Special Thanks to Michael Ian Cedar and Tom Atkins for commenting on Friday's post and getting the wheels cranking to this latest query.
Both gentleman addressed the concept of "iTheatre" which I found to be a really interesting concept. We've all seen the now famous commercials, discussing all of the things we can do individually if we just buy this certain type of phone, but there's a much bigger message inherent in that simple idea.
By choosing to buy the iPhone, we accept certain conditions like only using one phone network and ultimately only being able to go to one place when we need it all fixed. We have the "freedom" to do whatever we want, yet there's actually a lot we can't do. Conversely, because we have better service and more individualized attention, we're willing to give up some of those things.
It seems to me that if we take a look at the model of the iPhone and apply it to our current world of Indie Theatre, many similarities start to become evident. Let's explore:
Both systems operate within a "Network"- Anyone who owns an iPhone will tell you that there are certain areas where they do not get the best service and if they are in other areas, the service is actually pretty good or better than others. Some have even argued that if the iPhone were to switch to a different server, they may switch and buy one of their own. To the same degree, Indie theatre is connected to the Manhattan network. We have theatre in Queens and in the Bronx and in Brooklyn, but much like the areas of service, it tends to be more of a challenge to get our consumer to travel outside of the area of Manhattan where there is so much theatre already and access is easier for those living in the city. So in the same way that an iPhone customer seems to have no complaints in areas of "better service" your NY Theatre patron has no complaints if the theatre they where see the show is "within their network."
So the question then is: how do we convince the Indie Theatre goer that the work that happens outside of their "network" is worth the travel? I see theatre everywhere, but must admit that it is more of a challenge for me to get to the shows outside of Manhattan. I usually only go outside of Manhattan for theatre that seems really interesting to me or that my close friends worked on. Now, how does a new consumer make that conversion?
My hypothesis on this will be in tomorrow's post.
Thoughts on today's post?
Comment below! I'd love to hear them!
Excelsior!
It's not quite as simple as the "network" model, because what you really have are neighborhoods, and there are certain areas inside Manhattan where there are clusters of theaters, so these places feel easier to get to. One is more likely to see a play at the Access Theater, despite how physically difficult it is to get to, than to see a play at the Brick, which is dead easy to get to, but in Brooklyn.
So, we could, on our own, join with several other companies to establish a stronghold in the boroughs, near easy trains from Manhattan. There are already theaters popping up off the L in Brooklyn, and I've often thought that the area near Queensboro Plaza in Long Island City could house several theater companies.
Yeah, it's sketchy. Just like Times Square was during the heyday of Broadway, and like downtown was during the heyday of downtown theater...
It would be amazing if we could convince our civic leaders that investing in theater spaces in areas like Long Island City and Bushwick is essential, but... It's tough convincing anyone that the arts are essential, so it may be up to us to do it.
Posted by: Sean | January 05, 2010 at 10:25 AM
Why not produce content that's important to the community in which a theater "lives" and market it to its own neighborhood. Shows like "In the Heights" and Lemon Anderson's "County of Kings" hardly ever reach the audiences that their content is based on.
Like Sean mentions, you're more likely to go somewhere that has a cluster of theaters, and civic leaders are more likely to put money into a theater space if it's going to serve their constituency and positively affect their chance of reelection. Instead of stretching the current audience over a broader network, why not cater to your community. If you can prove the value of a theater to the citizens of a neighborhood, the funds, and consequently the buzz from Manhattan, will follow.
Posted by: Aubrie | January 05, 2010 at 10:39 AM
I like this metaphor- certainly there are certain "dead spaces" in Manhattan as well- there are a few theatres I generally don't go to because the shows there tend to suck (though I've been surprised by one or two recently), but I'll go out to the Brick in Brooklyn because I can reasonably expect to see interesting work there. Once a place (or a company) gets s rep for doing quality stuff, I think that's all it needs to draw an audience.
Posted by: Duncan Pflaster | January 05, 2010 at 10:47 AM
This isn’t really the same thing as a business such as Apple as a corporation. It does have relevance when considering the customer, as you mention with the IPhone. Though we view the commercial theatre in financial terms, rightly so, we also know that the motive for producing, or even patronizing theatre involves motivations that are purely image driven. This is truer in Manhattan than anywhere else. I recently had a discussion with a playwright, who is widely produced everywhere, who told me that he doubts the seriousness of producers in Manhattan. By seriousness I think he means dedication to the art. Audiences do go elsewhere if they think there is prestige, or even artistic reason to do it. BAM is a great example. I am not sure what you mean by Indie Produces, but if you mean producers who have small budgets, they need to assure investors, or donors (for not for profits) that there is such a small audience anyway, that if the product is good they will come.
Posted by: Matthew Putman | January 05, 2010 at 11:49 AM
Matthew,
Great commentary here. It sounds like there is some talk here of branding which I think is an essential part of producing at the independent level that is the most ignored. The fact that so much work has been done to establish a definition for Indie Theatre and Indie Producers does not change the fact that there is still much confusion as to what we mean when we use these terms. The hope is that through discussion and most importantly action beyond our discussions, that we can become more hands on about branding theatrical experience in any network, be it Manhattan, Brooklyn, Queens etc.
Michael Roderick
Artistic Director/ Producer
Small Pond Entertainment Play Production and Casting, NY
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Posted by: Michael Roderick | January 05, 2010 at 01:20 PM
Duncan,
This brings the idea of quality into the discussion which ends up ultimately being the most difficult thing to evaluate. Does a show suck because a critic didnt enjoy it?, or did it suck because it was not well executed? Was the theatrical experience the turn off rather than the show itself? I think these are all things we have to ask if were going to dig into the concept of quality and evaluation within a theatrical network. Great thoughts on this! Im excited to see what you have to say as we move further in this exploration!
Michael Roderick
Artistic Director/ Producer
Small Pond Entertainment Play Production and Casting, NY
CEO
Small Pond Enterprises
LLC
m_roderick2001@yahoo.com
401-486-9661
www.smallpondentertainment.com
Read my blog!
Join my network on Linkedin
Friend me on Facebook
Follow me on Twitter
Producer/ Director
Squiggy and The Goldfish: May 2009.
Associate
Producer
ROOMS: A Rock Romance Off Broadway
www.roomsmusical.com
Associate Producer
The New Hopeville Comics Off Broadway
www.newhopevillecomics.com
Associate Producer
The Cure- NYMF Fall 2009!
Posted by: Michael Roderick | January 05, 2010 at 01:24 PM
Completely agree with you Aubrie.
Interestingly enough, your point is what tomorrows post cracks open. I look forward to hearing your thoughts on that.
Michael Roderick
Artistic Director/ Producer
Small Pond Entertainment Play Production and Casting, NY
CEO
Small Pond Enterprises LLC
m_roderick2001@yahoo.com
401-486-9661
www.smallpondentertainment.com
Read my blog!
Join my
network on Linkedin
Friend me on Facebook
Follow me on Twitter
Producer/ Director
Squiggy and The Goldfish: May 2009.
Associate Producer
ROOMS: A Rock Romance Off Broadway
www.roomsmusical.com
Associate Producer
The New Hopeville Comics Off Broadway
www.newhopevillecomics.com
Associate Producer
The Cure- NYMF Fall 2009!
Posted by: Michael Roderick | January 05, 2010 at 01:26 PM
Great observation Sean. I think that this point is a pertinent one. If the focus is on Neighborhoods, perhaps there is a way to shift the power dynamic in the same way that Broadway did. Im looking forward to hearing your thoughts on the rest of the series!
Michael Roderick
Artistic Director/ Producer
Small Pond Entertainment Play Production and Casting, NY
CEO
Small Pond Enterprises LLC
m_roderick2001@yahoo.com
401-486-9661
www.smallpondentertainment.com
Read my blog!
Join my network on Linkedin
Friend me on Facebook
Follow me on Twitter
Producer/ Director
Squiggy and The Goldfish: May 2009.
Associate Producer
ROOMS: A Rock Romance Off Broadway
www.roomsmusical.com
Associate Producer
The New Hopeville Comics Off Broadway
www.newhopevillecomics.com
Associate Producer
The Cure- NYMF Fall 2009!
Posted by: Michael Roderick | January 05, 2010 at 01:30 PM