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Welcome to American Theatre Connection
A coallition of American Theatres producing and promoting the work of the next generation of American Playwrights
As many of us are aware the theatre is a very difficult business for anyone involved but even more so for new or lesser established playwrights. The opportunities that were once present for having new works produced have, over time, continually declined. It is very disheartening to see a play receive great reviews and audience feedback yet never be produced again or be produced very little. For this reason, We have formed The America Theatre Connection, a group of theatres in the United States that care desperately about the future of Theatre and new works in America.
WHO WE ARE: "ATC is a group of theatres in the United States that care desperately about the future of Theatre in America. The purpose of this group is to actively support, promote and produce works by new and up and coming American playwrights. Members of ATC will commit to the exchange of information on recent new plays they have produced, make recommendations to other member companies about quality new works, and be open to the idea of giving worthy plays an opportunity for second, third, and fourth productions. We as a group have the chance to create a more promising future for theatre in America by creating a more nurturing environment for the greatest asset theatre can have. Great playwrights. "
THE DISPOSABLE THEATRE OF AMERICA
Thoughts from an Artistic Director
At the conclusion of reading 310 entries into Theatre Conspiracy’s eighth annual new play contest there were 5 plays I decided on for full production. I contacted one of the playwrights about producing his show. His play, a very good one in fact, is being given a developmental staged reading by a theatre and if the show does well in the reading the theatre might want to produce it. As per the contract, that theatre has the rights to the world premiere production IF it decides it wants to produce it. The playwrights agent contacted me and explained that if I wanted to do a reading or staged reading or public presentation that is not a production or premiere of any kind it would be OK. I can just see the advertising: ON STAGE NOW!! THE PUBLIC PRESENTATION STAGED READING THAT IS DEFINITELY NOT A PRODUCTION OF… Needless to say the show will not be produced by us this year. However, as I was told, once this theatre and the other ten “nationally recognized” theatres it was submitted to make a decision on the show we will be informed. That part is fine by me I’ll do the regional premiere, the Florida premiere, hell I’ll even be glad to do the Southwest Florida premiere, like I said it’s a very good show. What’s not fine is another comment that was made against the idea of my little company producing the show. If I do it the “nationally recognized” theatres won’t touch it. According to the agent this happened to another client of hers. I truly believe it. Do I blame the agent? No way. She is looking out for her client, I understand.
Theatres in America that support new work do so largely on a world premiere basis. For the most part once a show is produced its is disposed of by a large contingent of the companies that pride themselves on supporting new work and new plays. Forget the fact that it just might be a good show, it got its production. How wonderful for America’s playwrights. Go ahead spend months or years to perfect your show it’ll get a production. A production.
Are the theatres themselves to blame? Not really. The grants available to help off set what can be a very risky venture by producing a new play are, for the most part, geared for the world premiere production. The more world premieres you do the better you fit into grant funding.
So here is a stupid concept: Grant makers begin to understand the benefit of supporting organizations that provide a second, third, (oh dear god forgive me for thinking it) fourth production. Then theatres can think regional, state and local premieres and not exclusively world premieres.
Because if you think about it did the third production of A STREETCAR NAMED DESIRE have any less impact on the audience than the first?
I can’t let theatre companies off the hook entirely though. Most contests have a guidelines that restrict plays that have been previously produced from being entered. Anyone that runs a contest can relate to the fact that finding quality new work can be a very arduous task. Why not look to other companies that have already completed the task for you, who have already read over 300 submissions and found that “gem” of a show. Why not actively seek out other groups recommendations about producing that gem? Communication between theatres can and will create greater opportunities for plays that warrant National attention.
Every theatre has some kind of limitation for the works they can produce whether it is cast size, technical aspects of the show or audience temperament. Every play won’t work at every theatre. A lot of plays will though, if we just open ourselves to communication and resolve to make a difference.
Is American Theatre Connection the solution? I suppose only time will tell, but, if you agree with us, Join! Let us give you some honest insight into one or more shows you may be interested in. Let us get you a copy of the script but just as importantly the next time a play comes across your desk that has had a production, give it some serious consideration.
Who knows you may just like it. And then maybe, just maybe, the conversation I had could have ended on a better note and a playwright with a great script could receive what he is due: a full production of his work without fear that his scripts next stop would be a garbage can.
Comments? Send to Bill Taylor at
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MEMBER COMPANIES |
THEATRE CONSPIRACY
Fort Myers, FL
www.theatreconspiracy.org
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TRUSTUS THEATRE
Columbia, SC
www.trustus.org
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ALLEYWAY THEATRE
Buffalo, NY
www.alleyway.com/alleyway/
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THE ALCHEMISTS WORKSHOP
Henniker, NH
( No Link Yet)
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