstarts who just got their BAs and have come to NYC to put on a show, but I do not think our community gains anything from exclusivity. After all we were all once that young theatre artist. Plus measuring us by the quality of our art is counterproductive because we have all had shows that were varying degrees of success. And it’s true that not all Indie theatre is “good,” but all indie theatre artists are striving for recognition, audience, and, I believe, the support of a community.

The other challenge to fostering the Indie theatre community is that for most of us, Indie theater is not our only gig. Whether you are a waiter or have a “day job” chances are your theater company isn’t paying the bills and therefore you are much busier than everyone else you know because in essence you have two jobs. I remember thinking how great it would be to create a branding campaign on behalf of Indie theatre (and personally I think we made a huge stride when we shifted from Off-Off-Broadway to Indie Theatre, but I know not everyone agrees with me). At one point in time I had visions of doing this massive fundraising campaign to get young finance executives to donate to peer theatre artists, but then the finance system went to pot.

None of this happened mainly because we were all too busy, but other things did happen and I’m proud of where we have come as a community. Great organizations were created such as the Community Dish, the New York Innovative Theatre Foundation, and the League of Independent Theatres, New York. For the past three years we played an active role in Free Night of Theatre and for the past two summers we have celebrated Indie Theatre Week.

At the moment, I can tell you’re feeling inspired and want to do something. So here are five easy things everyone can pledge to do today:

1)      See at least twelve Indie Theatre shows this year… I don’t think once a month is asking too much.

2)      Read the blogs of Indie Theatre artists, there are a lot of them to choose from but they are always insightful and fun. Although if you’re reading this, I know that perhaps I’m preaching to the choir.

3)      Join the Community Dish and go to at least three meetings a year. Our next meeting is Monday, November 8^th and we’re teaming up with Incubator Arts and the League of Independent Theatre, New York so it should be a nice big meeting. www.communitydish.org

4)      Join the League of Independent Theatre, New York because they will take your concerns to Equity, to the Mayors Office, to Albany, and to the real estate world.

5)      If you can afford it make few donations to theatre companies you admire, DO IT.

Back in 2006, I had to step down as Managing Director of CollaborationTown because I couldn’t do that and be paid to company manage an Off Broadway show at the same time. Thus I became unhitched and for a while that was scary. My place in the Indie theatre world felt less defined, but thanks to my active participation in the community I never felt lost or alone and now happily produce for various theatre companies.

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How do you define "Community"?

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Contributed by Guest Blogger of the week Amanda Feldman.

I’m exhausted. Today (Sunday) was the last day of Playwrights Week at the Lark. Playwrights Week is a festival of play readings – eight readings in five days to be precise – that is the culmination of Lark’s open access submission program. I feel like I just ran a marathon it’s been seven days of ten to fourteen hour days in the office filled with rehearsals, dinners, receptions, dozens of actors, tons of script copying and lots of wine and coffee and more coffee. As the week was swirling by, this group of artists instantly became each other’s friends and supporters. It was inspiring to watch how good theatre people are at creating and being part of a community.

Of course this makes sense, our art is nothing if not intensely collaborative, but what is so wonderful about being able to create and sustain communities is that I truly believe it gives theatre artists a leg up on the rest of the world. (I can’t prove this but I have a hunch that it’s true.) Anyway, I would like to take my turn as the IT Awards guest blogger by discussing the various theatre communities that I call home.  Also I want to talk about some things I think we can do to strengthen these communities that we all cling to and claim as our own.

Now I am not so naïve to throw the word “community” around willy-nilly. It’s definitely a weighted word. We all have our preconceived notions of what a community is and how we define it. Plus the word “community” is definitely one of those hot button grant speak words. People want to know who is in your community? How big is it? How diverse is it? I’m going to try to be clear in my various definitions throughout the week but bare with me as I navigate through my arguments – these are not pre-vetted so you’ll be reading as I’m thinking these thoughts. And, while I don’t plan on being overtly controversial, I do hope to put my own spin what I think is the value of community.

I think it’s only fair to finish this introductory blog post with a question…

Indie theatre artists, how do you define your theatrical community (or communities)?

[On a side note, for those playwrights who read this blog, Lark is currently accepting submissions for Playwrights Week 2011. Just go to Lark’s website for more info. Submissions are due November 20^th. http://www.larktheatre.org/programs/submission.htm]

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Guest Blogger of the week: Amanda Feldman

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We would like to thank Tom Wojtunik for posting his very first blog, EVER, with us. We were honored.

We are excited to announce that next week's guest blogger will be... Amanda Feldman.

Amanda Feldman is the General Manger of the Lark Play Development Center. Producing credits include: What May Fall (Fordham University’s Pope Auditorium); Hack! an I.T. Spaghetti Western (Brick Theater); Blackouts (Center Stage NY); Neighborhood 3 and Unfold Me (Summer Play Festival '08 and '07); Dressing Miss Julie (NYC Fringe Festival); The Deepest Play Ever, They’re Just Like Us, The Astronomer’s Triangle, The Trading Floor (CollaborationTown, a Theatre Company 2003 – 2006). Previously she worked with various non-profit and commercial theatre companies including: Nikos Associates, Williamstown Theatre Festival, Baltimore’s CENTERSTAGE, The Shubert Organization, and Richards/Climan, Inc. In addition, she helps run The Community Dish, a forum for the off-off Broadway community, she is a Judge-At-Large with the NY Innovative Theater Awards, and she sits on the Boards of CollaborationTown, A Theatre Company and The League of Independent Theatre NY, an advocacy organization for NYC’s indie theatre community. Recently she founded the NYC World Theatre Day Coalition to publicize and coordinate the annual celebration on March 27th. Upcoming productions are The Wife by Tommy Smith (The Gallery at Access Theater, December 2010), The Play About My Dad by Boo Killebrew and Theives by William Yellow Robe, Jr.

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