Organizational Models

Dr. Joan Lancourt reflects on collaborating with Boston-based theatre board chairs to discuss eye-opening ideas and shared frustrations.

He fought two guys; beat the crap out of them. And I looked around, and everybody had just stopped training.. And I thought: oh, my god, this is the show. There’s that magnetic presence of the ring.

The keynote address delivered by Todd London at the Mellon Playwright Residency Convening on September 7, 2014.

Miranda Wright doesn’t want to be pegged – not yet. The theatrical environment that she’s creating is both local and global—theater for a world that is simultaneously more connected and isolated, more expansive, more community-oriented, more lonely. More than anything, she’s concerned with the present moment.

Trista Baldwin offers an overview of Workhaus Collective.

I remember very clearly when it suddenly hit me—that I could see it and experience it for myself—that the play would have a future life. And that happened because I was able to take part in and see three productions of my play, one after another, in different cities with different audiences, and be part of the reaction.

Jamie Gahlon interviews José Luis Valenzuela on the LATC and the upcoming Encuentro 2014: A National Latina/o Theatre Festival.

“Paying your dues”—it’s a pervasive refrain, and one that clearly lives deeply within us; it has gotten under our skin and through our veins. I can’t help but think that it’s a lie. The concept of “paying dues” implies a sort of social contract that’s simply no longer present, if it ever was.

This week's conversation topic is "Is your company playwright-driven, director-driven, actor-driven? A conversation about aesthetics, authorship, and companies". This hour-long Howl will take place on Thursday, July 10 on hashtag #newplay at 11am PDT (Vancouver) / 1pm CDT (Austin) / 2pm EDT (Toronto) / 18:00 GMT / 7pm BST (London).

The Welders is a new DC-based playwrights’ collective whose mission is to establish an evolving, alternative platform for play development and production. Over the course of three years, the collective will produce one play by each of the group’s five member playwrights and then give the entire organization—website, checkbook, and audience—to a new generation of artists. In a periodic series of articles, members of The Welders are going to be reporting on the collective’s experience in an attempt to share knowledge with (and learn from) the broader theatrical community.

This week's conversation topic is "Engaging Volunteers for Your Arts Organization" and will be moderated by Christian Carter @cdcarter—who like all of our moderators, authors, and content producers—self-selected to peer-produce on this commons-based platform! This hour-long Howl will take place on Thursday, July 3 on hashtag #newplay at 11am PDT (Vancouver) / 1pm CDT (Austin) / 2pm EDT (Toronto) / 18:00 GMT / 7pm BST (London).

Sometimes, the best way to study a theory or philosophy is to implement it and learn from the results. This twelve-part series is the year-long account of one young artist’s efforts to start a new theater company and put into action what he has learned and is learning from the HowlRound and #newplay community.

There is much that can be done in a truck that cannot be done in a conventional theater—and vice versa. The shows we create for a truck will forever only be performed in a truck, as they’d be much different shows if we wrote them with a brick and mortar theater in mind. Working in trucks is a great primer in how to exploit the particulars of a given environment, and a great reminder that we shouldn’t take theater spaces and the assumptions that come with them for granted. Conventions are great, but using them should be a choice.

Wherever our skunk works might be located, it’s absolutely clear that our industry needs that sort of effort… if only because every industry does. If we simply repeat, again and again, what we already know how to do, we might as well become obsolescent like cuneiform or letterpress printing, to name two other communications technologies that have long since faded from use. So who is going to step up and say, “We will make this happen, for the good of us all”—who has the courage, foresight, and willingness to do that?

Brian Bell shares insight into the benefits of the repertory model.

Lily Janiak and Artistic Director of Cal Shakes Jon Moscone talk about the impact of Janiak’s criticism of the play American Night at California Shakespeare Theater and the controversy it stirred.

ArtsEmerson Artisitic Director David Dower questions the competitive culture of theatre and advocates for a commitment to truth seeking and resource sharing.

A sampling of some of the major non-profits suggests that there are at least, on average, 8 to 10 unpaid interns working at any given time in the average mid to large sized non-profit theater. There are over 300 non-profit theaters of varying sizes in New York alone. Even with conservative estimates, there are at least a thousand interns, (probably more) working tens of thousands of unpaid hours for the non-profit sector. There are hundreds of PAs. We’ve created a system that’s built on the backs of unpaid young people who just want to be a part of things.

foolsFURY is a theater ensemble from San Francisco that sees advantages in working with playwrights and devisors, and seizes opportunities to become a touring company. As they come up on their fifteenth year, artistic director Ben Yalom sheds some light on their transitions, and lets me in on how they are working toward what is next artistically and financially.

In the last couple of seasons I’ve become aware of a ticket scheme already practiced by some of our larger regional theaters, and currently under consideration at some where my plays are produced. And this practice goes by a very catchy and newfangled name. It’s being called “dynamic pricing.” But it’s not a new practice. It’s actually quite old, and has a more familiar name. It’s called "scalping".