It seems that every two weeks the last couple months I’ve been hitting the same exact wall around being a theater artist. It’s the common “Why do I do this?” existential crisis. At least that’s what it seems like. However, there’s nothing existential about it. There’s nothing philosophical about the economic reality of theater. Continue reading
There’s this song by Youth of Today called Potential Friends that’s somewhat ridiculous in it’s hardcore frustration but it has a good point. When you don’t put yourself out there to meet new people you pass up the opportunity to make new friends. A simple concept but as anyone who has ever suffered social anxiety, not so easy to implement. I seem like a total extrovert myself, but when I’m in a mood or feeling really raw, eye contact can feel overwhelming.
When it comes to figuring out the market for your work the same kind of pattern can develop. Continue reading
“So what do you do?” When I tell people that I work full time as a performing artist I always put it in air quotes. I spend 90% of my time doing admin work and 10% on the creative aspects. I also work other part time and freelance jobs because my admin time can sometimes add up to about $1 p/hour. I’m not kidding about that. Continue reading
It’s not your fault really. There’s so much schlock that promotes itself as theater that it justifies your casting off any potential enjoyment of the form. Unfortunately I’m getting majorly screwed by that way of thinking in the process. Some have said that theater is a form with two feet in the grave just waiting for the rest of the body to fall in. It’s pretty accurate. With the major component of the audience being over the age of 50, white and upper middle class, it’s only a matter of time (say 30 years) before that audience is literally dead. Continue reading
A Caveat: I know a lot of organizers of Fringe festivals personally through a variety of circumstances. These opinions are my own and are no reflection on the huge amount of respect I have for the dedication, perseverance and aptitude they demonstrate to bring alternative and small scale theater to their communities.
Also, I’m up to anyone disputing this but I want the math to back it up, not just general numbers. How do out-of -towners payouts differ from local producers?
Last year published a post called To Fringe or Not to Fringe in which I broke down what the circuit was like. I have only toured fringes in the U.S., and only if I’ve done extensive research on them so that I’m not walking away in the red (although I have anyway). In my previous post I spoke briefly about how some fringes can have a local focus where out-of-towners such as myself get lost in the shuffle. I realized something however… Continue reading
I’ve been thinking a shit ton about success as I work on the final part of my one-man trilogy on the underbelly of the self-help movement. Kicking Ass and Taking Names (tagline: Measuring Success One Failure at a Time) has been one of the projects I’ve been mind dumping onto my laptop all of December. It’s been a lot slower than expected. Continue reading
Wow. In the midst of my run at Minnesota Fringe I get an audience review with zero stars. Zero. Stars. What shocks me most is that this made me smile. What the fuck am I smiling about? This is bringing down my overall score. This is going to kill my audience. Actually… I couldn’t have asked for anything better to happen. Continue reading