Definition:
Or: used to connect words, phrases, or clauses representing alternatives, used to connect alternative terms for the same thing, used in correlation, used to correct or rephrase what was previously said, otherwise; or else
Or has been a widely used conjunction these past few months in our world: postpone or cancel? Skype or Zoom? No pants or pants (Always pants people… always pants) Or is becoming an even more powerful conjunction in this time of opening guidelines and attempts at getting back to living normally. Especially in the name of the game Risk or Reward: Stay-at-home or socialize, work or unemployment, masks or not.
From the beginning as I spoke to and connected with theatre people, we all knew that our profession was going to be one the last businesses to get back to normal. Couples, Truples, and groups of actors working in close proximity for hours on stories of Overcoming the Monster, Rags to Riches, The Quest, Voyage and Return, Rebirth, Comedy, and Tragedy. HUGE audiences sharing drinks in the lobby before, racing to line-up for communal bathrooms during intermission and gathering after performances designed to give that unique human practice of a shared experience. Cast and crew parties, builds and strikes, fund-raisers, 10 of 12’s. These are all elements of reward in our lives that won’t be immediately available to us as we move through at least the rest of 2020. While companies and artists are producing amazing and innovative virtual experiences, classes and connections, I have found no-one talking about, writing, or hinting at the pandemic changes to our profession being preferably to the theatre that we have been a part of for millenia.
Reopening theatres has no clear blueprint. In 1918 / 1919 after the Spanish Flu decimated populations and businesses, while there are pictures and accounts of people wearing masks, and social distancing, everything was just opened at some point with the flu gone. It looks like because of World War 1, nobody really kept track of how theatres may have slowly, quickly or safely opened again. But we do know that in 1918 /1919, reopening theatres didn’t have to compete with TV, on-demand new release movies on every streaming platform (now even Hamilton is coming to Disney plus - just when I cancelled my trial month! SEE??). Audiences in that century also loved to go out to the theatre. We know that audience turnout for live theatre has dwindled since the 1920’s.
So what mark will Covid-19 leave on live theatre in 2020 / 2021? How will each level of theatre deal with reopening in their markets, their communities, with their audiences? Are audience demographics going to change dramatically if the typical white older audiences, considered to be in the higher risk group, aren’t going to risk auditoriums anymore? Which means audiences will skew younger and theatres on all levels will have to take these younger tastes into account. Or will that demographic continue with online streaming formats? How will changes to formats, to content affect donor populations? Will content be a bigger factor in bringing audiences back? Will the opportunity to be out in a crowd again somehow be too good to pass up? Will audiences risk coming out for light-hearted, happy ending farces, or just more positive up-lifting shows? Will audiences want to be challenged to re-think, re-examine their current lives and the state of the world reflected through art? What theatrical reward will audiences need to risk a return to live performances? And will a new stream of donors be produced by newer and possibly different content to help grow a new theatre future.
Smaller companies, with less overhead and younger audiences might be able to get back on track quicker, if the companies and public have reached a mutual pact in how social distancing rules and cleaning protocols are enforced. That is the position from which Rising Fire Theatre will be starting. Bigger companies face more financial risks with more financial needs than a little company like us. However, RFT, not owning our own space, is dependent on our host organization letting us use their building for rehearsals and performances. How will opening guidelines and restrictions filter down to all community groups using shared meeting rooms through the year? For audiences, I have confidence that RFT is in a strong marketing position as our performance space could be set up quite easily for a social distance requirement for patrons. We would not even lose seats as we have the space and ability to just spread out, and stage shows a little differently. Full cleaning before each show to help provide a safe environment. The length of our shows (1 - 1½ hour one-acts) play to the audience's advantage: come, experience, leave (but please drop a review on social media for us!)
But rehearsals will be the first risk. When do we move from online read-thru’s and zoom table work to blocking, moment to moment exploration, and full runs that allow us to find those emotional builds in scenes? At which point do we risk our performers and crew? Multiple people handling costumes and props. At our level of theatre, everyone has other jobs, families, churches, clubs and friends that are part of their lives. Will performers risk themselves for a bit part, chorus members, or supporting roles anymore? Will small ensemble, equal stage time shows become the standard for a while? But at what point does the reward we can get from our art, become a risk to others?
I have begun to get surveys from theatres in my inbox, questionnaires looking to help guide organization’s opening through audience feedback of when people may feel comfortable returning. In the coming months, I assume possible audience members will be beginning to put together their plans, and / or conditions, for re-entering the performing arts world. So theatres will need to have to have a clear path to re-opening safely, having safe environments, delivering rewarding performances and experiences, or risk not being around in 2021.
--Alan Malone
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