I love the smell of theatre in the morning

by Westport Country Playhouse intern Laura Roux

What I think about Tech week:

Tech can be tedious. It can even be boring. As an actor I usually dread tech – because it’s usually a lot of standing around, which is hard on the body, or just getting into a line or a feeling or a moment when things are stopped. As run crew it can just plain be boring: a lot of waiting around and not being allowed to goof off. As a stage manager, well, I’ve never really had to deal with the kind of tech we’re talking about. My one and only real stage management gig was right before I came here and I had to call the show blind. It was an environmental piece, where the actors and audience were moving around. I only had one camera for my monitor, so I could only see the first scene. The rest of it was called off of the sound of curtains opening and closing. There were very few fine adjustments I had control over.

But this. Oh god, this. This is amazing. We get here and start setting things up, and then they start working. And it’s the work people, the work. Watching the work, by people who really know what they’re doing and have been given the opportunity to do it right.

The apprentices are back stage moving things around. Originally I was going to be back stage “shadowing” them, just in case, you know. But there are so many people back stage that one person not really doing anything would just get in the way. So I got to sit out in the house and watch. I just thought it was fascinating. I just sat there, arms folded on top of the seat in front of me as I leaned forward to drink it all in – mouth ajar like a kid in a candy store. Every choice, every discussion, every breath was fascinating. How the director would ask for one subtle change to be made and that one thing would make all the difference. A whole new world opened up. I wasn’t too sure about the script when I read it, but the collaboration that these two actors (who are just soooo incredible) and this director and these designers came up with have made this show singularly remarkable. They have made me hold my breath, they have made me cry, they have made me laugh, and they have made me think. Even more than that, they have made me grateful: Grateful to witness . . . something remarkable. Grateful to witness theatre. And we forget- we forget that this thing we do is a gift. We forget to be grateful.

And that’s the thing. Well, one of the things that makes this show so different from the other two shows that have been done since I’ve been here. It’s the pure theatricality of it. Not just the type of play, not just the type of actors, not even the type of designers. All of them put together, and the thing itself has become an EVENT. And that’s what theatre should be. If nothing else theatre should be an event. A happening. An unstoppable force of nature held in one moment of time. This show opens with those lights, and one incredible sound effect, a sound so big it literally blows you away (I mean, I could feel my pant legs waving)- and it sends one very clear, very important message – hold onto your seats, ladies and gentleman, this is an EVENT. SOMETHING is about to go down. Suddenly instead of just watching theatre we are EXPERIENCING it.

Julia, one of the apprentices, wrote in her blog an Anne Bogart quote, which was something along the lines of “I go to a movie to sit back. I go to the theatre to lean forward.” That’s what this show makes me do. It not just invites me to lean forward, it compels me to, it demands me to, it accepts nothing less – and I oblige willingly.

I told Sam, one of the apprentices, that if I were back stage with them I would probably spend the copious down town they have sitting back there, listening, watching as much as I could, with my jaw open. He didn’t believe me. He said maybe for the first couple of shows but eventually – and I said no. I’ve been doing this for a while. On almost every show I’ve worked back stage on I’m afraid to leave for fear that I will miss something. Some new discovery, some new moment, some part of that glorious, living, breathing action I am thirsting for. Sure there have been shows where I have grown more cynical – but this one . . . I would rather spend the rest of my time here doing nothing but watching these people rehearse and then perform than anything else (sorry apprentices). Okay, I would miss out on a lot of stuff that I would regret later, important things that I really don’t want to miss, but . . . what a way to get to spend my time. I learn from every breath Mark and Andrea (the actors) take. I learn from every syllable that Joe (the director) and the designers utter. I had a good time watching Scramble tech, and I learned a lot from that as well, but this – there’s just something about this show, man. If you don’t come to witness this, you’re a fool. Come experience this event, this happening with us. I will be sneaking into the balcony and holding on to every second right along with you.

~ Laura (Roux)

Personal Responsibilty as Artists

by Playhouse Intern Holly Hart

I’ve been thinking a lot about “What I think Theatre should be?” Another of our interns, Laura, posed this question in our Showcase writing email. It was odd because this question seemed to be the easiest and the hardest one to answer.

I have always believed that Theatre could really be anything! It can be whatever you want it to be. I’ve just never really thought about what I want from Theatre. I am one of those idealistic people who have invested all of their faith in the idea that Theatre can change the world. One moment can change someone’s entire perspective on the world. That’s all it really takes -- one moment. And for all we know, that person, whose perspective is radically changed, could become President of the United States.

Brecht’s concept of “Epic Theatre” in particular really inspired me. He believed that Theatre should be more than entertainment and an imitation of life. It should present some sort of social or political ideas and allow the audience to make judgments on them. The goal is to make people walk away and want to do something about the current state of the world or their own lives.
Brecht was a bit more politically motivated than I am, clearly. I would be ecstatic if a man saw Take Me Out (a good solid play about homosexuality) and walked out of the theater to call his son and tell him that he accepts him for who he is (I mean that’s the best case scenario). In fact, I would be happy if people hate the show because it meant at least they were thinking!

This brings me to my next issue: our personal responsibility as artists to put up good, thought-provoking and yet still entertaining work. We are taught in life that with each year of our growth we will have more and more responsibilities. There is a point in an individual’s development when we realize that we can no longer allow other people to be responsible for our lives anymore. That means that when something doesn’t quite go your way, you don’t sit there and start blaming it on someone else or another unforeseen variable. You should assess the situation and find where you might have made a mistake or a misstep. This logic should apply to our art as well. I have learned in school that if the scene isn’t working you DO NOT BLAME IT ON YOUR SCENE PARTNER. If they aren’t giving their all to the work you talk to them or you work even harder to try and get something out of them. If you blame it on them you have already failed.

I have found that some people have been blaming the recent decline in audience interest in Theatre is because: we can’t compete with the movies, or it’s too expensive. While these are good points, what we should be doing is digging deeper and writing plays that can be entertaining but also make our audience think. We need to make things more accessible to high school and college students (the people who will change the world).

But most importantly, I think that we, as young artists, have to take hold of our generation’s voice and use it. It is our personal responsibility to listen to our guts, hearts, and minds and put on work that we can walk away from and KNOW that we really made something there! That we created a piece of art that speaks to the up and coming leaders of the world. If we ignore what’s happening around us and to us, then we fail the scene, theatre, and the world.

So I guess, what I’m saying is that the kind of theatre I want to see out there is one that voices my generation. And helps us figure out where we are going.

Market Research

by Managing Director, Jodi Schoenbrun Carter

At the Playhouse, we are talking about embarking on a market research study. Let me frame this first with the fact that I believe that some people are predisposed to like certain art forms. Just like there are born readers, natural lovers of music, and those with an innate love of visual arts, I think there are people who are drawn to the theatre.

So, after we carefully think through what we want to learn and the methods of collecting data, where do we start? It makes sense that we talk to the people who are coming to the Playhouse about their experience. But who else do we talk to? Conventional wisdom says we also talk to the people who are not coming to the Playhouse. But what type of person who is not coming?

If I am right that some people are drawn to theatre and the other simply are not, the first group of “non-attenders” we should talk to are the people in our area who went at least once to another theatre in Connecticut or New York but not to the Playhouse in the last 3 years.

We know from tons of data research that there is only a small cross-over between art-forms, but it might be interesting to talk to people who attend other performing arts disciplines in the area but not the Playhouse.

But what about people who just don’t go to the theatre, any theatre? Let’s assume they tried it at some point in their life. Some school trip or friend got them into the theatre. Let’s assume they saw a GREAT show that was relevant to the things happening in their life. But they just didn’t like the act of going to the theatre. Can you really convert someone into liking theatre? I don’t think so. I would go so far as to say that what form of arts speak to you is genetically determined. So do we just forget about those folks? Can't we just be happy if they agree that we are doing some good in the community but they don't have to ever come see a show? It will give us more time to get the folks who are predisposed to attending through the doors.

But there is a lot of talk about getting new audiences. Getting more people to come and experience theatre. I would argue it is our mission to create opportunities for children to see theatre. And give folks their first theatre experience (that way they can figure out it they are theatre folks or not). But if I argument above is correct, then there is a finite group of people who will come to our shows and our goal should be to get the largest share possible of that group.

But for any other kind of new adult audiences, I wonder where these we could find them – Mars?I bet Eric, Beth, Jenn, Marica, and Laura S. can't wait for me to get back and schedule our first meeting about this!

From A Harvard Seminar

by Managing Director, Jodi Schoenbrun Carter

What a day! Three classes, two discussion groups and now is the first real break since 7:30 am.

We started the day talking about the strategic service vision (market focus, results, leveraging results/costs (operating strategy), and excellence in service.

Lots of questions that the Playhouse has been grappling with came up. Who do we serve? Who don't we serve? Who will we serve? What are we accomplishing (people don't fund or buy into concepts - they buy into results)? How do we achieve excellence? How is excellence defined? Do we have partners? Who are they? Do they share our definition of excellence?

How about this idea:
We use theatre to create an experience for relavent issues to be explored.

It is important to note the Playhouse is in transition. We have embraced that. We know we are on the brink of major change. And although it scares us we will not and can not let the fear of change prevent it from happening. Asking these questions is a necessity of where we are, not some failure on anyone's behalf!

In the first class, we were talking about capacity, satellites and franchising, and I started to think about how so many theatres stretch their resource capacity without corresponding results. Leveraging results/costs - interesting to define that for theatre. What is quality control in theatre? That is an entire entry of its own that I will get back to later.

But what is at the top of my mind is why so many education programs become satelites of theatre organizations and even spin-off into their own organizations. Why isn't education deep in the core of more producing theatres. At the Playhouse, I believe we have made the committement that education programs remain at the core of our mission right beside our productions. But it isn't as easy or organic as I would like it to be. It seems logical that making sure there is a future audience, a future generation of artists, and future funders should be a moral imperative for every theatre. So why is it so easy for education to be thought of as the annoying step-child of the theatre by many theatre professionals? Didn't every theatre professional have some encounter in our childhood with the arts that sparked our interest? Didn't that spark start a fire of passion inside of us that made us pursue a life in the theatre often with great sacrifice (at least financially)?

The case study that made my mind spin was about a mega-church that was dealing with focus and growth. It's capacity was stretched to the limit, so they looked at the history of Christianity to identify and define the tenents that should guide their next steps.

What happens when we look at theatre history? Theatre started out as a social convention to TEACH people morals and values through the experience of watching actors on the stage - including those "masses" of people that today would be priced out of the experience. It has and remains to be a way to "experience" an issue - family drama, war, disease, marrying your mother, without actually having to live through the issues in real life.

A day at the theatre (and yes it was often a day) was educational and entertaining.

Today most people think of entertainment as a dirty word - why?

Entertainment according to Merriam-Webster online means a: amusement or diversion provided especially by performers hired to provide entertainment> b: something diverting or engaging.

Isn't all theatre supposed to be both a diversion and an engagement? It says is can be amusement, but doesn't say it IS an amusement.

More than anything, in theatre's early history, it was a social experience. It was a gathering for people to share in an experience at that moment in time. I am constantly asking myself everyday, if in today's world do we have to gather in one place or has technology removed "place" from the community experience? If we are in the same moment but not in the same place can the experience still be valid? What would be different about the experience? Is it still theatre?

Another Opening - Another Show

by Managing Director, Jodi Schoenbrun Carter

Last night was opening night. The show went well.

However, I can't help but wish our schedule allowed or more previews for the cast. It seems so unfair to give the actors 2-4 performances with an audience before opening. We allow them 3-4 weeks for rehearsals. I wish I had more time to give them with the audience. It simply takes more than our limited time for things to settle, for the actors to know what works.

Perhaps I feel so strongly about this because I spent 10 years in New York theatre. When I first started previews were 1 week long for a 4 week run. Now the same theaters do 3 weeks of previews for an 8 week run. Perhaps I feel so strongly about it because I am married to an actor. I know and understand the process intimately.

Traditionally regional theatre has had shorter preview periods and shorter runs. But is that really fair to the production and all the wonderful people who work on it? Of course the reason we open earlier is to get the word about the show out so we can get the audience in. It is really a chicken and egg kind of problem.

This issue is one of the many "traditional rules" by which we produce theatre. If the goal is to produce the best production we are capable of producing - well then frankly most of these rules should be thrown out.

Why is it so much easier to do the wrong thing that everyone has been doing for years, versus striking out on the correct path?

From the Managing Director

by Managing Director, Jodi Schoenbrun Carter

Several months ago the Playhouse's new website had its official debut. Each time I visited, I was haunted by the link in the upper right hand corner of the screen labeled "Playhouse Blog." I tried several drafts for an initial entry. Only one that I had the confidence to share with our marketing director (it was all about all the wonderful teacher I had that helped me discover a career in theatre).

Today, I decided to try a different approach. I thought I would just start writing.

We completed an annual ritual today at the Playhouse...the mailing of the gala invitations. This is a complicated multi-day process that I could go on and on about and bore you to tears. But what is important for you to understand is that it takes every single staff member, intern and apprentice to make this happen.

But sitting at my house at midnight, I am in awe of the wonderful staff of the Playhouse. Very few people have the opportunity to get to know our staff and interns - which is a shame. I, however, am fortunate enough to spend long, seemingly-endless days with group of dedicated and talented people.

It only seems appropriate that the first posting should simply be a THANK YOU to the people who really make the Playhouse come to life.

So from my couch I raise my glass to you (yes it is really a diet coke bottle as though who know me assumed)...

Kim F., Tim O., Ruth, Ammie, Bruce, Buist, John, Joe, Rich, Barb, Eric, Beth, Pat, Marcia, Debra, Gabe, Deirdre, Kimmie M, Laura F., Laura S., Jeanne, James, Tess, Tim B., and both Jenn Bs.

And to our wonderful interns and our amazing apprentices...

Sara E, Laura J., Holly, Rachel, Josh, Helen, Megan, Julie, Mike, Brian, Ashley, Kim, Chris, Kate, Kristin, Amy, Sara L., Sam, Peter, Whitney, Julia, Emma, and Rasheem.

I am making the commitment to you to let you in on what it is like off-stage at the Playhouse. I will do my best to write regular postings. Until next time...

Four Years of Change

by Director of Marketing, Eric Smith

It is hard to believe that the Playhouse is now in its 4th season since we completed our capital renovations. And through those four years, the Playhouse has gone through many different changes, from shifts in artistic directors to expanding the season, and probably a slew more that comes quickly to the mind of our audience. Through it all, I think we have learned what we want the Playhouse to become, and we are grateful that our audience and patrons have supported us during this process. We know that, at times, it may not been easy for our audience to understand the reasoning behind some of the institutional decisions, but I hope this will be one of many steps on the road to a better understanding and a richer appreciation of Westport Country Playhouse.

In a recent networking meeting one of our current corporate sponsors remarked that “a lot of people are waiting to see what the Playhouse is going to be.” Since I have been living with it every day since I came to the Playhouse a year ago, I realized that we need to be more diligent in educating our audience about our intentions for this landmark cultural treasure. Our audience is the heartbeat that keeps this theatre vibrant and alive, and it is crucial that you believe in our choices as much as we do.

First and foremost, we want Westport Country Playhouse to regain its stature as a nationally recognized professional theatre. We want artists, designers, directors, producers and agents across the country to view this wonderful campus as a viable destination for their work. In addition to the mainstage season, we are will continue to create programming that keeps the building busy all year-round. That programming will take many different forms including our current Selected Shorts series, increased collaboration with the Westport Arts Center, Westport Library, Fairfield University and others. It may include film series, concerts, theatre classes, and more.

Second, Westport Country Playhouse built one of the preeminent internship programs in the nation, so for us, not only the cultivation of future theatre artists, but the use of the arts to supplement the education the next generation, is a cornerstone of the future Westport Country Playhouse. We will continue to grow our educational offerings including our newest summer camp and fall classes, develop new programs that promote life-long learning in the arts, and strengthen our school outreach programs as we work to become a vital arts resource within the community.

Finally, we will want to be a community gathering place where our audience can sit on the porch and enjoy a glass of wine before seeing a world-class theatrical production, or where corporations can host conferences, or where children first learn the art of storytelling. We want our audience think of us as a source of pride for their community, to feel comfortable taking advantage of all the Playhouse has to offer, and to relax knowing that the service they receive, the performance they attend, or class in which they participate will always be world-class.

Your comments are welcome. Whether it is about the state of the arts, or commentary on the latest show, the WCP Blog is a forum for your thoughts and ideas as much as a window into Westport Country Playhouse’s backstage.