Songs for the Struggling Artist


What I Wish the American Theatre Would Learn from the Brits # 11: Groom, Support and Recruit Producers

# 11- Groom, Support and Recruit Producers
My experience, a few years ago, of working at the Battersea Arts Centre impressed me in many ways – from its egalitarian employment models, to its wide-ranging programming, to its community focus and café, to its support of artists, but I was particularly impressed and surprised by its emphasis on developing Arts Producers. They had a whole team of In-House Producers. These producers took on projects within the season or brought in work for the Scratch nights or for other stages of development. These were (mostly) young people who were paid to help make shows happen. They were people who wanted to be producers. I met people who wanted to be producers all over London – not just at the BAC.

When I met with the folks at the Arcola Theatre about how I might put up a show there, they let me know that they didn’t bring anything in that didn’t have an independent producer attached. That is, I couldn’t be my own producer. And this was not an unreasonable request. One could find a producer because there are many people around interested in the work.

Here in New York City, where I’ve lived much longer than I lived in London and where I know tons of theatre folk, I have never met someone who wanted to be a theatre producer. I’ve met some theatre producers, sure. But I’ve never met an aspiring theatre producer. (Believe me, if I had, I’d have snapped them right up.) I think this is because the only place to make even a marginal living in producing is on Broadway. And you don’t need any other producing experience to produce a show on Broadway. You just need a lot of money.

If we want to improve the quality of American Art, we don’t need to improve our ideas, we have an abundance of those. We need to improve the job prospects of independent producers. We need to make the idea of producing a tiny indie show in a basement theatre on the Lower East Side actually sexy to someone – instead of a whole lot of work with no reward.

I self produce. Not because I want to – but because I cannot find anyone else interested in the job. And when I’m self producing, I’m necessarily less IN the experience of making whatever show I’m making. The art suffers – not as much as it would if it weren’t happening at all – but still, it suffers. I’d like to see fewer meaningless artist residencies (i.e. “Here’s a modicum of space or $500 or just a cute title) and more producing schemes. I’d like to see Arts Institutions churning out Indie Theatre Producers and Dance Producers and Performance Art Producers – not an endless stream of lip service and a tiny bit of support to one lucky company a year. (I swear, I was just told about a “residency” where the artists had to pay 4k-6k a week to be in residence.) Invest in Producers and producers would invest in us.


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What I Wish the American Theatre Would Learn from the Brits #10

# 10 – Creating Welcoming Theatre Spaces

On my last trip to London, I revisited some theatre institutions I’d spent a lot of time in back when I lived there. I hung out at both the Battersea Arts Centre (BAC) and the National Theatre. Funny thing was, I didn’t see a show at either one during this trip. I walked in and out of the front doors of both places dozens of times – sometimes to meet friends, sometimes to write in the cafe, sometimes to see what was playing. I felt welcome.
At the BAC cafe, for example, I saw new mothers with their babies.It made me think about how those babies would grow up with the theatre – how that theatre would always be part of the fabric of their lives. Not just the shows they saw but the hours they spent in its walls. I saw design meetings for shows both at the BAC and elsewhere. I saw people of all ages from all ends of the neighborhood. You can feel how these are PUBLIC institutions. Like a library. Everyone is welcome.
There is no American Institution (that I know) that has this kind of atmosphere. American Theatre Institutions are consumption experiences. You come in, you watch the show, you maybe get a quick drink at intermission and you’re out the door.
You can’t just walk into Lincoln Center and feed your baby. You need to be there to buy a ticket for a show. There are cafes in Lincoln Center but you will need to purchase something (expensive) to sit in one. At BAM, where I used to work, there is a restaurant (an expensive one) but it only opens before certain shows and closes by the time the show is over. Furthermore, if you wanted to try and walk into the building, to say, visit someone in an office, you would need to get written or verbal permission from someone upstairs who would have to either come down and get you or call the security desk to let you in and then you would need to show your id. I worked at BAM for over 10 years before I had an ID that actually got me in without having someone come escort me to the office.
Having a truly public theatre spaces means that more people are likely to feel comfortable in them and that only benefits the work – even if someone never actually buys a ticket for a show. If we find ways to make our institutions more welcoming, we increase our audiences, we diversify our audiences, we probably even sell more tickets.

Battersea Arts Centre Cafe - where you can just hang out

Battersea Arts Centre Cafe – where you can just hang out

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