Community theatre vs. Professional theatre
On a board that I've been reading for a while, we've recently been discussing what reasonable expectations might be for both community and professional theatre. (This line of discussion was spurred by a very negative review of a recent community theatre production.) Some people have higher standards for community theatre than others, and some people think consumers should blindly support whatever level of artistic achievement is put before them. I thought it was an interesting line of thought, so I've posted my basic response to the board below:
"I have been lurking for a while now on this board, and I had to respond to the recent post regarding the negative review of Father of the Bride at Black Rose Theater. I have not been to see the show, so I can't speak to its quality, but I wanted to weigh in on other issues addressed by recent posts.
"First of all, I think that both recent postings have merit. All theatre productions, whether professional or community theatre, are being offered for public consumption. If a theatre wants to receive publicity about a show, and so attract a larger audience, the theatre should be equally willing to bear the brunt of any public criticism that may result. Whether the show is a gem or a clunker, people have a right to know what they are getting when they plunk down their $8. It does none of us in the local theatre community any good to hear mediocre (or even awful) productions praised to the skies in the name of "supporting theatre." By doing so, we are not supporting theatre, we are continuing to enable the local production of bad theatre.
"However, reviewers/critics also have a responsibility. If the production is a community theatre production, in which amateur (and often novice) actors will appear (and novice technicians participate), how can a reviewer attend the show and expect a professional-quality production? I admit that some community productions I've seen have been very good, but, let's face it folks, none of these people are getting paid. For the most part, the best performers and technicians, those who are working in the field professionally, work in professional theatres where they are paid for their services. (As a result, tickets to professional theatre productions are usually quite a bit more expensive than those to community theatre productions. To an extent, we are subsidizing the cost of professional talent when we buy our tickets.) It is unfair to expect professional theatre at community theatre prices.
"I guess all of this is just to say that most ticket buyers know that community theatre productions are often hit-or-miss. But when you are buying a ticket for, say, $5 or $10, what do you expect? (Although there are times, I admit, that I have been very pleasantly surprised by a community theatre performance.) Now, if you'd bought a $20 ticket at New Stage, I might understand it if you were upset when the production didn't meet your expectations. That might be something more substantial to grump about."
"I have been lurking for a while now on this board, and I had to respond to the recent post regarding the negative review of Father of the Bride at Black Rose Theater. I have not been to see the show, so I can't speak to its quality, but I wanted to weigh in on other issues addressed by recent posts.
"First of all, I think that both recent postings have merit. All theatre productions, whether professional or community theatre, are being offered for public consumption. If a theatre wants to receive publicity about a show, and so attract a larger audience, the theatre should be equally willing to bear the brunt of any public criticism that may result. Whether the show is a gem or a clunker, people have a right to know what they are getting when they plunk down their $8. It does none of us in the local theatre community any good to hear mediocre (or even awful) productions praised to the skies in the name of "supporting theatre." By doing so, we are not supporting theatre, we are continuing to enable the local production of bad theatre.
"However, reviewers/critics also have a responsibility. If the production is a community theatre production, in which amateur (and often novice) actors will appear (and novice technicians participate), how can a reviewer attend the show and expect a professional-quality production? I admit that some community productions I've seen have been very good, but, let's face it folks, none of these people are getting paid. For the most part, the best performers and technicians, those who are working in the field professionally, work in professional theatres where they are paid for their services. (As a result, tickets to professional theatre productions are usually quite a bit more expensive than those to community theatre productions. To an extent, we are subsidizing the cost of professional talent when we buy our tickets.) It is unfair to expect professional theatre at community theatre prices.
"I guess all of this is just to say that most ticket buyers know that community theatre productions are often hit-or-miss. But when you are buying a ticket for, say, $5 or $10, what do you expect? (Although there are times, I admit, that I have been very pleasantly surprised by a community theatre performance.) Now, if you'd bought a $20 ticket at New Stage, I might understand it if you were upset when the production didn't meet your expectations. That might be something more substantial to grump about."
Comments
I have been heavily involved with two community theatre groups. The first is in a fairly large theatre community with many to choose from when casting, and access to a large theatre space and the resources for fairly elaborate costuming and set design. They have enough of an audience to have a run of 7 performances.
The second is in a very rural community with small casts (everyone who auditions is invited to participate). The performance space is very small and so is the budget. In the past few years they have had enough demand to expand their run to 4 performances.
However, despite the meager resources of this second group, they consistently produce better shows, in my opinion, when it comes to both individual and group performance. The casting is based on merit (they are amazing at discovering new talent), whereas the other group has various hierarchies and politics at play. As I have been involved with both groups, I can also say that overall the atmosphere is much more pleasant in the smaller group, and there is a real sense of closeness among the cast. To me, that's what community theatre is about.
And sometimes, four performances is all you need, don't you think? I'd rather have a cast that plays to four full-house performances instead of seven or eight at half house. Everyone walks away feeling better.