WBEZ’s Chicago Amplified program has beefed up its presence in the Chicago theater talkback circuit… quietly and diligently recording interesting conversations and performances that would otherwise be lost to the world forever.
One of these recordings actually captured a portfolio dream for a sound designer… a full recording of Remy Bumppo’s original commissioned work Think Tank: American Ethnic, with both performer dialog and sound design mixed in. If your exposure to theater on the radio is primarily through LA Theatre Works – or if you’re outside of Chicago and want to see me put my money where my mouth is as a designer – I hope you can check it out.
If you’re creating great programming in Chicago and don’t have a podcast infrastructure to capture it yourself, I’d also recommend contacting the good people at Chicago Amplified… It’s one of the few places that will lend its excellent web infrastructure and traffic to creative organizations of all stripes.
You can also donate to Chicago Amplified here… And catch WBEZ employee Don Hall (and friends of TFTF Schadenfreude) in this video, doing what they all do best: Crank.
I was thrilled to be asked by The New Colony contributor and blogger Benno Nelson to engage in an online debate that took the temperature of theater blogs in this our internet age. That’s why I totally didn’t join in until a couple minutes ago. What can I say, it’s tech.
At any rate, here’s the discussion so far, and you can join in yourself. You’ll hear from Benno first and then you’ll hear from me.
The internet will be for maybe only a few more years the Wild West, the Manifest Destiny of our age. Not everyone understands what it is or how to use it, but most everyone knows they cannot be left out of it. This applies, of course, to Theater Companies. There have been some attempts to codify, or at least examine the components and goals of websites, and particularly blogs operated by Theater Companies. The consistently excellent Kris Vire has, for example, offered a few ruminations on this topic, but I think it is worth our attention here as well. The justification for including it as a Cliché, I feel it necessary to point out, is that the possession of a “blog” seems to have grown into an unconsidered necessity for theater companies and I want to draw attention to this thoughtlessness and worry about it.
First of all, it is so self-evident that it is almost absurd to point out that the primary activity of Theater Company websites is marketing/advertising: making it easy for a potential audience to get telegraphic information – who, what, where, when, why – about the company and their productions. But what is a Theater Company blog, and what is it for?
Well, it’s actually not very simple. A clichéd response would be that a blog allows a theater company to maintain an online presence. What the hell is that? In the case of The New Colony, for instance, what do they gain by having these columns up once a week? Ideally, I suppose, they get increased traffic by becoming a place people can count on for new content: in the internet, updates are the equivalent of a neon sign. The more updates, the more content, the more people are likely to check your site and keep checking it. Does this sell tickets? I really don’t know, but when I saw FRAT it was full almost to capacity.
The Steppenwolf also relies on content generation, but they are much more streamlined. That is, their posts are all about the Steppenwolf, their shows, their season, their collaborators. It is essentially like an ever-expanding playbill. Interestingly though, for a company like Steppenwolf or The Neo-Futurists where much of the draw of the company is in the company members, the blog offers a great way to deepen audiences’ familiarity with and knowledge of these members. By including a post by Joe Dempsey on joining the cast of Art, for instance, we get a better idea of who he is. Perhaps we’ll want to see him more, and return to the theater when he returns.
What is a bad theater company blog? One that is hard to read or navigate (with regard to design), or contains meaningless information, or is updated infrequently. The insistence on web 2.0 interaction is a little tiresome for me, because I don’t believe that the companies really care what I think; these seem to me rather more an extension of the farce of post-performance talk-backs, but I hope I’m wrong.
The interesting thing about the internet is that it is in some ways a great equalizer. It is essentially as easy for a tiny company without even a reliable performance space to operate an excellent website as it is for the Goodman– to make a home online and offer consistent and engaging programming there as on stage. It is not a requirement to offer this, but it is really not particularly difficult and if it exhibits that Theaters are engaged in the world as we come upon it today, not desperately keeping up and not hopelessly aloof, then they are certainly worth the trouble. But the panicked desperation to have a blog because it is the thing to do leads to a lot of bad blogs and a haziness about what they can and should be.
Aww yeah. Showing up late to the party.
While I’m late to contribute to this online debate, it’s certainly not for lack of interest. A number of the concepts of content generation that Benno explores here (capturing more traffic, deepening interest of the work already being done by theaters, cultivating an ability to communicate clearly and interestingly about one’s own work) are things we tried to throw into relief with World Theatre Day – an event a number of Chicago theater companies threw in cooperation with the League of Chicago Theatres and the Chopin Theatre.
For me, the Chicago WTD celebration was about putting some of these theories into practice and, hopefully, feeding that growing energy of theater’s online presence back offline into a live spectacle. Before the event, theaters from all over the world were asked to contribute video, audio and images of work and play – content they were already generating in the normal course of producing theater – to an open blog. That video and content was then projected and shared in the event on a big screen. During the party, a team of volunteers captured quick video snippets and interviews, and uploaded it within minutes to the open blog using the dirt-simple video capturing tool that is the Flip Camera. International theater artists live-tweeted their responses to the fun was being had in real time, and I posted those tweets back up on the projector screen. It was like internet connection feedback.
So yes: there’s many different ways to generate content as a theater, and there’s many ways to streamline the process of generating new content. But there’s a couple points here where Benno and I seem to have completely different perspectives. One is on the preeminence of new content over easy content. We agree, before you get too excited, that this content has always got to be good. This difference of opinion makes sense, as I’m a production manager of a small company who knows that when you make time for creating new content during a production process, you inevitably rob time from another project … like opening your show. Since marketing is a contract of trust with a potential customer, the model of “you must create new content on your online presence every week or you will lose your online audience” just isn’t sustainable in my experience. What I think is sustainable is something similar… a model of “capturing” your
While Benno is suspect, I’m a total believer and convert to the value and, yes, necessity of social networking as a conscious and intelligently-utilized component to a company’s online presence. World Theatre Day in America simply would not have happened this year without the presence of Twitter and Facebook to coordinate and fuel it. We quite literally organized every aspect of that party – from putting together the talent and equipment to getting the hundreds of partygoers to show up – all through a Facebook meme that allowed individual theaters to add their own branding sauce to the event. That said, Benno’s point about the way he feels about the way especially very large and very small theaters have been using social media – that “they don’t really care what he thinks” – well hell, attention must be paid here. If you are a theater that wants to take advantage of the huge currently-erupting geyser that is social media, part of the bargain is that you must demonstrate care about what your readership thinks. When they feel it’s not a two-way relationship, they bolt.
Remember to remember the obvious: rich two-way dialogue is what theater is all about. The fact that there seems to be a prevalent idea that post-performance talkbacks – or indeed any structured dialogue between theater and audience – is a “farce” is a sign of trouble in my book. That’s a signal to me that we need to reengage and re-conceive how this dialogue could really take place in the future. There have been many moments in the past year that actually indicate to me that theaters take the nurturing of this dialogue very seriously. I was witness to some electric moments of audience engagement in the talkbacks and performances of the O’Neill fest at the Goodman.
Speaking of the internet being an equalizer, it’s a little sad to note that this is because NO theaters, and really no industries on the planet right now, have the infrastructure currently to incorporate Social Networking and web content into their day to day operations. I’ve seen big, small, and medium theaters miss or delay big opportunities to engage in online dialogue, because they’re all still getting the hang of it. The wonderful talkbacks I mentioned above were captured – as the sound engineer I actually did the recording – but as far as I’ve seen they haven’t been rereleased as podcasts yet after over a month. The reason everyone is buzzing about these services and their effect on society right now is because those effects are potentially revolutionary. The effects of blogs on print journalism have shown exactly how revolutionary they can be. I’m not one of those (anymore?) that think that theater is in trouble, since theater ultimately thrives wherever people can talk with each other. New Leaf has been very lucky, as a very very small company, to be one of the beneficiaries of that equalizing force. Getting involved in bringing World Theatre Day to Chicago has put us, a tiny storefront theatre company, in contact with the strategic planners of TCG and in direct collaboration with the League of Chicago Theaters. Sharing our ideas has the added benefit of making us thought leaders. Before I get too excited about that, remember that our theories are only as strong as our data. Companies like Steppenwolf and the Goodman may prove to be the adopters that really matter, since they can accurately test how effective this new form of communication really works.
This is an unprecedented moment in theater’s history in the internet age. Finally, technology is not simply working on producing more widgets or harvesting more resources, we’re focusing our innovative energies on the fundamental challenges of human communication. And I think theater has a lot to teach technology in that department. But we, as a theater community, have to re-learn to have a dialogue in new formats first. And we’re doing it! Gold star.
Speaking of World Theatre Day celebrations, it has been interesting to see how different countries celebrate in different ways. This just came my way from Carla Estefan, production manager of the brilliant Triptal company from Sao Paulo, Brazil who visited the Goodman this year:
For your english edification, here’s a translation:
The vortex movement, which unites theater groups from 14 states of the country, has participated in the intense debate that occurs many years on the reform of public policies for the cultural area. During this period, the contramão proposals for public action based on tax waiver, has to formulate a project to promote – the Brazilian Theater Award – which provides not only the maintenance of continued work, but the production and circulation of spectacles, through funds from At the Union’s budget, through public documents, discussions and newspaper articles, we reaffirm our interest in working for the construction of public actions that are capable of deprivitasation and demercantilization cultural processes that occur in the country today.
I have heard that there will be tax protests in Sao Paulo today. Crazy.
The last weekend of Companhia Triptal’s Cardiff found some small pockets of free time for the company to explore Chicago, and especially Chicago theater. I had been talking with Bries Vannon about how much he had been inspired by Triptal’s work, and I had been talking with Triptal director André Garolli about how much he wanted to witness as much Chicago theater as he could fit in. It was around 4 pm on a Saturday between the matinee and the evening performance, and there was a wide open slot and a desire for exploration. I told André that a small local theater company was doing a highly experimental production by Fernando Arrabal and his eyes lit up. I told Bries that if the company could arrange a 4 pm run, a few folks from Triptal could catch the dress rehearsal, and his eyes lit up.
This is the mechanism of international cultural exchange. Making this one connection made me hungry for more, and deeper connections.
Sometimes it just falls into your lap.
As I hinted in the last post, it hasn’t just been New Leaf that’s been all a-twitter in the past few days. After all, the regular contributors to the #theatre feed on twitter include local tribes from Vancouver, Australia, Texas, Toronto, London, and a whole bunch of seemingly unrelated localities, all hungry for a deeper cultural exchange.
On March 27th, we have a unique opportunity to celebrate that choice, and build our global connection and sense of collaboration at the same time. What’s this World Theatre Day, you ask? I’ve never heard of World Theatre Day, you say? Neither had I. Luckily, Rebecca Coleman can explain it for us:
World Theatre Day takes place every year on March 27, and is the brainchild of the International Theatre Institute. It’s aim is to: “promote international exchange of knowledge and practice in theatre arts (drama, dance, music theatre) in order to consolidate peace and solidarity between peoples, to deepen mutual understanding and increase creative co-operation between all people in the theatre arts”
Little time and less (read:no) money might look like prohibtive factors to our successful participation on March 27, but if there’s one thing I’ve learned from my family of fellow artists here, when it comes to a challenge we prove that Yes We Can. In a town where our lighting grids are often held together with paper clips and hope, our rehearsal spaces also serve as our studio apartments, and our costumes are pulled from our own closets – we’re not going to let something like a lack of funding keep us from getting our voices in the mix.
Simplicity will be key.
So I’ve been thinking… How do you have a *simple* World Theatre Day? It’s something we’ll certainly be comparing notes about (and talking about face to face at the League of Chicago Theater meeting on Feb. 20th – hope to see all you League members there)
Well, you take the advice of master Chicago architect Louis Sullivan: “Form follows Function”.
To me, the ITI’s “creative cooperation” language is the most energizing call to action. The primary function of having a World Theater Day is to connect the local community with a sense of global community through the medium and experience of theater. Simple, Creative, Cooperative, Connection are the key ideas there.
To kick off the brainstorming (and please, Blog on, ye travelers)-
1) CREATE A FLICKR PHOTO FEED TO SHARE IMAGES GLOBALLY
Connecting people can be done richly through online media exchange, though some online media can be too time-intensive and complex for an in-the-moment event. Video and Audio streaming becomes not necessarily expensive financially, but expensive in terms of making computers, video cameras and microphones available to the local public. Photos, on the other hand, and the ubiquitous Flickr, are both well supported and integrated with a range of software, operating systems, and smart phones. Plus Flickr has some simple features to feedback the content to each locality: Setting up an ongoing slideshow of captured moments is as easy as hooking a computer up to a big screen or a projector. Comment-enabled photos make a global conversation about a local moment possible. The twitter folks have started experimenting with this service to share production photos… check it out and see what it can do.
2) CREATE CENTRAL INTERNATIONAL & LOCAL HUBS TO DIRECT TRAFFIC TO ALL THE WORLD’S CONTENT
Global events can get a little chaotic, and without reinforcing newly-minted connections with established channels of communication, each local event may experience confusion and difficulty connecting to the global movement. It’s important to prebuild the event with central infrastructures that encourage the generation and funneling up of local content. I think Rebecca Coleman already has this tricky bit started with the group-authored World Theatre Day blog that can be expanded to feature all kinds of content, planning, and exposure in the coming weeks. The 2/20 meeting at the League will be a great way to establish this hub of participation between the interested theaters of Chicago.
3) CONNECT, INVOLVE AND SUPPORT YOUR EXISTING INTERNATIONAL COLLABORATORS In Performink, Kerry Reid lays out the incredible flowering panoply of Chicago’s current international collaborations. From the Goodman’s internationally-aimed O’Neill festival, the recently announced collaboration with Linz, Austria on the upcoming Joan Dark, Chicago Shakespeare’s World Stages presentation of the Rwandan production The Investigation, and the more homegrown DIY internationalism of Chopin Theatre’s I-Fest, Chicago demonstrates an existing adeptness at connecting the international dots. While creating new connections will be a huge potential value from WTD ’09, it will be easier to Simply Connect our existing international projects to the event, and reap the benefits of deeper dialogue and a higher international profile. Establishing a blogging, twittering, or other content-sharing partnership with a single similarly-sized sister theater company may be a great way to draw attention to both theaters with a mitigated risk of local branding issues. You know, “Don’t forget your theater buddy!”
4) CONNECT YOUR LOCAL AUDIENCE WITH THE GLOBAL EVENT
Here’s where each theater’s approach can be anything goes. You have a relationship with your audience and you know what they want and respond to. The goal here is to create a global feedback loop of excitement and experience.
Maybe you arrange a backstage tour. You bring a photographer or videographer to capture images of your audience walking through, experiencing where the magic happens. Those images get uploaded during the show, and the global community responds to the images. After your show, as your audience leaves the theater, you invite them to see what the global community has said about your pictures, your show, your moments. Maybe some audience members from your sister company are ready to talk on Skype. Maybe your audience can spend some time browsing images of other global events, and making comments of their own. Maybe you present them with a website or the address of an after party where they can continue the experience.
This is just the beginning of what is possible… What is the fastest, simplest way for your theater to connect your audience’s experience and the experience of your work to other audiences across the globe?
I’m absolutely swooning with joy today at the release of version 2.0 of my favorite sound playback software, qLab. Chris Ashworth, ever the holistic programmer, released the software today only after updating his exhaustive and easy-to-read documentation site. So I won’t bore you with all the minutae, but I do want to quickly go over my favorite new features – that I have discovered so far.
1) 48 outputs per cue. Yes, now each cue can be assigned in a combined matrix to up to 48 discreet outputs. The previous 16 discreet channel limit with version 1.0 was the single biggest roadblock to getting larger theaters that regularly use 24 – 48 channels to adopt qLab. While it has already been seen on Broadway (though not as much on Chicago’s largest stages), this feature brings qLab closer to becoming a sound playback solution extensible enough that it can be affordable to the tiniest storefront and powerful enough to run playback for some of largest sound systems in the world. That means designers can develop their careers with much, much greater ease.
2) Volume Envelopes
Look at that. Just look at that. Beautiful. We’ve had this feature for a while with Meyer’s LCS now – which is great when you have $50k lying around for a sound system. Volume envelopes allow you to really quickly adjust the volume of the audio over time – say, having a large initial burst of music that then fades down to an underscore. This is going to save me hours, and give me more in-the-moment control over the audio, which as I mentioned in my last post on qLab, is the key to design that works with a performance rather than on top of a performance.
3) Integrated Windows
This may not seem like a big deal, but the new one-window format of qlab is hugely easier and more reliable than using the three or four main windows of qLab 1.0. There was a minor workflow bug in 1.0 where the inspector window (where you make things like level and output settings) would not always update after selecting a new cue in the cue list. This created many situations with students and folks new to qLab where they would end up making changes to the wrong cue and getting, well, really confused. Clarity wins the day.
4) Ruby, Applescript, and Python Script Hooks
From the documentation:
QLab 2 offers comprehensive scripting hooks to control the application programmatically. You can use AppleScript, or through the OS X scripting bridge, languages like Python and Ruby.
Yes, that’s right, qLab can now integrate with RUBY applications and scripts run locally on a computer. I might just jump for joy. Whenever you open up hooks to third party scripting, you encourage a culture of open source developers to solve problems that you don’t have time to do. And since I already know me some ruby, and I just happen to have a project in mind already.
5) Integrated Quartz Composer
qLab is the only sound and video system that I know of to be built directly on reliable and native operating system architecture – SFX is built on the sometimes rickety and tenuous ActiveX / Windows relationship and Cricket is based on the Max language, which, while reliable, often leads to upgrading headaches while developers wait on Max to upgrade for the latest OS architecture. qLab uses the native OSX technologies CoreAudio and now, Quartz Composer for enhanced video effects (the video above, now well-known as the iTunes 8 visualizer, is one example of what is possible with tools like Quartz Composer.) Now qLab is capable of harnessing the native Apple graphics engine for use in projections design.
It should be noted that I haven’t had a chance to really put pedal to the metal with version 2.0 yet, though I hope to soon (and test qLabs eye-opening claims of:
guaranteed sample-accurate sync across all Audio Cues assigned to the same output device.
and no latency overhead buildup:
“If you build a thousand one second waits and chain them all together, the last cue will finish almost exactly one thousand seconds later. (Within a millisecond.)”
My hunch is here is that, for those planning on buying a state of the art sound and video playback system, the inexpensive MacMini is no longer the greatest value for the long-term. Flexibility and scale of this kind (especially the use of Quartz Composer) demand lots of memory, processing power, and multiple video outputs, all of which are better served by the more expensive Mac Pro line of computers.
The most important part of this update, arguably, is the new pricing structure and pricing options available. While the basic version is still free, the a la carte Pro Audio, Pro Video, and Pro MIDI packages have all taken a price jump up to $250 each, $200 for educational purposes (though you can apply the entire cost of your version 1.0 licenses to the cost of the upgrade). New in v 2.0, which I think will be music to the storefront community’s ears, is the option of multi-computer rental licenses – each Pro package (which, while convenient, is only strictly necessary for 10% of shows that a storefront is likely to put on) is available to rent for unlimited computers for $3/day.
It has just been awe-tastic to see the reactions coming from the audiences and the theatrosphere in particular about the three shows I’ve been working on for the past two weeks – Wooster Group’s The Emperor Jones, Rivendell’s These Shining Lives, and of course, New Leaf’s production of Touch, all three of which opened to oversold performances this weekend (which of course was helped by the unusually limited seating in all three venues).
All three load-ins came abruptly following that wonderful and restful vacation to Hawaii I mentioned where I reconnected with family, especially my brother Zack, who I haven’t really seen since my wedding. The mix of long plane flights, time change, immersion in family, rest and then sudden lack of sleep and being witness to some earth shattering moments of theater (as well as several pieces of scary and sad health news from too many friends) that has been has kind of left me in a kind of lucid unbloggable dream state.
So now that the first real all-month theater bender of the year is in a lull, it’s time to get back on the blogging horse for what’s sure to be an exciting year. So, in no particular order, here are some updates in brief:
– I’m getting over as many hangups as I can this year. I feel like I’ve already got two down: working with the Wooster Group this week has helped me work through my irrational sense of competition with the NYC theater scene (I’m sure more on that later), and thanks to an internet innovation FROM New Leaf TO Me (that’s a new direction I’m happy to get used to!) I can now be found on Twitter. I’ve been reeeeeally hesitant to explore another web service that is that addictive (I have some co-dependancy problems in my relationship with my computer). But I was convinced, thanks especially to the examples of @travisbedard and what seems like the entire theatrical community of Vancouver, BC, to try to use Twitter as a lightweight fuel to throw on the fire of fast and furious community building. Tweets are now in the sidebar, and I’ve already got some dreams in the oven about how a Twitter Mob of theater lovers in Chicago might be used to amplify that hard-to-find word of mouth early in a show’s run.
– New Leaf has had a freaking killer week. The goal of any low-budget company that desires growth and a successful mission is to be good enough that your audience tells you why they like your work rather than you having to tell the audience why they should like you. Check out what everyone else is saying over at New Leaf, notably Kris Vire‘s Time Out feature on the company itself, and a Don Hall reaction that I will treasure forever. With this weekend’s reviews and audience input, and a run that chugs along through Valentine’s Day (can you imagine that date, Don?), we are armed with the feedback we need to go to some heavy hitters and get them to help keep our little theater chugging for years to come. The good news is: it won’t take much.
– Yeah, that was playwright Toni Press-Coffman commenting on the promo video for Touch in the comments of the last post.
– All that good news aside, my friends are sick, some more than others. I don’t feel right talking about their specific stories of struggle and hospital boredom in this venue, but theater folk are particularly vulnerable to the costs of health care and there’s one in particular that could use your help. Will Schutz, a brilliant but uninsured actor, side project company member and long-time member of the immortal Defiant Theatre, is having a benefit thrown in his honor – organized by playwright and friend Philip Dawkins – as he fights an illness at St. Francis Hospital. I leave you with Philip’s words:
Our friend Will is currently fighting an illness and, per usual, his hospital bills are pilling up way, way, way beyond his means. Chicago bar HYDRATE has very kindly donated their space to the friends of Will (and friends of friends, and strangers!) on Friday, January 23rd between 9 PM and 11 PM in order that we might come together to support our friend and offer up what we can to assist him financially. It’s PAY WHAT YOU CAN, with a suggested donation of $20, though any amount will get you an open bar (well drinks, domestic beer, wine, juice and soda), appetizers and some pretty terrific live entertainment, not to mention new friends. Every penny goes to Will.
If you’re not able to help out financially, no one understands that better than theatre folks and their friends. But we hope you’ll at least consider coming out to show your emotional support in person. And whether you’re able to make it or not, please keep him in your minds and hearts each and every day. He has requested ALL of your prayers and thoughts and well-wishes. God knows, Will is worth every penny you’re able to give, and every ounce of your energy and efforts. And if you don’t know him personally, trust us.
***If you want to donate but can’t come on the 23rd, shoot an e-mail to firstname.lastname@example.org and we’ll send you information, as soon as we have it, on a forthcoming online payment option.***
Hydrate is at 3458 N Halsted St, directions can be found here. Pass it on.
Okay, so I’m recusing myself from this one. But I’d love to know what you think of Very Clever Productions’ work for New Leaf’s production of Touch – opening tomorrow. What does it tell you? Does it grab you? Does it seem true to the play and the theatrical experience?
I think it’s nice to put your money where your mouth is from time to time, and see what comes out – and see what comes back. We were able to learn a little bit from the video / theater crossovers that we’ve seen so far, and I think as far as process we could also use the practice in collaborating with a cinematographer to achieve something that represents theatricality honestly in a cinematic format.
So what do you think?
And yes – as The Examiner noted today, that’s the face and voice of Dan Granata, my cohort in creating the CTDB. Break a leg, Dan.