Date: Mon, 12 Aug 2002 19:05:18 -0400
From: Robert Smythe <robertsmythe-AT-mumpuppet.org>
Subject: RE: PUPT: Maybe They're Right . . .


>  There seemed to me to be a lot of parallels with problems
>with experimental theatre (puppetry or not).  How do you give the audience
>enough of a thread that they feel like they have something to hold on to and
>will stick around for the ride?

For Mum Puppettheatre, following an intense year of analysis 
(Jungian, thanks), we find that it is a matter of managing risk. 
Different people have differing levels of comfort in accommodating 
risk. For some, going to "experimental" theatre carries a risk that 
is not important to them. For others, going out to anything carries a 
great deal of risk with it. During the summer people see a lot of 
movies that carry almost no risk at all: almost everyone can fell 
comfortable seeing them.

There are other important factors to consider, and Kurt has mentioned 
some of them: "will I get it?" being one of them. (this harkens back 
to Mamet).

We have found that in order to increase our audiences beyond those 
people who will see us no matter what (for whom there is no risk 
involved) we need to understand what people are taking a chance on.

When Susan and I get comp tickets to see a play at another theatre, 
the eveing still costs around $100. Why? Babysitting, for one, is no 
longer 75 cents an hour. And, if we're going to spend that much on 
babysitting, we're going to go out for dinner. It adds up in no time. 
Now, if we had to pay for the tickets on top of everything else, I 
can tell you we'll pick something we know we're going to love, 
something we're looking forward to, something where the thrill of 
anticipation is almost as good as the production itself.

I don't think that we or other "fringe" groups I know have done a 
good job of understanding that this is a lot for people to take a 
chance on. Ultimately, it doesn't matter if the work is "important," 
or "high quality," or "award-winning," It has to be worth the energy 
and money.

It is interesting that, at the Edinburgh Fringe Festival, stand-up 
comedy is the number one selling ticket. Dance is the lowest. This is 
a festival where the market decides (there are no subsidized 
performances, unlike the Philadelphia Fringe Festival, let's say).

I'm sure there's some way to work in Dorothy Parker's line, "You can 
lead a horticulture, but you can't make her think," here, but I can't 
think how.
-- 
Robert Smythe
Artistic Director
Mum Puppettheatre
115 Arch Street
Philadelphia, PA 19106-2000

robertsmythe-AT-mumpuppet.org
http://www.mumpuppet.org


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