The problem with the things we have always done is that we become accustomed to the fact we have always done it and never consider approaching it again from first principles.
We always shop there, park there, eat there, holiday there. And to put a theatrical twist on it, see shows there, see the productions we like to see, the actors we like to watch and perform the pieces we are used to.
Secure, safe, predictable, expected, comfortable, proven.
And it's the same mindset for many who stage them.
And there's nothing wrong with that; if it makes you happy, then so be it.
If we consider it further from the perspective of theatre, its a great model if you are that fortunate.
The same venue, the same patrons, the same type of productions at the same time of year, the same ticket sales, the same performers, the same backstage team, suppliers, success...sounds like a theatrical utopia I guess.
And there will be some theatres that might recognise this, but I can bet the majority cannot: some elements, some of the time is more likely to be the case.
And if you are a local theatre company, you will already appreciate that there are no free rides in the business of theatre. It takes effort, passion, commitment, support, intuition, flair, gut feeling, luck ... and then my head hurts as I begin to think of loads more similar values, aspirations, qualities that make theatre work and enjoyable for all concerned. One size does not fit all.
But whether you are in the majority for whom there are no free theatrical rides or the blessed minority where it always works, that visit to the land of first principles isn't as scary, unnecessary or hard as you might think.
And it might just be an inspired approach.
For the great skill isn't just trying to figure the answers. The secret is first, knowing the right questions to ask.
And not being one to reinvent the wheel, dear old Rudyard Kipling wrote a poem in 1902 which has always pointed me in the right direction: '5WH'.
And with a bit of thought, it isn't too hard to give it a theatrical slant.
And if we apply it to that key element for all theatre companies - their repertoire - it becomes quite intriguing. So try reviewing your thought process for selection of pieces using the following:
Why are we choosing this piece?
What do we want to achieve?
When are we performing it?
Who are we performing to?
Where are we going to sell it?
How will we measure the value, the worth of the doing?
Very simple and yes, I know, very obvious.
And I can guarantee that you will have come up with variations of these, or completely different questions - and that is good. Because you are thinking critically, practically, objectively and all of these represent great places to be.
We take the obvious for granted at our peril in the precarious world of the business of theatre and revisiting the obvious can provide great opportunities. And I would suggest you need to do it when you get the publishers catalogues out and start the weary round of the 'what shall we do next?' meetings. And I think you need to do it when choosing every piece. Time spent at the planning stage with this will assist in a joined-up approach to a season of theatre. So using the first example:
Why are we choosing this piece? Is this to satisfy what we think our existing audience wants or do we want to try and attract a new audience? Are we choosing it because we know it, can make it work, for ease and worst of all, "It must be seven years since we've done it so time to do it again." A brand new or unknown piece (at least to you and your audience) might be thought of as taking a risk. But it depends on how you approach it and the mindset of a company, a complimentary marketing campaign and an agreed language, explanation, pitch from cast, all of which can be a very powerful. For instance, is your choice summed up by (for example) the following publicity strap line:
"The company returns to a tried and trusted favourite with our audiences which we know they loved several seasons ago and was a huge success previously. Book your tickets soon!"
Or would you like the opportunity to say:
"We've chosen a brand new writer and play for our next production. This is extremely exciting for all concerned and the whole experience has brought a new-found energy to the rehearsals and the company. Everybody can't wait to see what the finished product will be like and the buzz that has been created by doing something new, unknown, has been like a fresh lick of paint, not just on the set, but on all of us. We know our loyal audiences will love it but so will those who have never been to our theatre. This is a 'not to be missed' production and just goes to prove that new repertoire is as accessible to local theatres and their audiences as to the regionals. You don't need to go into the big cities for new and exciting theatre. It's right here in your own community and at a fraction of the price. And if you have never been to see us before, this is one huge reason to join us for an amazing night of theatre - and a world/local premiere."
I know which option I would choose.
In the next blog, I will look at the other questions in my 5WH of repertoire.
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