The State of the Stage is

Theatrical performances (plays) have always been a part of our communal gathering traditions down through the ages. Even the caveman, without the benefit of a thrust stage and lighting, carried on that oral tradition. Shakespeare created his dramas for the common man. Cole Porter did his for those seeking distraction from the Great Depression.

Before radio and television, that was how we did our storytelling. Then, over time, technology advanced ever further and new means of storytelling grew in popularity. Now with podcasts, blogs, and YouTube videos, almost anyone can have a voice in the mixed-up world of storytelling.

These technological advances have all made inroads into the storytelling appeal of plays. Counter-balance that with a whole new generation of playwrights eager to pass on their own messages of current times and tribulations to audiences, and therein lies a volatile mix of depleted audiences, newfound message bearers, financial challenges and social thoughts screaming for attention.

Then out of the blue, Covid-19 showed us we could be alone and that was okay. Working from home was possible and for many, it became an attractive alternative to the corporate office/campus. Media devices at home provided a cheaper, more convenient means of seeing plays, movies, etc. It all came down to a matter of control. The more control passed on to the consumer, the more the consumer had multiple options to choose from. Theater became just one of dozens of entertainment options available to them at their fingertips.

Another factor in this seismic shift was initiated by the “Dear White American Theater” letter posted in June of 2020. It was signed by theater practitioners from across the country. In it were a list of demands around racial representation and combating racism within the theater and safety.

Adding to the challenges; theaters were faced with a growing body of creatives who wanted their voices added to the mix. LGBT, BIPOC, and trans groups began to demand recognition and a platform in which to share their hopes and concerns that up until then hadn’t been well represented in a theatrical environment.

‘Being more relevant for today’s audiences’ is now the mantra for many theatrical directors. They want to explore themes that until just recently would only play on off-Broadway and select venues. And while they try to carve out a demographic that would appreciate their offerings, other theaters know their demographics and play it safe. Whatever it takes to fill the seats, make payroll, and stay alive.

As a newly minted playwright, I’m feeling the pressure from all these changes taking place in the theater. While it’s always been difficult to find a venue for one’s play, it’s gotten experientially harder now. Quite honestly, most of the time, I feel that straight old white guys are definitely out favor/flavor today. It’s never stated outright, but the feelings persists that we are: ‘out of the loop,’ ‘aren’t hip,’ and ‘have nothing to say of relevance to a younger generation.’ I guess the truth lies in the eyes of the accuser.

I don’t think creativity has necessarily taken a hit but rather it’s been molded into many different forms when presented as theatrical material.  I have to remind myself that there are now, more than ever, social trends, cultural pressures, financial concerns, and competition from sources that weren’t around even a couple of years ago.

I do understand that it is very difficult for theaters to take a chance on new unproven playwrights and in some instances new concepts, ideas, and approaches to story-telling. It’s always much safer to go with the tried and true; the sure thing; the play with a proven track record or easily recognized by the theater going public (think Neal Simon, anyone).

‘So, is playing it safe the same as playing it smart?’ I guess it’s all in the eye of the producer.

Certainly, financial and sociological challenges exist. I would argue they’ve always been there. It’s unlikely you’ll ever get a group of creatives together and find agreement on many items or issues. That’s part of the creative process. My task is to find my own path through this ‘brave new world.’ A journey I relish and dread at the same time.

It all comes down to good storytelling and may the best story win.

Telling Stories My Way

Storytelling has many legs; each of which are meant to carry an audience to some conclusion. The trick for the storyteller is to unravel his/her story in a manner true to himself. Too often, writing magazines and how-to seminars advocate that the writer must slant his story to the needs of an audience. I think that’s the wrong approach. I think the writer has to be true to his own vision and tell the story ‘As he sees it.’

It’s a pattern and process that happened to me a (relatively) long time ago and has been true ever since. This first opportunity to tell a story in play form was initiated by the creation of a senior ensemble of theater folks in our community. RAAC (the Rosemount Area Arts Council) had just created a second theatrical group called Second Act Players. They were looking at material for their first production.

I thought I might write a play based on an idea that had crept into my brain a long time ago and lodged there. The storyline was simple enough. An aging old woman who never really gave up her old hippie lifestyle finds herself in an over-55 senior living facility. The storyline incorporated many elements I found interesting such as the old hippie movement, distain for ill-gotten authority, a push-back against old age, etc.

A simple synopsis of the play would read as follows: The quiet setting of this over-55 senior community is disrupted by an aging hippie named Sage. Since Sage arrived at the senior community strange things have started to happen. Sage’s nemesis is Margaret Maple; self-appointed rule-enforcer who is determined to get Sage kicked out of the complex.

Their conflict comes to a rollicking climax when the administration is supposed to kick Sage out but Sage has some shocking surprises which will blow people’s minds and destroy all of Margaret’s plans.

Encouraged by the success of ‘Riot’, I forged ahead with another idea of a class reunion. Room 210 was my own homeroom in high school. So, in this new play, room 210 is the home room where a small group of alumni gather during their 50-year high school reunion. Tension, anticipation and past animosities fill the room along with unrequited love and hope for the future. Each returning alumni has a different story to tell, some more revealing than others.

Batting a double run thus far, I chose to explore ‘end of life’ options facing four older women in their retirement years. The storyline is simple enough: Four women in a nursing home agree to support one another as the end of their lives gets closer. A mysterious woman (the Scooter Lady) offers them wisdom and advice for the hereafter.

Later on, I was fortunate enough to have two more plays produced in California. Reflecting the more liberal, sometimes avant-garde approach, to storytelling in the Golden State, I decided to tackle gay loneliness and a polyamorous relationship.

Polly’s Amorous Adventures is about a polyamorous relationship gone south. Polly is in a polyamorous relationship with two men but she is not able to address the issue of jealousy. Polly’s mother and girlfriend only add to Polly’s mounting frustration with this issue.

The story synopsis is, on the surface, simple enough. Two older single gay men find themselves alone and in need of companionship. One has a younger boyfriend who is using him. An older woman tries to help the men explore the simple joy of friendship. Nominated for six awards from the Desert Theater League. Won ‘best award’ for theatrical production.

These past plays plus a plethora of new ones prompted me to create a new Sell Sheet for all of my available plays. In the meantime, I’ve added another element to the theatrical equation; song-writing. PTV is my first play to include nine original songs written in collaboration with a very talented singer/songwriter here in Minnesota. I hope ‘By the Salton Sea’ will be my second one.

Storytelling is a personal journey inside one’s head. It’s a vision, often times, augmented, enhanced, stilted and clipped short by the author’s own psychic. But it is his/her story to tell. One can only hope that it is a message/tale that resonates with the audience. But, as long as it rings true to the author, it’s a story worth sharing.