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Revivals, New Contemporary Theater and the Search for the Other Side of the Theater Ticket Box

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Good theater is like heartbreak. There is a space missing that needs to be healed. The sad thing is that I have learned to live without live theater. I have been away from it for too long.

Part of the problem is the financial accessibility of buying a ticket. No one really wants to pay money to see a stinker of a play. Not at $80 to $150 or more a seat.

Broadway made $1 billion in gross sales for the 2009-2010 season. They don’t need me to tell them what draws the crowd.

Producers and audiences have made decisions about the kind of theater that will be supported. A visit to The Broadway Musical blog confirmed my suspicions. Many of the plays are revivals or converted movies and television shows.

I do like entertaining plays or musicals. There are times when you need to get away and just step into an experience that isn’t going to do anything to you but give you pleasure.

I know there is a place for Technicolor dazzlers like Priscilla, Queen of the Desert.

It looks like a great production. However, I won’t be seeing it when it comes to town. You see, I’ve already seen the movie.

When the original movie came out, I took a chance and bought a ticket. I was rewarded by stepped into a different world. I want that same element of risk in a theater production.

The Importance of Revivals


You can get that kind of experience if you’ve never seen the play or the source material before.

Revivals of classic theater plays are necessary. Unless the play has been recorded, you can’t really pass along what made the play special. Even when you do record a theatrical performance an element gets lost – the actual connection between the play and the audience.

Sara B. of Adventures in the Endless Pursuit of Entertainment would love a revival of Mame.

Yvonne Korshak of Let’s Talk Off-Broadway wants you to know that there is a theater world beyond Broadway that are producing classics, revivals and contemporary plays in search of an audience.

For those plays that I haven’t seen or experienced in another form this could by a path of exploration. Kat at Painted Air is excited about a possible Lily Allen project. For me, this would be a compromise but I don’t know about me and Bridget Jones.

Still, I need something more.

In Search Of – The Unknown


I’m willing to step beyond the sure thing. Theater is about engagement, but it is also about risk and taking chances. It is watching an actor stepping out on stage and giving 100 percent, and the audience either accepts it or rejects it.

What do you do when you like the theater but your needs are not mainstream? When in doubt, find a theater blogger.

Linda at Pataphysical Science is talking up an off Broadway production of the play The Metal Children:

The Metal Children won't leave you with easy answers about the power of art and the responsibility of the artist, but at least it raises the questions.

Jill Dolan wants you to know about Silver Stars:

Silver Stars is a community-based, devised theatre piece by an Irish theatre company called Broken Talkers, who create work by mining people’s stories about their lives and knitting it into coherent evenings of theatre. The play, which I saw performed at the Under the Radar Festival at the Public Theater on January 16, collects narratives from middle-aged Irish gay men who, because of homophobia in their native country, had to flea elsewhere to live honestly and comfortably.

Marisabidilla is a theater/culture blog from Marisa Skudlarek in San Francisco who enjoyed Giant Bones:

I know, there are a lot of plays about plays out there, and sometimes it can seem like an overdone topic. But not when it is really well done -- written, staged and performed by people who truly do know and love the power of theater -- the way that Giant Bones is.

Still On the Other Side of the Ticket Box


If theater means that hit movies and television shows are going to be converted to the stage, then count me out. It would have to be an exceptional production to get me in the seat.

If theater means a range of plays and productions that cater to a variety of interests, I could be tempted if I were

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Gena Haskett 6 pts

Even the commercial theaters had a balance of content. I might be mixing apples and oranges though.

In the 50s before the total domination of television folks did get diversified theater content. It was still important to go to the theater.

In the late 70s there was a strong regional and ethnic theaters that was parallel to the commercial theater chains. I remember seeing commercial for those plays on television and folks would go to performances instead of the movies.

That has almost disappeared as well.

I'm glad know that Law and Order supported the theater community by using their talent pool.

Thanks for the link.

Gena Haskett is a BlogHer CE.
Blogs:Out On The Stoop ( http://outonthestoop.blogspot.com ) and Create Video Notebook
( http://createvideonotebook.blogspot.com )

BarbD 5 pts

The kind of theater you're talking about often isn't found in mainstream theaters.

Most theaters are non-profits and -- like Broadway -- must make artistic decisions that draw the audiences necessary to stay open. If you're lucky, your city's theater has a black box theater for the shows less likely to draw that kind of audience share.

And if you're truly lucky, as in my city, you have two, three or even more smaller theater companies who are walking the edge and bringing some truly memorable new plays into production.

I also live within driving distance of Louisville, Kentucky, and for the past three years have made it down for the annual Humana Festival of American Plays. I've seen a handful of truly amazing plays as a result.

There are a lot of good plays getting written, and some wonderful American playwrights working today. Unfortunately, there's not much money in it. One of my favorite playwrights, Gina Gionfriddo ("After Ashley," "Becky Shaw") has written for "Law & Order" as a way to bring in money to fund her playwriting career. (An aside: I saw an interesting panel at Humana two years ago between Gina, Adam Rapp and a couple of other playwrights whose names I don't recall, talking about the challenges of writing and producing plays today.)

Pretty graphically illustrated on this site (http://online.wsj.com/article/SB100014240527487042... ( http://online.wsj.com/article/SB100014240527487042... )), from which I lifted this quote:

"Playwrights say they can earn more in two weeks of work on a TV show than they will with a commission for a play, which pays $10,000 on the low end and often takes at least a year to write."

Funny, isn't it, that some of the best "theater" we may be seeing today is on our TV screens????

Barb