Cultivating a Green Audience

While we as theatre artists can make more environmentally friendly choices when creating our productions, we can also encourage our audiences to be more green as well.

Here are a few tips on how audience members can be more environmentally aware while at the theatre:

• Consider your transportation options: Take public transportation to the theatre. Walk or bike when possible or look into car-pooling opportunities. Producers can help by providing information about these options on their website and other marketing materials.
• Don’t litter!: Use appropriate recycling and trash bins. Be especially considerate of cigarette butts.
• Recycle programs: If, after the performance, you will no longer need your program, return it to the company for use at future performances.
• Recycle postcards & flyers: If you liked the show, pass your postcard or flyer on to friends. Not only is this an environmentally friendly way to recycle, you are helping the production as well. Trust us they’ll appreciate it.  (If you didn’t enjoy the show, you can discretely place your postcard or flyer into the nearest recycle bin.)
• Help spread the word through green sources: Word of  Mouth, Facebook, Email, Twitter, etc. are fantastic marketing tools that can reach hundreds and sometimes thousands of people without using a single piece of paper. You can help your favorite Indie Theatre company by letting your network know about their amazing work.
• Visit Neighborhood Restaurants and Bars: When planning your evening out, patronize neighborhood restaurants and bars that incorporate green practices or purchase local and seasonal snacks and drinks. Again producers can help by providing a list of these neighborhood eateries on their website.
• Donate to Materials for the Arts: If you have unwanted items that could be useful to theatre companies and other artists, instead of throwing them out, consider donating them to Materials for the Arts.

Do you have other suggestions? Let us know.

Do we see theatre anymore?

Contributed by Guest Blogger of the week, Jillian Zeman.

I don’t know if anyone else feels this way, or if this is true for anyone else, but I really don’t go to theatre much anymore. Not because I don’t enjoy it, not because there isn’t anything I want to see… but time. My show is usually on the same schedule as everything else and unfortunately I can’t exactly put in for a personal day to take in a show.

Tonight was treat. I actually got to watch a show. And it wasn’t one I was training on; it was out of pure enjoyment and, well, time. My current show is in Raleigh, NC and right next door in Durham was the national tour of Wicked. I’ve never seen it before (yes, I know most of your jaws all dropped… a New Yorker of 7 years, working in theatre hasn’t seen Wicked?!)

The production was amazing, and there were moments where I was looking around going “how did they do that?” I’ve had those moments with OOB as well, most recently with

APAC’s production of The Pillowman directed by Tom Wojtunik. Now here’s the difference, this show had a budget of who knows how much, and OOB has a strict budget. I think what is most remarkable is that on the larger big-budget productions you have an idea of how they made something work, but didn’t know the specifics (and granted, I’m speaking of theatre people who know what to look for during those special effect moments). However, on the OOB productions the designers have to bring a level of creativity to make the magic happen on a much tighter budget. I love sitting in a theatre and analyzing how a special effect happened. It’s moments like this that I’m so proud to work in OOB. It may not have the budgets that the larger productions do, but we have just as much, if not more creativity and talent to put on display.

Two New Theatre Sites Are Born

In this economic climate, it's inspiring to see colleagues focus on their passions, both on stage and off. In a time when the arts have to struggle to keep themselves in the news, I caught up with two innovative entrepreneurs who have recently launched theatre websites that make it a point to include Off-Off Broadway in their coverage. Read on as Molly Marinik from Theatre is Easy and Karen Tortora-Lee of The Happiest Medium talk about what inspires them to help keep Off-Off Broadway talked about.

Read the full story...

Contributed by Morgan Lindsey Tachco

TDF presents: Off-Off @ $9!

In an effort to expand its audience to Off-Off Broadway, Theatre Development Fund has announced a new ticketing program designed just for us: Off-Off @ $9! From the Press Release:

Theatre Development Fund announces the launch of a new on-line service, “off-OFF @ $9,” designed to make it easier for TDF members to attend off-Off Broadway shows all over the city. “off-OFF @ $9” provides TDF members with instant access to the exciting world of off-Off Broadway at less than the cost of a movie admission! Now, more than ever, TDF members can explore the smaller stages, beyond Broadway and Off Broadway, where innovative artists are creating new and adventurous works, with all tickets for only $9 with no handling fee.

“This program will supplement our long standing voucher program. With “off-Off @ $9,” members can buy their eTix ahead of time and know that they will have a seat waiting for them at the venue. It will help our members, and in doing so, will assist the theatres as well,” said Victoria Bailey, TDF’s executive director. “I am pleased that we can start this program in the summer in the midst of the many play festivals around the city.” Full Press release here.

Any show can be made available for Off-Off @ $9. The Producer develops a profile for its show, TDF sells tickets for $9 to the patron and reimburses the company in full weekly on Mondays. Click Here for more information, and to register your show.

Where is the New Young Audience for Indie Theatre?

Last month, Isaac Butler posted a provocative column on his website, Parabasis, entitled No-Brainer Secrets Revealed!, about the best ways for theater to reach younger audiences. Butler surmised that the best way to bring them in is to do uncompromising work and offer it at a reasonable price. The work will speak for itself. If you build it, Butler said, the audience will come.

Easier said then done, though. Butler then homed in on a larger point; that most theater companies don’t want to reach out to younger audiences because that’s not where the money is. In other words, to cater their work to such an audience would indeed be a compromise. So the question is what do theaters want? To reach people or to make enough money?

There is no one answer to this question. Writers, performers, and producers alike must want to do good work. But the easier it is to make a living at it, the better able they are to keep putting on original, personal artistic work. And it is also hard to lump in all theater companies when the Off-Off world, more than anywhere else, I imagine, is made up of very distinct companies with very heterogeneous missions.

The other question is, what do audiences want? Who do they want to see portrayed? Is money the major issue, or is it interest? Again, the term “younger audience” also needs to be broken down and defined in order to figure out how best to appeal to that demographic. Are we talking about young audiences who have dramatic aspirations, or young laypeople, or both? And what spectrum does “young” include?

Even when figuring this out, there is no easy answer to the main question. Would revivals of known works be best? Does an original work have to have some measure of gimmickry or novelty in order to create buzz? Is this audience only likely to turn out if they have friends involved in a production?

I’ve never met Butler, but I should say that I’m a big fan of his site and his writing, including the column I reference here. I agree with his stance and the point he makes. But I look to it as a tipping point, of sorts, to engender an ongoing dialogue about what makes theater thrive, a quest more important than ever in our current economy.

The entire point of the IT Awards was to foster a sense of community throughout the hard-working, passionate members of the Off-Off world. I believe they have gone a long way in cementing a feeling of camaraderie among the various production companies doing their thing. But that community is far from limited to the people doing the work; the people who show up are just as important. I would like to think that the IT organization can also help in figuring out exactly what audiences are out there, and how we can appeal to them. Perhaps this very newsletter can even help the process.

What do you think, faithful readers?

Contributed by Doug Strassler