Below is my first whack at it. The one I will ultimately turn in, if I turn one in, will be different. That said, the ideas below are ones I still stand behind. Enjoy... ~ Brad
Here’s
what we, as contemporary theatre artists know: going to the Theatre now implies
much more than passive attendance at a performance (i.e. the way we might file
into cinemas); it signifies participation in the social life of our cities, our
communities. Contemporary theatre-goers - those brave few who recognize
how important it is to feed one's mind and soul as well as one's stomach and
investment portfolio - are likely to arrive early for pre-show snacks in the
lobby or grab dinner, perhaps, at a restaurant in the neighborhood. A
contemporary theatre-goer will more than likely stay late for a
post-performance discussion, chit-chat with the artists in the lobby after the
show, share their thoughts on social media, attend lectures on a Saturday
afternoon, visit the plaza for a midday lunch concert or reading, take a
youngster to a children's puppet theatre performance at an informal outdoor
amphitheatre. Today's theatre-goer may take in a late-night comedy revue over
cocktails. In short, contemporary theatre-goers are informed, involved and
demanding. They like to both participate as well as sink into anonymity on
their own terms. Expectations are high. And well, they should be. Educated
patrons and sincere supporters should be valued, especially in today’s
media-saturated, million-choice society. Pandered to? No. But valued and
developed.
So,
should a single theatre company provide all the services listed above? Maybe,
though I imagine such an institution as a theatrical equivalent to Walmart. Like
its retail doppelganger, this one-stop theatre might have a wide selection, but
the quality will be kind of “meh…” Besides, when the cold light of reality
shines on the financial resources of most theatre companies, this is hardly
possible or practical.
But,
and here’s the silver lining…This is what a theatre community is
for. A bunch of theatres sticking close to their guns and mission
statements share the burden… no not burden… responsibility of
supplying for the needs of the cultural community.
The Dallas-Ft.
Worth area is blessed in that it has an incredibly diverse theatrical
ecosystem.
Theatre
for different ethnic audiences? Got it.
Puppetry?
Got it.
Mid-century
fare? Got it.
Light
comedy and farce? Got it.
Regional
off-Broadway pieces? Got it.
Musicals
of all kinds? Got it.
New
and original works? Got it.
Dance
theatre? Got it.
Classics?
Got it.
Popcorn-throwing
melodrama? Got it.
And so
on.
This
diversity is a boon for audiences, but also for artists as well. Whatever your
poison, DFW has some of it. If, as an actor, you want to try your hand at
murder mysteries or experimental works or the classics, there are avenues for
it in the north Texas cultural landscape.
It is
with this in mind I run a small garage band-size theatre based in Dallas called
Audacity Theatre Lab. Both the size and location are conscious choices. We affectionately call ourselves indie. With
no permanent venue to call home we are urban gypsies (not homeless). We operate with an
extremely low overhead. We have no “season,” but instead present work when it
is organically created. We do work at festivals and venues around the country
as well as locally. We operate as a collective and give the artists involved
total control of the projects from idea to finally putting photos in a scrapbook long
after the production has ended. We do theatre because we, as artists, have
something to say.
This
is possible because of the wonderful diversity of the cultural landscape in
Dallas. Audacity can operate far down the Long Tail and fill its particular
niche because there are companies such as Dallas Theater Center, Undermain,
Kitchen Dog and other LORT and/or TCG Theatres doing a lot of the heavy lifting. With these
groups acting as the core, groups like Audacity can happen on the fringes. We can explore and experiment and advance the art form in very particular ways. As independent artists and groups we are freer and should take full advantage of that. That is how we are part of the cultural ecosystem.
And
here’s the thing, small fringe, indie theatres are just another part of the mix
of the dynamic theatre community of North Texas. And there are several dozen of
us operating at any given time. In fact, overlapping the TCG National
Conference, a festival of small, independent theatres will be in full swing at
the historic Bath House Cultural Center on beautiful White Rock Lake. Audacity
is involved (we’re doing a world-premiere called DINOSAUR AND ROBOT STOP A
TRAIN). Other small groups like Wingspan and Echo Theatre, Rite of Passage and
Churchmouse will present work. The aptly named Festival of Independent Theatres
is truly a coming together and celebration of Dallas’s small indie theatres.
I’m
very excited about the hundreds of theatre colleagues coming to town for the
National Conference. I’m excited to share, learn and grow. Just thought I’d
give a shout out for us small groups out here on the fringes. We welcome you.
Brad McEntire is Artistic Director of Audacity Theatre Lab.
He works predominantly as a director, playwright and solo performer. His show
CHOP played at fringe festivals in Seattle, New Orleans, Phoenix, Portland,
Houston and New York over the past two years. He has worked with several
TCG-member theatres in north Texas such as Cara Mia, Kitchen Dog, Addison Water
Tower Theatre, Dallas Theatre Center and the Undermain (where he served as
Literary Manager for several years). His new play DINOSAUR AND ROBOT STOP A TRAIN, about an unlikely time traveling duo, debuts at the 15th
Annual Dallas Festival of Independent Theatres, June 7-22, 2013. McEntire
earned his undergraduate degree in Theatre from the College of Santa Fe and his
graduate degree from Texas Woman’s University. More info at:
www.BradMcEntire.com
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