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Marta’s Back

August 20, 2008 By: Nick Keenan Category: Teachable Moments

I don’t tend to do much shilling for the work being done at my day job – I’m very proud to be even a small part of the production team at the Goodman, but talking about it in any kind of meaningful detail would likely get complicated. And anyway as a theatergoer I tend to be more vocal about the hidden jewels of theater and the moments most folks don’t see behind the scenes.

Which is why I am making an exception again for the Goodman’s ongoing Latino Theatre Festival, the grab bag of dramatic goodies curated by Henry Godinez, and especially the crown jewel of the fest, Marta Carrasco. Run – do not walk – to the nearest cellular phone or internet-ready device (oh wait, you found one!) and get tickets for J’arrive, which runs tomorrow through August 24th.

This lady changed what I thought was possible in theater.

I’m really thrilled that the amount of festival programming has been picking up at the GMan, because the atmosphere backstage gets thrilling for me – hectic, invigorating, and often improvised (yes, even at the Goodman), and it’s in that schedule that I’m most caught off guard and surprised by the work that I’m operating on a daily basis.

And when Marta arrived with her crew of Catalan Pirates, er, technicians, our language barriered antics and cross-cultural collaboration backstage were just… well, GaGa is a show like Famous Door’s Cider House Rules or that over-the-top Christmas Carol down at Dallas Theater Center where me and my future wife preset ridiculously over-flocked rotating snowmen and alpine trees… I will remember it for a long time as one that forged improbable friendships. And Aiguardent, well, that might just have been my favorite all-time moment of theater.

So for god’s sake. I’m not just saying ‘come see this’ for my own good. Do not miss.

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Context

June 11, 2008 By: Nick Keenan Category: Community Building, In a Perfect World

First of all, thanks to Jacob Coakley at Stage Directions magazine for the editor’s note that mentioned my Chicken of the VNC post – and more importantly the idea that sharing our skills and acquired knowledge is a worthwhile endeavor for us all. For any of you just joining me now from Stage Directions, check out more of my sound design goodie bag, and feel free to ask questions.

So Context. As in: the context that we operate from when we create artistic work or artistic commentary. And the context of others, and the context of others and the context of others. Thank you, THANK you, gentlemen, for sharing your context.

It is so helpful and enlightening to understand the background of an artist. Half the show for me is leafing through the program and remembering the last show or conversation I had with an artist and understanding the work that I see in the terms of what they’re working on and exploring now. Because of this habit, I’m a true fan in the Long Tail sense of the word of many actors and designers in Chicago, and I’ve caught some moments that I’ve carried as utterly magical that I think most audience members don’t normally appreciate – because they’re moments of improvised learning. By understanding the background of an artist, you can catch the moments when the artist suddenly “gets it,” and pushes past their previous limits. I don’t really enjoy divorcing the work from the artist. That feels like amputation to me.

I had a great first face-to-face conversation with Paul Rekk at the Jeffs last night, which I hope was helpful for both of us. His post a few days ago helped clarify for me the reasons for our divergence of perspective – we come from radically different backgrounds.

I grew up in Amherst, Massachusetts. The status quo there – the one I felt compelled to rebel against as a teenager – was one of alternating impotent liberal wishful thinking and cutting 90’s progressive cynicism. Amherst, in case you’ve never heard of it, is famous for its five colleges in close proximity that you may have sensed recently in the shadows of Scooby Doo reruns, its horribly authentic yet utterly disconnected Belle, and the unfortunate human rights record of its namesake, the Honorable Lord Jeffrey. Most alarming to my adolescent brain was that most of the folks in this extremely politically active town ignored the basic precept of fellow Masshole Tip O’Neill: “All politics is local.”

In Amherst, all politics is International. The town is overrun by politically astute 18 – 24 year olds all running away from the demands of their families for the first time in their lives – and the professors and administrators that make a comfortable living off them. The local community might as well not exist as far as the colleges are concerned. I grew up a townie in a school filled with the sons and daughters of professors – which means I was on the empty pockets side of intellectual gentrification. I wrote my early plays about the old men in greasy spoon diners, trading the real wisdom of the world as the world sped up around them. The encroaching property taxes that made retirees leave their hometown after decades even went to prop up that old museum piece of New England democracy – our “functioning” public town meeting that ‘led’ our town through a process that resembled permanent filibuster, while the real power was held by a permanently appointed Town Manager. Imagine a City Mayor appointed for life! Oh wait… And most folks my age were too busy making a show of rejecting the idea of establishment and re-rejecting the disestablishment. So they’re all far too busy to engage with the actual establishment – they wanted nothing to do with local reform or local community. They would rather buy the Che Guevara t-shirts if you know what I mean.

And so of course I ran from my community in the end. I moved to Dallas and saw the most well-SUV’d part of Texas mobilize for the War on Terror by purchasing ever larger and more reckless tanks of gasoline while embracing a skin-deep caricature of patriotism. I watched my family with my electric binoculars fight to stay united, grow up, and not lose their homes to the social will of my hometown. And I found another family, an urban family, and a place where I felt useful. And that’s when I stopped my adolescent self-pity in the face of my own terror and self-recognition, and saw the poison I drank in each lost connection.

This is my context: I sense a deep hypocrisy in the cynicsm of willful disconnection and disassociation with those connections that exist between us. I deeply value progress, but the advocates of progress became in the nineties an incredulous kind of lazy and entitled. And then we saw the consequences of that half-assed progressivism – as part of the country claimed we never had any values at all and took over, running our values into the mud.

I think that’s turning around now, but we’re kidding ourselves if we think our generation isn’t going to face an onslaught of responsibility now that we’re taking over the wheel, institution by institution. I feel a call to service these days – to not repeat the mistakes of the village that raised me and taught me – how they forgot their roots and their neighbors in their push for progress – while also upholding the values of that village in the face of eroding American values and eroding American justice that we all feel. When I first moved to Chicago, I think I wanted to escape from the erosion of the places of my past – but even here, I don’t feel safe from eroding values and eroding justice. I don’t feel safe from complicity in the many injustices of this country and this world simply because I’m in a place where people share my values.

We’ve all felt that kind of powerlessness in our lives – the question of “why do this at all? I’m not arguing a legal case that will affect a life. I’m not fighting hunger or disease or poverty. I’m not relieving disaster victims.” Well, to disengage from that responsibility simply because we are powerless to fix large social problems as individuals is not a valid solution to me. In my context, the way to make an impact on the world is to practice connection. It is to practice and value detail in craft, to create quality in all our lives. This practice fights that sensation of powerlessness in a human-sized way, to create a real, vital community through our collective creative work and our ability to listen to each other. Communities are built individual by individual, and piece by piece – and it’s communities that have the ability to create change.

Death, decay, and destruction take care of themselves. Growth requires food, water, and a big bright light shining on it. In my context, if you’re not re-building, you’re damaging.

In my context, you can choose to create and support the craft of your peers and neighbors on a sustainable scale, or you can tear down and destroy – models, ideas, and work – and leave an empty shell of a wasteland. That’s not a clean slate as far as I’m concerned… It’s a world where positive energy was stopped and paved over by negative energy into a place where it couldn’t grow anymore.

And is the crux of some of our online arguments, no? In other contexts, harsh criticism is valued as pure truth. It’s valued that way because the folks who have that perspective have been witness to comfortable lies for too long. They see how cooperative initiatives can be co-opted by self-promotion, the PR game, and profit. In their context, the ultimate sin is self-censorship and watered-down art in the name of decorum.

I know that this hope for community and mutual support – not dishonesty, support – comes off as wishful thinking in our context-less world of the internet. Here in Chicago, where my Yankee roots don’t share a lot of the same background as the midwesterners who have had to tear down some actual injustice and external ignorant destructive forces to get to play in this White City, my all-for-one-and-one-for-all message comes up against some legitimately divergent viewpoints. Which is fair, and I’m eager to learn to be at better peace with it.

My context informs my work: The theater I have chosen to call my home has a very clear mission that speaks to these beliefs: we “create intimate, animate theatrical experiences which renew both artist and audience.” I also consider teaching and opening doors for younger artists or artists without my experience to be a cornerstone of my life’s work. Teaching for me isn’t about giving the right answer, it’s about asking the right question. It is about testing ideas, but also understanding them, supporting them and letting them thrive on their own terms.

So deliberation in the theatrosphere is not about finding the penultimate truth for me, because I don’t believe in those lofty ideas on a hill. I believe in perspective. I believe in seeing each other’s work, and seeing each other work. I believe in growing within and embracing our own context.

All politics is local.

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The Sidebar that Wouldn’t Die

May 22, 2008 By: Nick Keenan Category: Community Building, Tools

I’ve done some housekeeping over there.

Some cute new features: A new “Big Ideas” section with links to posts that other people wrote. Posts that hit me like a ton of bricks. Good stuff there. Lots of Mental Fiber.

Also, I’ve reorganized my blogroll by categories. I try to keep the mix as a healthy dose of national and international theater thought and an exhaustive look at Chicago-centric theatrical activities, since that’s my perspective – if you want TRUE exhaustion, check out Slay’s excellent blogroll.

If you like to read through the fascinating detail of the inner lives of playwrights, check out their sandbox. If yer in the mood for mudflinging, check out the theater commentators ring. Or if you’re in dire need of advice for your company, check out Law, Non-Profit Resources, and the ever-rich Marketing sections.

Or don’t. I’m just puttin it out there. In multiple RSS feed format. Yum, Yum. Tasty news and thought.

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One Step Forward, Two Steps Knocked Back to the Stone Age

May 12, 2008 By: Nick Keenan Category: Uncategorized

Thanks for the link, RZ.

The Chicago Promoter’s Ordinance is up for a vote, and it includes a new requirement for insurance that could be devastating to small event promoters. It’s aimed at the music industry, but since they’re aiming a legislative bunker buster, this kind of legislation inevitably impacts small theater venues as well. From what I understand in the ordinance, it looks like the legislation is so unclear that it may be another situation where some Chicago Theaters get thrown into aKafkaesque licensing limbo, and some may wrangle out of it politically. Looks like some larger theaters already have, like the Auditorium and the Chicago theater – which have both wrangled an exception for venues of over 500 seats.

Exclamation Point.

Glad the big guys got the hand up, and the notice. Well played.

This vote goes down WEDNESDAY, so let’s get informed, get the word out, and take whatever action you can … now. Three major resources to get informed: The ordinance itself is posted on Jim DeRogatis’ blog on the Sun Times site, there’s an an excellent TOC interview with Alderman Scott Waguespack and the lobbyist site on the promoter’s side, savechicagoculture.org has some specific calls to action.

Waguespack claims that this will only saddle most performance venues with a $700/year insurance bill. He clearly hasn’t seen my annual budget and how devastating even that expense can be. I can produce certain shows for less than $1000 – so it may mean that I produce one fewer show a year.

Sometimes the transparent-as-dirt Chicago machine system of doing business works for the art, and sometimes it hobbles us with poorly written legislation. And theaters are rarely prepared enough to spring into action with the three days notice we receive.

So let’s spring.

And since Chicago has an Olympic proposal in, any words of support from national international readers on the SaveChicagoCulture.org comments section are welcome. Chicago’s leadership is new to the whole international community idea, and they tend to listen to outsiders before they listen to, you know, constituents.

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Connecting with the Audience

April 27, 2008 By: Nick Keenan Category: In a Perfect World, projects, Teachable Moments

Two experiments that can help us understand how big this task really is:

1.) Internationally reknowned playboy and violin virtuoso Joshua Bell played a trick on commuters with the Washington Post. He dressed in clothes that might be described as Wrigleyville chic and played six challenging and downright magical classical pieces “like a God” on a multi-million dollar Stradivari – all this across from an Au Bon Pain.

Only a few brave souls so much as slowed to listen, and there was uncomfortable shuffling in lieu of applause. (natch)

2.) Building Stage is developing their next production, Master Builder, publicly on their blog. The goal:

We really wanted to use the blog as part of our process, something that was integral to the creation of the work, as well as a tool for opening up our process to our growing family (company members, collaborators, audience) to witness, comment on, and influence.

After starting two weeks ago, the production team has 10 posts on a broad range of production topics, including Sound Design, Props shopping, costumes, themes and directorial concept, and of course, marketing. Comments so far from folks uninvolved with the project: 1 – an interior decorator. (that’s a good start for two weeks on a blog, no?)

We’ve been chatting at New Leaf about audience experience for a while and what we’d ideally like an audience member to take away from each experience with us and our work. Over the years we’ve cooked up a number of different methods for teasing those experiences out of them. In marketing speak, this has been about changing the positioning for our theater – getting our audience to shake up their expectations of a storefront theater by experiencing us in different and unexpected contexts – at work on our blog, on their iPods – and also about integrating each world of play into a greater “world of the company” via our mission.

Theaters actually experiment with the audience/artist relationship a lot in the hopes of drumming up new interest – but the audience is uncomfortable with unexpected contexts for our work, and often gets confused, scared off, or dismissive of innovative tactics. Audiences are smart, and they are universally agile when it comes to protecting their time and interest from the possibility of public performance by disengaging from a pitch, request, or an uninvited interaction in under 15 seconds. That’s the amount of time you have to close the deal, so if you spend it trying to close the deal, you’ve already lost.

The calculated smell of popcorn works wonders for movie theaters, for example…

This all leads me to think that saying that we “experiment” with audience interaction isn’t really accurate – this ain’t no lab we’re running. We downright gamble with pet ideas that we think will work, and are usually less than scientific about using data and controls alongside with real innovation. If we somehow learned the discipline of statistics and combined it carefully with our street performer instincts that can reengage a wary patron, we might actually take away firm knowledge and show the world something it hasn’t seen before. That ultimately means change that is slower than theaters want, but faster than marketing professionals, boards, and other suits think is possible.

I think we can all agree: it’s nice to have that great music shared on the way to work, isn’t it? Maybe that should be a more regular part of our lives.

Oh, and to the Building Stage, who is creating a fairy tale world for the Master Builder out of elements found at IKEA, may I suggest this lamp to be used as a practical, it’s worked wonders for us in the past:

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Well Shucks

April 20, 2008 By: Nick Keenan Category: In a Perfect World, Teachable Moments

It looks like I wasn’t the only stone that skipped across the pond. I probably missed this in the pre-trip slam, but that good ol’ value blogathon had a good kerplunk on the Noises Off column on the Guardian blog a few weeks ago – including a quote from yours truly. It made me feel almost relevant after sadly pouring over the delicious offerings in this year’s Festival over in the Hub at Edinburgh last week – half impotent and half relieved that I wasn’t able to sample any local theatrical delights this time around. Just the food and whisky, Dank u vel.

And god help me, I think as I get back to the grind I may have to write one of those insufferable pieces comparing Europe with America. I know, I know. But the contrast has been useful to help see outside perspective with more clarity – and Don’s piece on poverty and my conversations with our B&B host in Brugge about the European approach to poverty and the ongoing – and accelerating? – segregation of American society has got me thinking about theater that can be vital to our own community again…

I’m not one of those folks that thinks that Europe has it right. I could move to Sweden if I thought that. Or maybe just shack up at Ikea Schaumburg. No, the European system that works quite efficiently enough, thank you, is the result of centuries of city planning in the form of genocides, population clearances, religious wars, and other aggregated forms of culture assassination. We’ve only got SIX centuries of THAT to our credit, so if we keep following that path – as we are as we emerge as a fairly callous and self-interested empire – we’ll ALWAYS find ourselves behind that eight ball. We need to do what we were best at during our darkest hours – smart-aleck innovation that changes the game of injustice and lack of resources. Just because our hours here on home turf haven’t been that dark in some time doesn’t mean that innovation isn’t needed.

As luck would have it, I had plenty of time to think today about what seeing Europe as an outsider has taught me about my Americanness. Because after getting on the blue line at O’Hare – with a sigh of relief of familiar ground that didn’t require translation – and traveling oh, thirty minutes to Rosemont station, the friendly CTA that just sold our dutch travel buddies their $20 universal day pass – a bargain! – had us all get on a bus to take us two stops forward past slow zone construction, then back on the train. After being whisked across the otherwise desolate and unpopulated Scottish countryside in a smooth-as-butter rail journey, the welcome our fair white city currently gives to our international guests is, well… let’s hope it gets fixed for the Olympics or we’ll have some ‘splainin’ to do. And if we don’t have the Olympics to serve as sufficient impetus for a worthwhile public works initiative, what do you think – will our own community’s well-being and happiness be enough? Ha ha.

But enough smart aleck-ness from me. It’s good to be home after a wonderful trip, jet lag and all.

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What was that Geena Davis Movie again?

February 20, 2008 By: Nick Keenan Category: Community Building, projects

About six months ago, I had enough. I was a company member at three theaters and serving as the web master for all three. What was astounding to me was the sheer repetition of the tasks and conversations all three companies were having:

“What kind of mailing list management software can we use to e-blast our patron list?”

“What ticketing service should we use, or should we build our own?”

“What should our process be for recruiting board members?”

“How can we more effectively distribute postcards?”

“Are posters worth the price?”

“Is being a member of the League of Chicago Theaters worth the annual membership fee?”

Deja vu became a way of life.

And I thought: There’s a reason why this is happening. Our theater companies aren’t communicating and sharing best practices with each other. Why not? The League question especially really bothered me. I looked up their mission – have you read their mission? It goes:

The League of Chicago Theatres (LCT) is an alliance of theaters which leverages its collective strength to promote, support and advocate for Chicago’s theater industry locally, nationally and internationally. The League of Chicago Theatres Foundation (LCTF) is dedicated to enhancing the art of theater in the Chicago area through audience development and support services for theaters and theater professionals.

Hot Damn! That’s what I was looking for. But why wasn’t it working? Why wasn’t the League providing leadership – or the right kind of leadership – for storefront theaters?

I really tried to figure it out. I got it in my head that structurally they just couldn’t do it, because inevitably in a mix of LORT-sized theaters right down to itinerant theaters, representing the interests of individual small theaters just becomes overwhelming and frustrating. Storefront theaters are strapped for cash, self-centered and often very, very green in terms of how they administer themselves. They also can turn their organizations around on a dime and what they need one day is very different from what they need the next. That’s a recipe for Chaos Soup. It’s hard to get a small theater to even ask for help in a clear way, let alone ask for help in a way that can be provided.

So what would work? I got some friends – trusted colleagues with mutual respect – together over some take out thai and we brainstormed up some structures that would actually work to help storefronts learn faster and incorporate infrastructure more completely and lastingly. We talked about the possibility of splitting storefronts off from the league, and starting something new that simply represented and worked for storefronts and the specific infrastructural needs that storefronts represented. It would need to be built as more of a grassroots organization that could listen to the stated needs of companies and use experienced individuals to interpret solutions that could fix multiple problems with a minimum of effort.

It was at this meeting that the fatal flaw of such an organization became clear. There were five of us in the room, and we couldn’t agree on a flipping thing. New ideas were proposed, and then shot down emotionally. Babies were thrown out with bathwater because we had a room full of passion for change, but we didn’t have a clear survey and picture of the entire theater landscape. We had different priorities, and only enough time to deal with our own agendas.

I refocused. The passion that I discovered in the group was good, firey stuff, but the lack of traction was killing the momentum. We needed a better road map, and the initial idea to build momentum slowly by adding trusted colleagues and building a critical mass coalition was the root of a flawed concept. We didn’t need secrecy and safety, we needed a big, public call to action, and pretty much total transparency every step of the way. People don’t trust people or organizations that carry hidden agendas – no matter how benevolent those agendas may be – and that lack of trust will kill any traction that a movement has before it even begins.

So I started a blog. And others have already been blogging. That’s the clarion call right there. And having an open public dialogue has worked as a strategy – long-time bloggers are noticing a change in the tone of dialogue, increased readership and coverage.

One of the most regular readers has been Ben Thiem of the League. Last week he and I sat down to compare notes and see how we – and you – can pool our efforts to build something better for the community.

What became clear immediately to me in our meeting is that the League is willing and even eager to improve and streamline the resources they offer, but the financial and human resources are not there to back it up. The last few years of the League has seen its staff shrink considerably, and marketing budget dry up to almost nil. The initiatives keep trickling, but without time or the money to buy time, they falter before they have time to build up steam. Making that worse (and Ben’s the first to say so) is a closed and bottlenecked system for providing the most valuable resource that the League supplies – information. What Ben does all day now is answer individual emails from theater companies and manually copy their information over to a website database, or look up the answer and get back to someone. In the era of dynamic web services and collaborative content management, that crap has got to end.

That was the second thing that Ben made very clear to me – the League wants and welcomes help and input, but doesn’t currently have a mechanism other than email blasts and their website to spread and build information. That’s why the information coming from the League can seem weak – because it’s bottlenecked coming up, and bottlenecked going out.

That’s where we all can help. The biggest idea that came from my Storefront League pals is that Storefront theaters are rich with a single resource – volunteer time. As projects like Dan Granata’s uber-list of Chicago Theaters and Missions has demonstrated, a lot of us have a reasonable amount of free time on our hands that can be used to create or compile useful knowledgebases and information that can help a lot of people. What we are lacking is coordination. In the last week I’ve been invited to three different (and all well-intentioned) Ning groups and facebook pages and blog comments feeds that are all trying to do the same thing in a different back corner of the internet. We need a system to pool these individual initiatives and hours of volunteer time into a coordinated, accessible, and centralized resource. And we need that system of collaboration to not generate animosity and degrade our willingness to cooperate. It needs to be open, public, and built on a foundation of inclusion, and that will make it less likely to fall apart like previous initiatives that go back to the founding of Second City.

Blogs alone don’t succeed here, because they are not a collaborative tool. They are mouthpieces, or in orchestral terms, trumpets. They’re useful to get attention on a cause, but if we have any hope of getting this marching band rolling, we’re gonna need some other instruments and we’re going to need to use them for what they’re designed to do.

The League gets this, but isn’t currently built with grassroots momentum and coordination in mind. It has several major programs in the works, including a long-term plan to overhaul their website and create a “web 2.0″ site featuring user-updated content. This is where I kind of went all giddy, because to me the goal is to let the computers and the internet duplicate our work, not the league. I’m so sick of forms filled out in triplicate it’s making my eyes cross – it’s a waste of everybody’s time. What I’d eventually love to see is a single place where the community buzz can build up and people can share their news and coordinate with each other on their own terms. A Moveon.org / Facebook / IMDB / Wikipedia for Chicago Theater. A network of RSS news feeds that allow theaters to update their website and the league website in the same keystroke. A place where audience members can check out the collected works of artists and thereby become more involved and engaged in following their future career. A place where theaters can coordinate and enlist help from new-to-town volunteers who need inroads into the community. Something that generates excitement, knowledge, buzz, and community involvement in one place, for everyone in the community regardless of budget.

The first step is going back to the initial need – we need to build a place where theaters can discuss, develop, share and implement best practices. Right now. At the same time, I think we need to learn to dance the collaborative dance with each other again, in an environment that isn’t as combative as the blogosphere. We need an initiative that can prove to ourselves and to the League that storefront theaters and the artists that work in them are capable of creating incredibly valuable infrastructure for the whole organization, simply by talking and capturing our ideas in a centralized resource. Best of all, I think that resource already exists, and is only missing our involvement: The League of Chicago Theaters Wiki.

Do you know about something that some people don’t know about? Write it in the wiki. Do you have a question that you can’t seem to find the answer to? Ask it as a stub article in the wiki. Have you fastidiously compiled a list of resources that could be valuable information for other people? Plop it in the Wiki. Want to help, but don’t know what you could contribute of value? Write a comment below, and I’ll tell you specifically what articles you can get on, or talk to your theater colleagues and come to an agreement about what your company could spend some time on that could benefit us all. Make it a habit to donate 15 minutes of your time a day or an hour a week updating and adding useful information during your boring day job. Go through pre-existing articles and add footnotes and support materials. If something is just plain wrong, give your own perspective, or learn from the other perspectives out there. Think about what things would make a knowledgebase useful to you and your theater, and make sure that the wiki has those things. Develop the information, and encourage anyone who is new to town and eager to start their own company to learn the context of their new enterprises by going to the wiki and doing some good ol’ one-stop-shopping research.

To get you started: Last night, I saved a list of League Member Theaters complete with [[wiki links]] to create summary pages for each of these organizations. I’m also reorganizing the Resource Guide page to match a more traditional theater administration structure – Marketing, Development, Production, etc. If you regularly work as say, a props designer, this gives you a logical place to create pages for Thrift Store links and a link to the props designer list serve. When in doubt, save yourself some time by linking to external sites that you know to have quality information. The idea of a wiki is that the information is alive, and the community powering it keeps the information current and honest – and therefore valuable. It shouldn’t burn you out – if it’s working it should actually generate excitement and possibility for you and your organization. Many hands make light work.

If we’re successful, our work will open the eyes of the League and bigger players in town. Connections will be cemented. If we succeed in creating a valuable resource and they still can’t value our collective time, we’ll still have that resource – the mechanism of collaborative action, not the wiki – and we can take it with us and build what we need. My suggestion to Ben, which he obviously can’t sell to the League until an alternate income source is generated, is a time trade for young theater companies – rather than paying a hefty membership fee, young theaters should be able to earn League membership through volunteer service. I think we can convince them that that’s a good idea if we can demonstrate that our volunteer time is valuable, and that the wealth of the community isn’t at all about cash flow. The wealth of the community is everyone in it, including the people who aren’t connected yet.

The wiki is also a logical next step to developing and exercising the dialogue that has been generated on theater blogs in the last few months. It’s where the rubber starts to meet the road, and there’s more on the way once we see what falters and what works. I think the current dialogue is getting bogged down in theoretical policy discussions, because blogs encourage theoretical policy discussions. Wikis and forums encourage other kinds of dialogue – A wiki is a knowledgebase, an online library with no due dates. A forum is a place where ideas stick, can be picked up and developed, but nothing gets forgotten in the ol’ RSS news cycle. If you’d find a forum to be useful, I’ll put one together tomorrow, but again, my goal is to unify the conversation rather than fracture it further.

To those of you reading this from outside Chicago – I don’t think I’m excluding you here. I think developing a lasting infrastructure works best from the bottom up, so I think it’s good practice to start local. The things we learn here in Chicago have the potential to quickly change the way theater is done in the entire country.

There’s so many other programs that are in the pipeline and several upcoming initiatives from the League that you’ll want to hear about. I think this post is long enough, but keep your ears to the ground, and stay involved.

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All Meta and no Real Work make Nick a Dull Boy.

January 09, 2008 By: Nick Keenan Category: Community Building, In a Perfect World, productivity, projects

Nick knows ProductivityWhile the Chicago Opening Night Calendar project is chugging away, adding a few shows each day, I’ve dove head first into the actual production work that I’ve been carefully procrastinating on this month. The ideas are still bouncing around, but the time to execute them using the glorious tubes of the interwebs is running dry for the moment. That’s cool, right? We’re cool. Baby steps.

Some thoughts bouncing around this week:

– Our new sound intern at the Goodman is from the realm of sound, but is brand spanking new to theater. It’s been really fun to see him open his eyes to the possibilities while watching the process behind Shining City. It looks like he’s really falling for it, which is really great to see. Yesterday, I put the Opening Night Calendar to the practicality test and used it to find four shows – all in previews or early in the run to help his wallet – that showcased the variety of Chicago theater to a newbie with an appetite. It’s been a great reminder for me personally just how much is out there, and we’re not even done yet. Thanks to new adds Point of Contention, Theater W!t, Speaking Ring, Stage Left and Live Bait for being early adopters and Kris Vire and Rob Kozlowski, who both drove some traffic to the project over the weekend.

– Read this totally kickass analysis of why, systematically, the music industry is slowly drowning itself, and what other industries can do to avoid a similar fate.

– A spectacular cross-blog conversation on the importation of actors to regional venues has popped up here and here and here. I am grossly under-informed on the topic, or I’d join in. From my vantage point in the storefronts and even a great deal of the larger theaters, I see a lot of great local working actors, which makes me happy, and the imports don’t often last. I know it’s a major issue, and as Marc Grapey and David Cromer would say, we designers don’t have to deal with the import issue as much while we chew our bon-bons from atop our great piles of cash. Again, though… cross-pollination is a good thing, so if we can encourage it to actually happen and maybe balance the trade deficit a bit, we might be able to pump out a little lemonade from the situation. It’s losing actors to LA and NYC and other regions that I dread, but getting them to visit every so often is good for all. So while I have little to add, I think it’s pretty neat that the arguments are being refined right where you can read them, add to them… and now you can do something about it.

– The discussion of international theater festivals in the last post led me to try out a few great online resources, including the Chicago History Database which is operated by a history-minded English professor from Valparaiso University and assisted by Chicago Reader critic Albert Williams. The site’s mission is to track the founding, disbanding, archival materials, and key membership of all theater companies in Chicago, big and small.

The process of finding information on a now defunct cultural institution, the Chicago International Theater Festival, which last convened in 1992, proved to be more difficult and speculative than I would have thought. And finding information like this, which is key to a developing artist’s career and theater’s development. I think in Chicago’s scene there are a number of theaters that travel the same path as long-gone theaters because of a lack of institutional knowledge and community memory.

After all, one who does not learn from the past is doomed to repeat it. (Institutional Memory is one of those things that I mention at almost every company meeting. I’m a die-hard supporter of saving and processing the past and present for the benefit of the future in any organization.) Difficult and history-changing tasks like opening a new space or organizing an international theater festival leave traces of extremely valuable information and lessons that can be passed on to other theaters, or used in the pursuit of city law reform or improving public support. Plus, why do something twice when you can do it once?

Can you tell that I’m justifying the need for another crazy group collaboration project? It’s so crazy it just might work. (I’m so crazy I need to get to work.)

So the scarcity of institutional knowledge in storefront theater got me thinking: Just as our system for managing our collective scheduling might be insufficient to maximize the potential of Storefront Theater in General, how successful are our current methods for knowing just what work is being done in town right now, and knowing what work has been done before we even got here? Armed with that kind of cohesive knowledge, could we more easily notice trends, and use the lesson of the past to benefit the entire storefront community?

Like any possible project, it was time for me to survey what’s currently out there and what exactly was dissatisfying about it. Institutional knowledge certainly exists, it’s a question of where is it being stored, and who is storing it. There are a number of Chicago listing sites that also provide some insight into the wide kaleidoscope of the Chicago Theater Scene. The lists I was able to find when I first moved to Chicago just happened to be the ones with the top Google results: Centerstage’s largely comprehensive list of theaters unfortunately is usually quite out of date; Illyria’s Chicago Theater Homepages lists most current companies’ websites, but hasn’t been updated since February 2007; and Chicago Traveler has a good hit count but is by necessity driven by commercial interests. Other more recent sites try to get the list right, including a formidable recent attempt (powered by php, of course) by Theater in Chicago’s attempt to dynamically map every theater in Chicago.

Why are there so many lists, none of which are comprehensive? There’s several divergent motivations at work here for taking on the task of creating a comprehensive picture of the entire Chicago scene and the network of artists that work together to create it. The first motivation is pure Metromix: The commercial value of providing a listing service to audience members, and these sites are positioned to get the web browsing public to spend top dollar on glossy entertainment. As such, they leave out some of the younger companies and often do not update the information on even the mid-sized companies on a regular basis. Why not? Well, because that’s an overwhelming amount of information that changes almost daily. It may be valuable information, but it’s not valuable enough to these organizations to justify a full-time employee to seek the information out.

Another possible motivation? Positioning your site as alternative media source. You can easily feed your site’s content by the press releases of small companies eager for attention. Both Theater in Chicago and Centerstage position themselves as alternatives to larger media outlets that provide a different kind of coverage. It’s debatable how effective and sustainable those strategies are given the recent collapse of the Chicago Reader, and there’s a key problem with the information contained in almost all of these listing sites: Accessibility. These are all listing sites managed by lone gunman webmasters, who you need to email and rely on to have your information go public. The biggest problem with this strategy (and the working strategy of my Calendar project, for that matter) is the editor-in-charge off in a room somewhere that you need to know about and have access to in order to get your data published. It’s a lot of work to create a completely standalone site, and when you’re done, you need to work out how to cut out a chunk of the market share of the people looking for this information. When you’re talking about theaters who are so young they don’t really understand the context of the theater scene they’re operating in, how can anyone expect one of these listing services to ever be definitive repositories of our history and our progress?

So I realized that what I was really longing for was an improvement to the current Theater in Chicago Wikipedia entry. Wikipedia already has that kind of market share, and it’s going to be one of the obvious sources of information for the forseeable future. The entry is duly based on the definitive Richard Christiansen book, A Theatre of Our Own, but the list of theater spaces and companies is woefully incomplete. Some of the highlights of the ghosts of theaters past (Organic, but no Wisdom Bridge?) Anyone can add both their theater’s entry containing historical information like founders, artistic staff, production history, and mission, and they can also make their presence known in the greater context of the community in the main article. And anyone can edit (and hopefully not vandalize) to provide some measured balance to the whole picture, and create something worthwhile for history and public context. Most importantly, talent that is young, new to town, and wanting to see where they might flourish could easily see a more complete picture of the pieces that make up the world’s most vibrant theater scene.

Community projects move mountains. Many hands make light work, and by making the projects simple (post your theater and the theaters you remember on Wikipedia, everyone!), you can create big, intricate knowledge and labor bases that can help a lot of people with challenges we may not be able to imagine. This principle can be applied to any number of tasks, goals and dreams that seem unreachable now. If everyone in the neighborhood builds a park, everyone in that neighborhood will be able to enjoy that park.

So I’m gonna get on that… and you theater managers and activists should be proud enough of your young history to record the important points in the Wikipedia article yourself. Some savvy theaters have already done this – the history page shows updates from Boho and Sansculottes, for instance.

I’ll be getting on that right after I get these seven shows open. Because, well,… meta, real work, I’m in trouble.

Back to work!

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