Staving off the Wolves: The Development of Local Theatre, Even in Times of Trouble

When one turns on the radio or television news, one cannot escape news of the "economic crisis," "the slowdown," or any other euphemism that is being used for the economic troubles currently facing the United States and world at large. And, almost as widespread, are the continual lamentations that the arts have been one of the primary sufferers (see this piece in the Miami Herald: Why the arts matter...)

Bitterness about how entire arts organizations have budgets smaller than particular television celebrities aside, it really is a difficult pill for artists to swallow that that beloved disciplines are on the chopping block. And while it is fairly easy to snark and snipe about banks and investment houses sinking things, responsible artists must also realize that it is incumbent upon an arts community to help support and sustain itself, particularly when times are tough.

The real value of a healthy artistic community, aside from certain demonstrated economic values and upward pressure on a city's Q.O.L. index, is also the opportunity for related civic engagement. Harvard-based political scientist Robert Putnam opined in his book Bowling Alone: The Collapse and Revival of American Community that activities such as bowling leauges, community enrichment courses, and (though not mentioned explicitly but hinted at on page 96 of the paperback edition) community-based theatres provide an optimal outlet for civic education and engagement by the average citizen. There is a real opportunity to build social capital in the arts.

Extended through Putnam's arguments are the ideas that there are two forms of such capital: bridging and bonding. The latter is the building of connections between demographically similar people. While this is natural and inevitable, there is also a need for bridging capital, where connections are built between demographically dissimilar people. Huntington further illustrates that these forms actually do build off one another, to the benefit of all. As such, we at the Savannah Dramaturgy cannot help but applaud recent productions such as Savannah Cultural Arts Theatre's production of The Wiz, which spanned demographics while also helping to consecrate a love of musical theatre. We cannot help but think that Dr. Putnam would also approve.

In essence, there is a responsibility on the part of an arts organization to engage with their audience in order to ensure their continued ability to grow. New York University Professor Richard Schechner outlines two different types of audience in his book Performance Theory. The first, and possibly most "normal" audience is the accidental audience. This is a potential audience member who has seen some advertising, or heard about a show, and decides to come and see. The other form is something known as an integral audience, and audience who is, in some form, a part of the event and somewhat compelled or obligated to come. In this case, active coercion is not the case, but instead the fact that the audience in question is integral to the event... they are somehow part of it. Work by our local arts groups should truly focus on cultivating this particular sector of people.

To draw from another discipline, that of historic interpretation, the key is to build a desire for stewardship. Freeman Tilden, in his book Interpreting Our Heritage, writes that interpretation is an art form with an eye towards inspiring a sense of ownership in the casual visitor. Though, in the case of Tilden, he speaks of National Parks, Memorials, and their ilk, the same holds true for our community-based theatres. The establishment of a sense of communal ownership, "This belongs to us and we belong to it," is one very real path to take in times when the dollar is tight.

Perhaps the heart of the matter is best summed up by local actor Darwin Hull in his rallying cry, "Support local awesome." The road runs, in essence, two ways. Support must be local, because otherwise the sense of stewardship can only be felt and exercised in the most abstract of terms. Further, the local product must be of quality (the "awesome" part), and must engage the audience.

Though our sympathies here at The Savannah Dramaturgy are most definitely with those arts organizations struggling to make ends meet, we cannot help but point out that there is obligation on all ends. Comparison, such as that made in the above Herald article, between Ryan Seacrest and a local dance company is, unfortunately, akin to comparing apples with baby goats. Solutions for locally-based groups must be developed locally, whereas Mr. Seacrest or Goldman Sachs simply exists on another plane alotgether.

Support LOCAL Awesome, Create LOCAL Awesome. It can be done, and is probably the best route to success.

EDITORIAL BULLETIN:
Shortly after finishing this editorial, I stumbled across this post on Douglas McLennan's blog, Diacritical. It talks about the importance of community here in the "Attention Economy." The message is much the same, but with a tack more closely related to straight economics.

Urinetown - The Little Theatre of Savannah

With the summer bearing down, how better to spend your evening than with a night of musical splendor? You, ladies and gents, are in luck, because The Little Theatre of Savannah is offering just such an event: Kotis and Hollmann's Urinetown.

Set in a dark future of drought and fear, Urinetown follows both sides of a world where one must pay for the most basic human need: the need to use the bathroom. On one side we have Bobby Strong (Ryan McCurdy), an optimistic young man with a desire to change the world around him. On the other side, we have Caldwell B. Cladwell (Les Taylor), the bigwig in charge of the corporation responsible for charging for the world with the fee to pee. Somewhere in between is Hope Cladwell (Courtney Lane), torn between impressing her father and following her heart.

Right off the bat we are informed that this will not be a "happy musical". This is absolutely true. However, that doesn't mean that Urinetown isn't an incredible show. In fact, it is one of the most entertaining shows that the Little Theatre of Savannah had ever put on. Director Jeffrey DeVincent has shaped a show as disarming and engaging as Savannah has yet seen. The cast is a well-oiled machine, utilizing some of the finest talent that Savannah has to offer.

No one in Urinetown is expendable, but it was hard to take ones eyes off of many of its players. Ryan McCurdy and Courtney Lane have outstanding presence (not to mention singing chops) as the show's young lovers. As Officer Lockstock, Eric Kildow is a magnificent narrator, and his chemistry with fellow Officer Barrel (Darwin Hull) is hysterical. Balancing wonderfully with our narrator as Little Sally is Clare H. Ward. And what musical would be complete without a villain? Les Taylor absolutely steals the show as Caldwell B. Cladwell. Indeed, it is difficult to focus on anyone else when he takes the stage.

Urinetown reminds us that Savannah not only needs fun musicals, but unique ones. And Urinetown fits the bill. The Savannah Dramaturgy can only hope that future productions match it for both talent and memorability.