| Author | Post |
|---|
gordonb
Member
| Joined: | Fri Mar 14th, 2008 |
| Location: | |
| Posts: | 4 |
| Status: |
Offline
|
| Mana: |  |
|
Posted: Tue Aug 5th, 2008 02:40 am |
|
One gets the impression that so-called "Community Theatres" only do name-recognition plays, mainly old standards, and musicals in particular. Are any of them willling to consider new works, particularly costume dramas--specifically a historical play about the comedian Moliere? If so, what is the best way to get your play noticed by that broad community of non-professional theatres, or considered by producers and boards of directors?
Gordon
|
in media res
Member
|
Posted: Tue Aug 5th, 2008 04:20 am |
|
Honestly: None. Unless you know someone oddball artistic director of a community theatre who thinks you are the greatest dramatist since...well...Moliere.
This is from a theatre professional of many years who came out of a very adventurous community theatre who has spawned many professionals in the biz from movies, to television to Broadway. We never did Moliere!
Face it: Most people in the usual community theatre audience do not even know who Moliere was.
In all my years of attending plays, I have seen only three productions of a Moliere play. One professional starring Brian Bedford. Absolutely brilliant. One college. And one Off Off Broadway. Those are not good odds. Though I have read most of his stuff. Richard Wilbur has the best translations of him.
The odds are against it, but I wish you all the best in your pursuit, as Moliere was a fascinating character. There is a movie out about him that came out last year called "Moliere."
Your best route, believe it or not, if it is really good/great, is the professional/regional theatre route. Anything above the Mason/Dixon line. Below the Mason/Dixon line do not even know who Moliere was. Can you imagine a production of "Tartuffe" there?!
BUT...I think it is fantastic you attempted such a monumental feat.
One of my friends from years ago, who is a very successful playwright and screenwriter, once said one of the funniest lines I have ever heard impromptu at a bar on the Upper West Side in NYC while we were having lunch: "There are only five great plays in the history of the theatre: all are titled 'The Misanthrope'."
I doubt he even remembers saying it, but I thought it summed him up, and it is one of my favorite theatre quotes.
best,
in media res
best,
in media res
|
gordonb
Member
| Joined: | Fri Mar 14th, 2008 |
| Location: | |
| Posts: | 4 |
| Status: |
Offline
|
| Mana: | |
|
Posted: Tue Aug 5th, 2008 04:35 am |
|
In media res--
Thanks for your candor. However, I have seen many productions of Moliere plays in my lifetime, both at university theatres as well as professional, and I am sure there are many more productions every year. In fact, I was told by one theatre professor that my problem is that my play about Moliere is competing with plays by Moliere...and guess who's going to win that battle for stage space?
(And I've written a very good play, he says in all humility. At least it's not chopped liver.)
THE MISANTHROPE is a fascinating play but I'm pretty sure that TARTUFFE is Moliere's most popular work, at least in this hemisphere.
Incidentally I've seen the French movie, which is a take on Moliere's early career. It leaves off where my play begins, as Moliere moves into the prime of his life.
I'll axe the community theatre route. Thanks again.
Gordon
|
Edd
Moderator
| Joined: | Sat Jun 10th, 2006 |
| Location: | Denver, Colorado USA |
| Posts: | 996 |
| Status: |
Offline
|
| Mana: |   |
|
Posted: Tue Aug 5th, 2008 05:12 am |
|
Reading your posts I am reminded of La Bete. A very unlikely, surprising and somewhat successful play. I thought it read better than it played, but that could have been due to my seeing it in a community theatre.
Love, laughter, bravos and fabulous lighting,
Edd
|
in media res
Member
|
Posted: Tue Aug 5th, 2008 05:09 pm |
|
gordonb,
University is another good idea. Talk to that professor you mention.
Another idea is if you know of any student operated theatres at universities. Some programs have a theatre set aside for just such ventures. If you can link in to one of the students who has a directing slot, maybe there. But their budgets are usually very little, so if the costume is not in the costume shop...
But must it be done in period costumes at that level? If you could get one to put it on as a workshop production at a student run theatre, that could be very beneficial. You really want to see whether your play works dramatically and you don't need a fully costumed show to do that.
Just some thoughts.
By the way, I am not knocking community theatres. That was not my intention. I just didn't see your show happening there as first production. I have seen some lovely work in those venues. There are many dedicated people who devote a lot of time and skill and I respect them all. Some of the most influential people in my life have been in the community theatre I grew up in. Wonderful people. Creative people. Inspiring people. Many are dear friends to this day.
best,
in media resLast edited on Tue Aug 5th, 2008 05:10 pm by in media res
|
Edd
Moderator
| Joined: | Sat Jun 10th, 2006 |
| Location: | Denver, Colorado USA |
| Posts: | 996 |
| Status: |
Offline
|
| Mana: | |
|
Posted: Tue Aug 5th, 2008 05:55 pm |
|
. . . and please do not mistake what I said. I was being specific to just one community theatre out of thousands.
I too spent many years in community theatre learning more than I could possibly say that has gone into making me a better actor and, more importantly, a better playwright. I would venture to say most everyone on this board gained experience in community theatre and, as myself, owe it a debt of gratitude. Thank God for community theatre!
~Edd
|
katoagogo
Member
|
Posted: Thu Aug 7th, 2008 04:58 am |
|
"Community" theater sys it all. Community theater is about, well, it's community.
If you are a playwright involved with your community theater, there is a very good chance that they will consider doing your play. Within a 20 mile radius of me there at least 7 different community theaters that hve produced original work by playwrights from my community over the past 5 years.
But the key, again, is "community". Only two of these theaters have solicited work from outside of this community.
As Edd mentions, there are many of us that owe a great debt to community theater, myself included. If there is a community theater near you, get involved, and theyll probably be up for staging your work.
One of the finest and most fun productions of one of my plays was produced by a community theater near me. I LOVED it.
--Kato
|
katoagogo
Member
|
Posted: Thu Aug 7th, 2008 05:00 am |
|
PS -- that play with the community theater was a costume, period piece.
|
in media res
Member
|
Posted: Thu Aug 7th, 2008 04:09 pm |
|
kato,
Yes, but you were known to them.
I still think it would be exceptionally hard to solicit blindly with this kind of play.
best,
in media res
|
katoagogo
Member
|
Posted: Thu Aug 7th, 2008 07:39 pm |
|
Actually, that theater didn't know that I was local. It was a surprise to them, and one of the only times the playwright has been able to attend auditions and rehearsals.
That particulat theater is now focussed on new musicals. They premier several new ones each year.
|
katoagogo
Member
|
Posted: Thu Aug 7th, 2008 07:52 pm |
|
On the point of "being known to them" -- I think that's the point with most communiy theaters. Something has to be "known" -- and that something is usually the reputation of the play itself.
When you're talking about a new play -- then the emphasis shifts to the playwright being the "known" entity.
Community theater thrives on the "known"-ness of the product. People go to see a community theater show for one of two reasons -- they know the play, or they know someone in it. That's the whole "community" equation, really. That's the engine.
This "known"-ness engine is also what drives the revival syndrome of commercial theater -- and the power is doubled when you cast a star.
My point is that if there's a community theater in your area -- become involved -- because who knows what could come of it?
But are most community theaters interested in new work from outside of their community? -- probably not, although there are some exceptions. -- And if you've got a play that you've written specifically for the needs of community theater (simple sets, loads of female characters, very few men, fun costume opportunities) -- then you might have something that could appeal to them -- especially if you can attach a news paper article from our local community group mounting a succesful production of this new play. I know a writer who has found a niche turning out this sort of play -- and as a bonus -- Sam French is on the look-out for this sort of play as well.
As a playwright, I enjoy hearing my new work read by actors I know and trust and enjoy their work. That means I want them close to home -- so I tap the folks in my community -- many of whom I know because of my work with community actors. I also help other playwrights from my community hook-up with this talent pool, and together we workshop our plays.
|
muncy
Member
|
Posted: Fri Aug 8th, 2008 05:18 pm |
|
I think Kato says it all. If you want a community theatre to consider your work, be part of that community.
|
scenedreamer
Member
| Joined: | Thu Aug 3rd, 2006 |
| Location: | |
| Posts: | 164 |
| Status: |
Offline
|
| Mana: | |
|
Posted: Sat Aug 9th, 2008 03:07 pm |
|
muncy wrote: I think Kato says it all. If you want a community theatre to consider your work, be part of that community.
And he says it well. Something I have observed--and used--but not clearly understood.
Perhaps the "The power of the known" is the source of my pure delight in finding a McDonald's when traveling abroad. While I enjoy eating excellent food "know" McDonald's and I don't 'know' the excellent French restaurant next door. (Also a Big Mac cures homesickness)
Since I seem to be forced to choose between spending my limited unobligated time either writing plays or volunteering in a theater, I choose to write, but still I use "The Power of the Known" to get my work produced. I try to center the action of a play or musical around a well 'known' local event or character which generates publicity and an audience that attends to be "in the know."
With a lot of work a lot of wishing, and tons of waiting, it has worked pretty well.
Now I need to find something that works as well for productions outside the local area.
SD
And I am below the Mason-Dixon line and we do 'know' Moliere. It's just that we prefer our own stories because they are 'jucier' and much more FUN. :-)
Last edited on Sat Aug 9th, 2008 03:17 pm by scenedreamer
|
Basso
Member
| Joined: | Fri Feb 29th, 2008 |
| Location: | Canada |
| Posts: | 116 |
| Status: |
Offline
|
| Mana: | |
|
Posted: Sun Aug 10th, 2008 02:21 pm |
|
And he says it well.
I do believe that "he," is a she. :D Even in community theatre such distinctions still seem to be important. LOL
Basso
Last edited on Sun Aug 10th, 2008 02:22 pm by Basso
|
Current time is 02:40 am | |
|
