Saturday, September 12, 2009
Heartland auds flock to familiar shows
Variety: "If the stereotype of a road-only show is some non-union, not-for-New-York revival of a creaking Rodgers & Hammerstein tuner, consider the pedigree of '101 Dalmatians,' the new touring attraction from Magic Arts & Entertainment, Troika Entertainment and Luis Alvarez."
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7 comments:
It's not at all surprising that producers are looking at a different way to approach mounting new productions in order to save money. A significant number of shows start in smaller "tester" cities such as Chicago or DC and then move to Broadway, so the model of touring a show and then possibly moving it to New York makes sense. The creators appear to recognize exactly what their shows are...lower budget, with a non-AEA cast, and paired down production elements. While part of why a modern American theatre audience goes to see a show is for the "spectacle", being able to offer them a show at relatively lower ticket price is worth the compromise. What I find optimistic is that larger producing companies (i.e. Blue Man Group) are coming up with ways to adapt their shows into more conventional theatres, which may give all of us the opportunity for greater exposure to shows previously limited to permanent venues.
I find that one of the things missing in a large part of the theater world is accessibility to the public.Many people don't have the budget to go see a show on broadway, not only because of high ticket prices but because of travel costs as well. Touring shows can be great, but they are mimicking the "greater version" that is still or was once on Broadway. To have a show made for touring then possibly switching over to a Broadway show promises that the performance will not be any worse for being a touring production.
At first I had the expected reaction of "When will people start writing original musicals again?", but then I got to the part of the article that mentions the family appeal. Although it would be nice to see more original work on stage, the truth is that young children are more likely to get excited about a stage version of their favorite movie or book than they are about a story they've never heard of. I think children should still be exposed to original work when possible, but I have a softer attitude towards stage adaptations of movies and books when they're aimed at young kids.
While I do believe that there is a severe lack on new, original work in today's Broadway scene, I do understand the appeal of a re-mounted work of a familiar story. There are very small group of people who would go to see an avant-guard new production, while the numbers of people who flock to see a Wicked or Phantom is far greater. Also, with younger audiences, they are much more likely to be engaged if they already know the story. For those younger audiences, there is not the frustration of trying to figure out what is happening onstage, but instead can enjoy the theatrical re-telling of the story they know and love.
I agree with David's comment. I know you could never drag me to the theatre when I was younger unless it was a show I was comfortable with and knew. While tempting audiences with familiar, low-budget shows is a good tactic, I think the industry needs to get out of this habit of charging so much for tickets in order to earn profits for an oversized spectacle of a show. As Brian said, audiences do enjoy a show for it's "spectacle," but eventually, re-creating movies and older stories will wear out. I honestly think low-budget shows are the answer. My favorite show in the entire world is 'The Fantasticks.' It is the longest running Off-Broadway show, and the set consists of a box, and a few chairs. It is the most beautiful story imaginable (sorry to those who are not fans) and requires very little money. Creative teams need to start looking at story, rather than spectacle. It is what makes an audience fall in love with the show. That is why newer versions of classics keep coming up, because the stories are what people fell in love with. I am completely for revivals, as I have mentioned in other comments, but lower budget shows are an option we should be considering.
The familiar shows have plenty of magic I'm sure, but personally I find it somewhat disappointing that the public isn't more willing to try something new. Hedging your bets with well known titles is a wise move in the current economy, but I'm mildly inclined to worry that such choices might stifle new creative development. In difficult economic times the American public has a way of clinging to the traditional for the same reason skirt lines dropped back down in the Great Depression. Wholesome and familiar are terms that reassure us. Hopefully more adventurous theater can find an audience as well.
I'm just curious as to how they are going to make "101 Dalmatians" work with live dogs... i think its good that they are making shows that are more accessible and appealing to children. its a good way to introduce kids to theater. i also think its smart to save money by setting the show up as a touring production.
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