My Career In Theatre: What A/An ____________ [ADJECTIVE] Road!

Contributed by Robin Rothstein

For me, working in the theatre has been a thrilling and ever-changing road map. I've been down quite a few roads in my career – actor, playwright, lyricist, producer, arts advocate, and commercial theatre professional, to name a few.

It’s not unusual, though, to wear different hats over the course of a theatre career and it’s also no secret that it’s a tough industry, loaded with personal and financial risk from indie theatre on up to Broadway, and beyond. But this is partly what makes it so rewarding and exciting, right? And the industry is expanding every day – artistically, commercially, globally. You can create opportunities everywhere if you know how to look for them.
What’s been so cool for me is being part of both the indie theatre world and the Broadway world. I owe a LOT to both for giving me a wide range of knowledge and experiences. In the indie world, I’ve been fortunate to have my writing produced in New York festivals over the years, including, once again, the NY Indie Theatre One Minute Play Festival coming up this May, and I’ve learned about local politics by getting into the trenches alongside my colleagues at the League of Independent Theatre (LIT), where the fight for more financial support for the arts goes on. My interest in arts advocacy also inspired me to join my community board where I was promoted to Chair of the Arts & Institutions Committee. I continue to use that as a platform to raise awareness and to remind people how instrumental the arts are to the well being of society, both culturally and economically.

And it is at this intersection, between the arts and economics, where I now find myself. Having worked in the touring division at Broadway Across America for a number of years now, I have seen time and time again how important commercial touring shows are to keeping theatre alive across the U.S., and how “the road” feeds back to Broadway in the tourist dollars that were part of the record numbers reported for 2015. This same paradigm of the arts benefiting local economies can be found across the country. It has also been a known fact for years that artists and arts organizations help the local economy here in NYC.

The past few years have been especially rewarding for me, as I took the initiative to combine my creative writing expertise, my theatre business know-how, and my interest in the arts promoting community prosperity. I got an idea for a project that fulfilled me artistically, and that I also believed had enduring commercial potential. This project was my family musical, MAD LIBS LIVE!

It took nearly eight years for the project to get from the “light bulb” going off in my head in my mom's kitchen to the world premiere Off-Broadway this past November at New World Stages. And while there were many challenges and unknowns all along the way, I wouldn’t trade a moment of it! What an exciting road the MAD LIBS LIVE! process has been and continues to be, as our team is now busy preparing for the exciting touring and licensing opportunities beyond our Off-Broadway run.

There will continue to be roads to choose from, but as long as I keep choosing, I’ll be on the right road, even if I end up making what feels like a wrong turn. (I’ve learned those can often turn out to be right turns in the end.) And as I move forward with MAD LIBS LIVE! and other endeavors, I can't wait to see where these next roads take me! 

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Robin Rothstein is a critically acclaimed playwright and commissioned book writer and lyricist whose writing has been produced in New York, across the U.S., and internationally. She is also Director of Operations at Broadway Across America and Chair of the Arts & Institutions Committee of Community Board 2, Manhattan. For more info on MAD LIBS LIVE!, please visit MAD LIBS LIVE!

Ford Tough

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Contributed by Guest Blogger of the week, Jonathan Reuning.


Last year, because the mortgage market collapsed and it seemed our country was facing the next Great Depression, many theater companies stopped producing shows and started producing fundraisers. Some trimmed their expenses by showcasing work in festival venues that offered brief but less expensive performance opportunities. Some abbreviated their regular seasons while others suspended operation entirely to wait out the recession. Some took a gamble and charged up their MasterCard and took advantage of industry discounts. A year later these combination of strategies allowed ailing OOB a chance to rebound.

I recently read how Ford Motor Company’s reputation for fiscal conservatism was popularly ridiculed for being out of touch with the day’s risk rewarding financial strategies. Of course we now know that Ford was the only US automaker able to decline government bailout money. Their reluctance to outsmart their own balance sheets rewarded them with a huge advantage over their crippled competition. What’s more, instead of being complacent at the top of a shifting heap Ford heavily promoted the value of their products. Some experts believe that Ford’s momentum will keep them dominant for decades.

“OOB and the recession” is my guest blogger topic which sounds pretty ominous but I’m excited to explore it. I think there are probably some lessons to take away from our experiences. It is hard to imagine any small venue theater professional unaware of the negative impact the economy has had on small (and large) theater companies, but you know….It might surprise some to learn that during these most challenging 12 months there were some companies that did more than survive. They flourished. I can’t talk about specific US clients but I’ll say it again, many companies brought in record audiences. They maintained or increased their financial stability during our worst economic year in memory.

How were they able to stay in the game? Did OOB companies that also operated as fiscally conservative businesses take leaps forward? How much luck is involved vs. strategic planning? Aren’t Indie companies supposed to be art smart but maybe a little business-stupid? Possibly, but I’ve never seen it. Would love to hear how you are outsmarting the recession. Also, what you would have done differently if you’d had a year or two with advanced knowledge of the economic downturn.

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Our World has Permanently Changed

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Contributed by Guest Blogger of the week, Brad Burgess.


Hello everybody!

I am very excited for my week here on the IT blog. Three cheers for everyone at IT by the way. Without their valuable statistical analysis and dedication to improving our industry and its understanding of itself, we would not be moving forward as fast as we all are together.

That’s where I’d like to start this week, and just address the state of the industry from my perspective over here at The Living Theatre. Judith and I talk about it often and really embrace our role as small business organizers as well as artists. In fact I think that the movement and action in the Off-Off-Broadway scene of the past year, represents some of the most innovative business being done in the new economic world.

It seems our world has permanently changed as a result of the economic crisis. We almost saw it (DOW) hit zero in a matter of months. Barack Obama probably saved us from a militaristic fascist coup, which is usually what happens in societies where the economy collapses, along with riots, death and other mostly awful stuff. It pains me to say it, but thank heavens for the bank bailout, because even though the current system is pretty lousy and well below what our intelligence is capable of, it offers hope for change, something that marshall law would have likely stifled a little. It would not have been pretty if he hadn’t acted quickly. Judith lived through the great depression as a child in the 1930’s and also feels this way.

I say this all as a pacifist anarchist who does not vote, because as JM says, “I can’t responsibly elect someone to be in charge of the armed forces.” I think that money is on its way out in the long haul. (Are there going to be trillionaires? really?) I don’t think we will let it carry on like it is now, where so few have mostly all the wealth.

Noam Chomsky said yesterday at Pace University that of the seven thousand billion dollar gross national product in the US for the year, that about 500 people made two thousand billion of it. In a country of 300 million people, that’s simply wrong. It’s wrong ethically, morally and rationally.

I think this crisis was a big wake up call on that train of thought and people are really ready to listen to suggestions that they weren’t before because the faith in the system is fading. It almost collapsed on its own.

One major sign of this change for me, was the Community Board Congress on the state of small-midsize theatres, last February at The Players Club. There, Scott Stringer challenged the city’s politicians to take care of its artists and challenged us to help make it happen. It was a great event for anyone who wasn’t there.

There we all were, industry wide from the communities we all live in, and since then there has been an amazing amount of work being accomplished on all accounts, with great effort on everyone’s part like IT, the community boards, the executive directors and administrators at all the theatres and the politicians in the city. It has been great to see what we are capable of and we are just getting started. Also, I think we, as artists, can help provide examples of good business at a time when we need to reexamine our societal practices, and make sure that equality actually becomes a real concept in practice not just in theory. This is especially true I feel at nonprofits where the goal is actually in the corporate identity of the companies. Not for profit actually means for the culture, if you define it by what it is instead of what it isn’t. At least for me that’s what it means.

So that's a start for now. I'll be addressing healthcare and how artists can fit in at some point this week as I have been working on a proposal with the help and support of Olympia Dukakis that is coming together now that yesterday happened. Also, I'll try to cover other aspects of the industry, and maybe even a little art at some point!

More tomorrow...


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Working Period.

Contributed by Guest Blogger of the week, Heather Cunningham

It’s in the details. Whether your production is on Broadway or in a 40-seat theater on a side street in an industrial neighborhood, it’s in the details. The angle of the heel on the shoe, the buttons on the coat, the frame of the chair, the packaging of the cigarettes. And when your audience practically sits in your actors’ laps it is even more important that those details be as right as possible.

It’s hard work. It’s my own fault Retro Productions does nothing but period pieces. But the truth is, I love those details. I love doing the research and playing hide and seek with the items that will make those details right. And nothing drives me crazier than going to see a show set in 1960 and seeing a modern package of Ronzoni on the stage.

I know there is an argument, especially in Off-Off Broadway where money is ridiculously tight, for simplifying the experience. Why do you need a set, costumes and props to tell the story? Why not just focus on the acting, and save a ton of money in the process? And that’s right for certain plays (and hell, focus on the acting no matter what). But if you are doing a play that belongs in another world, say, the New York City of the mid-1950s (as Retro will be doing again this May with THE DESK SET), you really can’t get away with that.

The world has changed and so has the way people interact with each other and the material things in their lives. We dial and hold the telephone differently. We pack and carry our suitcases differently. We even type differently (tell the truth, would you even know how to change a typewriter ribbon now if you had to?). As the things around us change, so do our interactions with them, which is why I object to modern props and costumes in a play set in the past.

So how do you get the details right when your combined costume, prop and scenery budget are just a couple of hundred dollars?

1) RESEARCH! (The good news is if you have a library card and an Internet connection, you can do this step for free!) Know what it should look like and you will start to see the things around you that may not be vintage, but come so close that they won’t stick out like a sore thumb. (Check back for some of my favorite 20th Century research resources.)

2) “Beg, borrow and steal” (I’m not condoning the latter.) Obviously we all do this anyway, but it still applies! In addition to treasure hunting at estate and yard sales, junktique stores, salvage dealers, freecycle, ebay, craigslist, dollar stores and thrift shops I also fully admit to dumpster diving. I’m always checking out what people have tossed… one mans trash is another mans treasure!

3) Time is on my side, yes it is! And it can be on your side too. I occasionally take up to 6 months in advance of a show in order to get what I need within my budget. Time to spare can be your greatest ally when working on a budget.

4) Learn Photoshop. Need a mid-40s dust jacket for War and Peace? A ‘60s box of Wheaties with a ball player on the front? A can of tomato juice out of the ‘50s? At Retro we’ve done them all… with Photoshop.

5) No matter how gorgeous the costume, the look is not period complete without the right hair and make up. As a producer it makes me crazy (and I’m willing to bet costume designers hate it too) when actors don’t understand that the wrong hairstyle or shade of lips can throw the entire balance of the design off.

6) Don’t focus on what something is; see what it can be. I’ve had more than one designer for Retro who took apart something they bought at Goodwill and made it into something else. I’ve seen an early 90s cotton wrap dress transformed into a 30s day dress with a few cuts and stitches and a set of vintage buttons. And that modern sofa looked a lot less “Jennifer Convertibles” once the throw pillows of 50s fabric were put on top of it.

7) She’s crafty and she’s just my type… learn how to make stuff. Because when you can’t find it, you’ll have no choice but to make it. Giant wheel of cheese? Check. Bad modern art? Check. Wood burning cook stove? Check. Room sized “electronic brain”… check back with me in May.

And the diner jukebox that everyone loved… a combination of plywood, colorful plastic rods, kitchen lamps, and, yes, photoshopped images… if I had a buck for everyone who asked me where we got an old jukebox I’d have more money than it cost to make it.

And that’s one definition of being innovative, don’t you think?

A case for stimulus money for OOB

From Erez Ziv

I think as a community we have a great argument to make for getting some of the money the government is going to be handing out shortly.

We can keep people in the city at relatively low wages. Many people who work in finance as administrators and personal assistants would jump at the chance of working in an arts organization even if it means taking a pay cut. I know people who have made that leap from 50-60k working in the financial sector to 30k working for non-profits (back when finance work was plentiful) and were quite happy about it. Now those finance jobs are no longer secure and departments are being cut for efficiency.

For the amount of money it takes the government to sustain a person on unemployment they can almost sustain them in a non-profit job that will in turn create more local spending.

I think this is the direction we should be pushing in, I don't think corporate funding is going to be any easier. However, the government has money they need to spend, we just need to talk them into spending it our way.

Erez Ziv
Co-Founder / Managing Director
Horse Trade Theater Group

New Economy Smack Down

On May 13th, The Field and Galapagos Art Space are sponsoring an event called The New Economy Smack Down. They have assembled a double panel of "cultural stakeholders, entrepreneurs and gatekeepers" to participate in "lively debate, truth-telling, and prophesizing" about art and its place in the new economy.

I certainly hope they will be discussing the Mayor's plan for not-for-profits in NYC (see previous posting).

It looks to be an interesting conversation and perhaps some solutions and suggestions will arise from this.

Check out the Field's website for more information.

Wednesday, May 13, 7pm
at Galapagos Art Space
FREE with RSVP, plus cash bar!!!

Also check out the Economic Revitalization for Performing Artists blog.

Community Board Responds to NYSCA Cuts

On April 1, 2009, the Theatre Task Force for Community Board 4 put forward a letter to Governor Paterson addressing the cuts to the 2009 second round of New York State Council on the Arts (NYSCA) Funding. The letter calls on the Governor to "restore the NYSCA funds" and says that smaller theatres "enhance New York's competitive edge."

The letter to Governor Patterson cites two studies from the New York Innovative Theatre Awards and the Alliance for the Arts.

The full letter and more info are here.

Public Forum UPDATES & ACTION ITEMS (FULL CB3 Board meeting TOMORROW!)

In case you're not receiving updates from the Theatre task force, most recent update with action items:

"Thank you for being one of more than 300 activists who attended the
February 17th Community Board Congress on Small to Mid-sized Theaters
and/or have recently asked to be included on this list.

We told you we would take the ideas from that night and work to put the
power of the Community Boards behind them.

That process began on Tuesday, March 10th. The Arts Task Force of
Community Board 3 met at Theater for the New City to discuss the forum and
events that have occurred since that night.

In attendance were approximately 30 outside observers. Invited guest
Caron Atlas kicked off the meeting speaking about opportunities for
combined community organizing and arts advocacy.

The task force drafted and unanimously passed a resolution in support of
our goals. Resolutions are the community boards’ mechanism for formally
conveying their concerns and policy initiatives to elected officials. A
resolution must first be passed by the appropriate committee. It is then
sent to the Executive Committee for comments and tweaking; and a final
resolution is crafted for presentation and vote at the full board’s
monthly meeting.

Action Steps You Can Take:

Come to the CB3 full Board meeting on Tuesday, March 24, 2009 at 6:30 p.m.
at PS 20 at 166 Essex Street (E Houston & Stanton Streets).

Sign up to speak at Public Session between 6:00-6:30pm. You will be given
approximately 2 minutes in front of the mike.

Submit an impact statement if you were a victim of the NYSCA 2009 100%
funding cuts and bring copies to submit the individual board
members(approximately 40).

This resolution can be used by the other community boards as the basis of
similar letters or resolutions, so that small to mid-sized theaters can be
advocated for on a common basis and at the same time across all affected
Community Boards.

The State Legislature is meeting at the end of this month to specifically
discuss NYSCA Funding and its restoration. They read their mail. Our job
is show them that small to mid-sized theaters demand their support.

If you agree with the idea behind basic resolution (specific wording is
still being worked on by the CB3 Task Force), please considering coming
and showing support at this meeting. And if you were caught in the NYSCA
funding debacle, please consider sending us a one page impact statement
about how your organization was affected.

We will present these to policy makers as a compendium of (anonymous if
requested)documents.

When further resolutions are taken up by the other Community Boards, we
will let you know about those meetings as well.

Thanks again for your interest and support.

David M. Pincus, on behalf of the theater/arts task forces of Community
Boards 1-5."

Check out our resources as well. Hope to see you tomorrow!