Tag Archives: theatre

Open Letter to The Boston Globe’s Alex Beam regarding “Downturn’s upside”

Dear Mr. Beam:

Your March 31, 2008 column, “Downturn’s upside” was disappointing.  It was clever, but it wasn’t funny and it misses the mark.

In your first paragraph, you aim directly at the Huntington Theatre Company and, by proxy, the entire Boston arts community by suggesting that attending the arts is an “obligation from which the recession has officially freed us”.   There are many among us who would, not so cleverly, disagree.  Theatre enriches our lives, brings us joy, pushes us to examine life’s dilemmas, and sustains us through difficult times.

What you’ve done in that paragraph is what marketing staffs for any arts organization do: Find pull quotes to promote the performance.  In the very same sentence that you claim to love the Huntington, you tip the scales by highlighting negative quotes from reviews:

The Huntington Theatre called the other day, trying to interest me in Richard Goodwin’s fabulous new play, “Two Men of Florence.” (“Dense speeches, stock characters, and heavy-handed displays of stagecraft” – Globe reviewer Louise Kennedy.) I love the Huntington, and who doesn’t want to spend a couple of hours watching “good actors . . . wasted on caricatured cameos” (Carolyn Clay in the Phoenix). But I had to say no. It’s the recession, you see.

Curiously, the online version of your article has no links to the reviews which would provide easy access to the whole story, or more importantly the context.  In this world of abbreviated thoughts and truncated communication, context still counts for something.

We are in a recession; individuals, families, and nonprofit organizations are hurting.  Theatre Communications Group recently released the results of a phone survey (“The New Normal” pdf) reporting that “[v]irtually every” one of the 495 theatres questioned will be cutting their operating budgets by between 5 and 30 percent.  Furthermore, theatres with an endowment or an invested cash reserve are reporting losses of between 15 and 30 percent.  This is not an easy time for any nonprofit theatre company.  Everyone is sacrificing; some of necessity more than others.  Theatre may be a luxury in hard times.  And all theatre is not created equal, or as Hamlet said of the players “they imitated humanity so abominably.”  But even with shortcomings, as every school child knows, “the play’s the thing, wherein I’ll catch the conscience of the king.”

The recession has not “freed” anyone from their “obligation to attend the theatre”; it has made it more relevant to go, to explore the human experience from the safety of a dark room in a cushy chair, occasionally not so comfortable.

Leave the reviews for those who actually saw the performance.  Reading the New York Review of Books, instead of the book only counts at cocktail parties.


Nicholas Peterson
Somerville, MA

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Obama vs. McCain, Debate Night at the Brattle Theatre

Last night the Harvard Bookstore hosted a panel discussion and a debate party at the Brattle Theatre. Unfortunately, I missed the discussion beforehand but was fortunate enough to make it inside.

As a self-proclaimed political junkie, just the idea of a movie theatre-sized debate party was intriguing, exciting, and thrilling to me.  I’ve been watching the debates with friends and family members, but watching it in a dark theatre with a room full of strangers was going to be a different experience.

It’s October 2008, and it’s, once again, the nexus point for two events that I watch closely: A Presidential Election and October baseball.  Back in 2004 when asked, a member of the theatre community said the best theatre of 2004 was the Red Sox versus the Yankees in the American League Championship Series.  You really couldn’t get a better script than that.  If you’re a New Englander, that is.

I’ve found sports and politics to have the same type of entertainment appeal to me.  Baseball players are playing a game–the same game they did as children–for an exorbitant amount of money.  We should all be so fortunate, right?

These days, most political events are heavily scripted with carefully constructed talking points.  Occasionally, the script is interrupted with off the cuff reactions or gaffes.  We watch the debates for these moments just like a Sox fan watches for the sheer thrill of seeing David Ortiz launch one into the Boston night.

Last night, the Brattle was packed.  The audience was surprisingly diverse.  No age group appeared to dominate the crowd. The younger people weren’t necessarily students either.  No obvious, simple demographics.  I was pleasantly surprised.

The Harvard Bookstore served pizza and sodas while the transition was made from the panel to the movie setup.  You could feel the excitement in the theatre.  There was a sense of freedom and, perhaps even curious, anticipatory fun.

The Brattle Theatre is in the heart of Harvard Square in Cambridge, Massachusetts.  Given those facts, you can imagine the political profile of the crowd.  For full disclosure, include me in that group, too.  Any candidate who has an Arts Plan (pdf) is a friend of someone who has worked for non-profit arts organizations for the past seven years.

I didn’t know what to expect. I had watched all the other debates on CNN. On HDTV there were the pundit scorecards along with what Bill Maher termed the “candidates life force.” Uncommitted Ohio voters weighed in with their instant approval or lack thereof.  Watching previous debates on CNN, many opportunities existed to instantly learn how other people were reacting.  Now that I’ve spent time on news sites like Talking Points Memo, I see that CNN had a split screen view so viewers could see how the other candidate reacted as they listened to their opponent’s responses.

To me, pre and post debate chatter is a lot about listening to what mass media experts are feeding the uncommitted voter.  At all the small debate parties I’ve been to, once the candidates stop talking my companions and I do.  Later on, I go to my favorite blogs, Twitter searches as well as their Election site, and the mainstream media sites for a roundup.  After the first debate, a friend dubbed me the “Human RSS Reader”.

My friends and I were surprised the Brattle was showing PBS’ coverage of the debate through New Hampshire Public Television rather than a mass media outlet.

Soon after the debate started, the lights were turned out just like a movie.  The candidates were announced and the crowd reacted with applause.  People were fairly active and vocal with hoots, hollers, clapping, and laughing, so much that one section started hushing others so we could all hear the answers.

Cheers broke out with relative frequency after Obama’s responses.  And, not to be a completely one-sided group, there was some scattered applause and cheers for McCain.  A friend assured me that it was just one person.

I don’t know if there’s a comparable experience I have had in a movie theatre.  The only one that comes to mind is when I saw Michael Moore’s Fahrenheit 911.  The audience at that one seemed more homogeneous because everybody was aware of the narrative.

During the debate I was having a collective experience with strangers in a dark room.  The audience was, of course, well informed.  Everybody knew the subjects that may come up (William Ayers and ACORN) but, of course, there were surprises, too, like John McCain introducing America to “Joe the Plumber.”

I’ve spent a good deal of my professional life contemplating audiences who gather in dark rooms for live performances.  Just like this time, I’ve watched the splitscreen shots of the carefully selected uncommitted voters from swing states on television as they watch the debate as a group.

I’ve seen great drama on stage.

I’ve been riveted by cinematic experiences.

I’ve seen heroes like Bob Dylan close in intimate venues.

I’ve seen the Red Sox come back against the Yankees at Fenway Park.

This was something completely different: A shared experience with total strangers, a moderately-scripted theatrical event with potential for sparks and spontaneity.  This event along with others had and has the potential to change the present course of our country, our economy, our world, and our lives.

Thank you to the Harvard Bookstore and the Brattle Theatre for creating such an experience.  It is a true public service.

Yes, indeed.  I am a political junkie.  And, I do love great theatre, too.

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2008 Boston Theatre Conference Wrap-Up

Last Saturday, I attended StageSource’s 2008 Boston Theatre Conference “Raising Our Standard.” While the highlight was listening to A.R.T. incoming Artistic Director Diane Paulus discuss theatre along with Peter DuBois of the Huntington Theatre Company and Curt Columbus of Trinity Repertory Company, I also had the privilege to co-moderate a session titled “It’s a Blog Blog World: Theatre Journalism, Audience Development and Web 3.0”.

I worked with with Charles McEnerney (Marketing Director of ArtsBoston) and Sooz aka Susan Kaup (Web Marketing, Event Planning, and Photography).

In 2004, I attended the first Boston Theatre Conference. It was the weekend after the Red Sox had traded away Nomar Garciaparra. Despite being a building full of artists and arts administrators, the Red Sox had created significant buzz.

We all know what happened a few months later, too.

In 2004, I attended the session about marketing and the internet.  I was disappointed.  Much of the session was spent being an Internet 101 class.

Unfortunately, this was the state of the using the internet to market theatre in Boston in 2004. I imagine that it wasn’t an atypical experience around the country.  The theatre community was still learning.

When Jeff Poulos called and asked if I would participate in this year’s conference I was honored and excited.  Corresponding with Charlie and Sooz in planning the session and brainstorming on the subjects to cover and that people may ask about was equally thrilling.  The synergy was wonderful.  It reenergized me.  So many opportunities exist for using the internet to building arts audiences.  It is marvelous to have such gifted colleagues whose brains I can pick.  Truly great.

Whenever I discuss technology with arts organizations, I do my best to humanize it.  Too often technology is thought of as something cold, inanimate, and unfeeling.  Simply, it is not thought of as creative and artistic.  However, the hardware and software are toolls. It is the people behind the screens and at the keyboards who are passionate, quirky, fun, and full of humanity.

On Saturday, the turnout we had for the session was great.  The group was lively, smart, and responsive.  Boston has come a long way since 2004.  Attendees’ curiosity was palatable.  Everybody wanted to know how they could leverage the technology for their own organization.  They wanted to know what the opportunities were.

Some organizations were already dipping their toes into marketing on the internet:

At the A.R.T., we’ve been doing some innovative online outreach, too:

Ever since I joined the Boston theatre community in 2003, I have always felt energized and inspired when I had the opportunity to discuss ideas with colleagues from other organizations.  Jeff Poulos has been a central hub to building that community.  He’s been a true leader, and I appreciate him including me in Saturday’s conference.

Now is the time for the Boston theatre community to leverage collective knowledge and experience of members who have been using the web to market their shows.  As a community, we have to commit to investing in using the internet in this new way.

The time for business as usual has passed.

I came out of this weekend inspired and ready for the new season of theatre.

I’m sure that I’m not the only one.

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