14 The Changing Theatre Industry
The Changing Theatre Industry
In teaching my Business of Theatre course, the focus has been to prepare students for an arts career, specifically in their chosen area of theatre. However, as noted in the introduction, there is a tension in teaching how it is and has been versus what it could be. How do those of us passing on our experience prepare students to enter an industry that is not necessarily equitable or healthy. Based on many discussions I’ve had, the response overwhelmingly has been about finding the balance. Provide the current context, but make sure students are equipped to enter a shifting industry. Theatre is in this very moment being reimagined by change-makers who are pushing for an accessible, inclusive, and sustainable model. Students can choose to join forces with these change-makers and be part of a long history of pushing theatre forward.
I conveniently ignored the fact that in order to create something awesome, you’ve got to know the history of the genre. You’ve got to know the context in which you are creating said awesome thing. You are never going to just waltz in and re-invent the wheel. I don’t care how good you are; you’re not that good. You’ve got to have sufficient respect for other creators who’ve plied your trade.
If you’re a revolutionary, you’ve got to know what rules you’re going to upend with your passionate rhetoric and wild ideals. Otherwise, you’ll end up in the ice cream shop yelling, “It is time to combine chocolate with vanilla!” while everybody else happily licks their chocolate-vanilla swirl sundaes and pities your lack of knowledge (or, worse, laughs at your hubris).
– Real Artists Have Day Jobs by Sara Benincasa (p. 180)
In this chapter, there are broad strokes on some of the ways theatre has been changing, and resources to further pursue avenues of change. There is such inspirational and incredible energy right now for creating a better way. The bottom line is that you shouldn’t feel that you have to shore up a problematic structure. Instead, familiarize yourself with the work already being done so you can learn from it and build upon it. And be sure to approach things with a critical lens.
Activity: The industry has changed so much in the last three decades and then, in an accelerated way in the last five years. Write out what you feel the significant changes may have been in theatre over the last few years? What external factors may have led to recent shifts?
I find that the generations that are coming up are not connected to their history. So, it feels like there’s a generational gap where they’ve had to fight the good fight. Similar fights to what we were fighting when we were in theatre school, or, young in the business. And they think they’re inventing that, you know. So that that’s what I find is hurtful and hurt from not only to, you know, to those of us who’ve done the hard graft that got them to the place where they could speak their mind in a way. But I think we don’t, especially as Canadians, we don’t really value our past as much as others and as artists of colour we’re so busy looking forward that we forget, you know what happened before. But I would say that’s a gap. And in a way, you know, it kind of, it’s a shame because it might help. It might help to bring down the anxiety and the sense of isolation people feel. If, and when they know that that we are here, that we are out here and that we’ve been like… that we’ve actually gone through some of the same things.
So what ends up happening is there seems to be friction, I think, between the generations of artists that are coming out now who feel that maybe those of us who are establishing ourselves in particular ways, they see us as maybe the establishment or whatever. They are a new voice and their new voices, the voice of change, etc., which is likely true too. But there’s an and. There’s a but and there’s an and in that. – Diane Roberts, Director/Dramaturge/Cultural Animator, Montreal, QC
The PANDEMIC Effect
Alright, let’s start with the bad news. The pandemic has had a profound effect on all performing arts. The recovery has been very slow. Mass lay-offs into 2023 may still be a result of COVID losses or shifting priorities. In 2020, due to COVID-19 the Edinburgh Festival was cancelled for the first time since it started in 1947. This highlighted the uncertainty that the performing arts exist within. We were the first to close and often the last to re-open as a result of the pandemic. Theatres are still reporting that it is hard to find stage managers, production managers, technicians and administrators; many of whom left the industry during the shutdowns.
It is also taking time to get audiences back. Surveys taken in the two years after the pandemic show that only a quarter of theatres have returned to their pre-pandemic audience numbers. Now that COVID funding support has ended, theatres will have to figure out how to address this earned revenue deficit, especially since many continue to need to hire understudies and stand-ins with extra rehearsals to prepare for possible cast illness.
There have also been some positives as we were forced to acknowledge the need for greater health and safety. Not requiring those who are sick to keep working, both allows them to get healthy and prevents the rest of the team from getting ill. Having stand-ins means an actor does not feel they need to go on stage when they are horribly ill, which has been the practice in the past.
So, there are both challenges coming out of this strange pandemic time, but also opportunities to look at how things have been done, evaluate adjustments made during lockdowns, and assess a way forward. If we can find a better way as a result of such a challenging time, then what else can we tackle?
We have showed that we can adjust, be flexible, find new ways to do things when necessary. So maybe hold-over sentiments from the last several decades, along with those who hold on to them, are also on their way out. The past reality of ‘it’s who you know’, you need to work multiple jobs, burn-out…as well as phrases like:
- This is how it works.
- I’m just passing on what I was taught.
- This is just how theatre is…
Can be changed to:
- This is how the theatre industry has functioned, but it shouldn’t continue in this way and you can be part of this amazing change.
Change is Necessary
What’s at stake if we don’t change? We already struggle to attract diverse students, artists and audiences. This includes cultural diversity, those from a range of economic backgrounds, 2SLGBTQ+, neurodiversity, those from the disability community, and many other folks who have historically been excluded due to a lack of accessibility or a lack of seeing themselves represented. As well, many have recently left the theatre industry due to inherent racism, ableism, or as a result of the strong sense of precariousness that COVID highlighted. If destructive behaviour continues it will harm artists, contribute to the ongoing climate crisis, and ultimately result in a continued reality where theatre is not relevant to the global majority. We may as a result not have the audiences or support to continue.
Many of those interviewed for this book have done incredible work already, paving the road. They are optimistic due to the changes that have already occurred in the last decade and because they are confident the next generation will insist on continuing to transform things for the better.
So, they [current theatre students] just speak up more. They don’t take as much and they don’t take it home. And they don’t still put up with it, which I think, it bodes well. So, what that means is that once they’re in roles where they are deciding and make decisions, they’re going to be folding this whole other way of looking at things, which is how the industry is going to change I think. Now we’ve spent two years talking about all of the things that should be better. This part of the conversation is really complex because we’ve talked to every institution across the country in the last few years. We need work life balance, like how do we work that out? There are no longer 12 hour days. We can’t do those things. We get to five, you know, can’t work a seventy-hour week anymore. All of those things have been part of this, let’s change the industry. And let’s take care of each other and let’s figure out how to do a different model of tech week, so we’ve been talking about that for two years.
And the other part of it has been, how do we, you know, want to work again, want to produce theatre again. So, what’s happening now is that we’re just producing theatre again. We’ve forgotten the other part of the conversation, and I fear we’re going to, these last two years, the opportunity to actually do something will just kind of be forgotten because people are just so desperate for people to work. So, you think about any small, any theatre company really, from producing nothing to all of a sudden producing not just a full season, but potentially full plus one, one plus season, right? With fewer staff so that fewer staff have to do double the work. If they survive and stay, we’re going to be lucky. And the roles are being filled by younger and younger people. So, we haven’t sort of rolled into this idea of how do we have, what work can we do to lessen the burden on a tech week? What does it mean to do that? How do we afford it? And that’s why we need more and more models of if we do it this way, we get the same amount of work done. We just need like an extra two days in the theatre. So what does that cost? Let’s talk about that cost as opposed to the cost of trying to do it all within five days instead of seven. So that will be changed. It will eventually change, but it’s not happening yet because, it’s still this generation are still not in charge of those conversations. So, until they are the general managers and the artistic directors and the production managers, we’re still in this weird place where this is how long it takes us to do something. –Andrea Lundy, Program Director – Production Design and Technical Arts Program – National Theatre School of Canada, Montreal, QC
What needs to change?
We need to get rid of two show days. Two show days do not need to exist for any reason. It’s not necessary, it’s harmful. I think I want to see less ableism, less racism, you know, I want to see more sustainable ways of telling story, I want to see longer development time, less programming, more development, more investment in artists and their practices and who they are as artists as opposed to seeing them as actors they can churn out. I want to see a community-based way of telling stories that is still sustainable to live. I want to see us all being able to make a living wage while not having to harm ourselves physically, because we should all still be able to want to do these things and not have to go to film and television, and not have to work ten out of twelves or eight hour days or six days a week and not have any time to have relationships or be a person or human.
Some people that works fine for, some folks love it. They love the theatre, the olympics of theatre, they love it. They want it, they thrive on it, and that is great. That is good for them, awesome. That is one way of doing it. But right now, that feels like the only way and there are other ways. And we need to look at disability justice in theatre, because there are so many disabled artists that want to be able to tell stories in a beautiful way but are not given the opportunity or platform. Because venues are not accessible, because seats are too small, because there is no mask mandate, because they want a raked stage, because, you know, this, that… there’s so many reasons why. There are so many barriers to accessible theatre, and it just needs to change because the world is changing. The landscape is changing. Those patrons are great. Good. Thank you for your money. But honestly, (laugh) I don’t want to tell your story anymore Mildred. There needs to be shifts in leadership and there needs to be shifts in boards. And I actually think there needs to be a dissolution of boards, but that’s a whole other thing. I think boards need to dissolve and theatres need to be in charge of themselves and actual artists need to be running the institutions as opposed to financial people. – Yolanda Bonnell, Actor/Director/Playwright, Toronto, ON
Shifts in Funding
Historically, arts councils have looked at artistic excellence as a gauge for assessment of applications and successful funding. As a result, it became a gatekeeping practice. Plus, when there were no increases in public funds, only those already receiving operational support continued to benefit without room for new additions. The big entities received the majority of resources and new companies could not access stable support. This has been shifting with some restructuring at various arts councils and a recognition that ‘excellence’ means different things to different communities. If those who have not historically participated in the formal arts are never given a shot, then how can they gain experience, become professional and ‘excellent’? For some their work has always been about culture and community and therefore they do not strive for what qualifies as mainstream/professional. Arts councils are now looking at community impact, representation, cultural competency, how the work helps move the art form forward, and even the climate impact of the work.
Many have said that nothing will change until the funders insist that it does. Resources are power. Therefore funding is a game changer, both in allowing for other types of work or in shoring up the mainstream. A simple shift to recognize ad hoc groups has relieved the pressure for all groups to incorporate and use a non-profit model.
How to fund the arts in general is an ongoing conversation. Relying so heavily on public funding that can shift with a change in government is precarious. Needing to attract corporate sponsorship and donations can leave a theatre feeling they have to cater to outside influences. Or theatres can end up letting the need for box office funds and attendance drive the engine.
Activity: What changes do you feel need to be made in the way theatres are funded?
Sustainability and Stabilization
Here, we refer to the ability for theatre companies to sustain themselves as opposed to the more specific environmental use of the word sustainable, however the climate crisis is discussed as its own area further in the chapter.
You must fulfill not only your obligation to yourselves and your audiences by performing cutting-edge, enlightening pieces of work, but also your obligations to your community at large by providing valuable enrichment to it people – all while running the company as the business it truly is, always keeping an eye on the bottom line. Theaters have been struggling to perform all of these duties simultaneously since before you were born, and they will continue to do so long after you’re gone.
– How to Start your Own Theater Company by Reginald Nelson (p. 101)
Organizational capacity is another challenge due to limited resources. Other models are being explored, including other governance models to move away from the problematic aspects of Boards and the notion of outside experts having to oversee the works of artists. The need to earn revenue can sometimes put business before art and community impact. With new models there is more weight being given to other metrics such as relevancy, not just financial success that treats art as a commodity and continues to maintain a class-based system where certain economic brackets are excluded from participation.
It takes courage to embrace what different people want or need, especially when it flies in the face of insider culture or standards.
Let’s not sell short the power of giving people what they want. Cultural experiences should be a pleasure. They can also be educational, challenging, empowering, political…but they must first be something people want. If we give up on the idea that people should want what we have to offer, we give up on the idea that what we have is desirable. Talking about what people need is like talking about going to the dentist. It sounds like a painful utility. I don’t want to offer a service people would rather avoid. I want to offer the most desirable experience possible.
– The Art of Relevance by Nina Simon (p. 94)
Theatre companies have been trying for decades to attract new audiences, but significant changes in programming are now taking place. There is a recognition that new audiences will only come if they see themselves represented. This representation needs to be integrated in the stories, in the actors, and there is a need to make sure the whole team (including administration) can bring their cultural understanding to the work on stage. Although many independent theatres and committed theatre workers have been supporting efforts to make theatre more inclusive for decades, many feel a tide is turning.
Real change that will bring in new audiences will require risk and courage, as it will not sit well with those who have been part of the inside culture and like it the way it is. Having new demographics attend once and then not come back is not the solution, in fact this demonstrates a problem with what they experienced. You can’t just invite folks in and then think the job is done. The changes that have been starting to shift audience make-up, are when theatres build relationships in the long-term, earn trust, listen, and allow them to feel some sense of ownership. Ultimately, bringing in a broader audience increases the value and helps to make theatre more sustainable.
Relevance is an exercise in empathy – understanding what matters to your intended audience, not what matters to you.
You have to show that you are inviting people in on their terms, with generosity, humility, and a nod to what speaks to them. Effective front doors have greeters who look like your community welcoming them at the door. Speaking their language. Providing entry points that match the keys they use every day.
– The Art of Relevance by Nina Simon (p. 51 & 54)
Why Healthy Organizations Get Sick – The Cycle by Michael M. Kaiser
- Not enough exciting, important art = poor performance or bland to be safe
- Insufficient visibility = complacent with marketing
- Neglect of family = nurture your members and don’t take them for granted (team, staff, donors, volunteers)
- Poor cash management = non-strategic expenditures
- Mission drift = too many divergent strands of programming
There are also some scary things happening with theatre elsewhere and it remains to be seen if these trends arrive in Canada. Censorship in schools in the States with many plays being cancelled or refused by administration as student productions. This is happening on both sides of the political spectrum. Firstly, from a wokeness and fears around being canceled. Plays from another time could be construed as racist or culturally inappropriate content or may require students to perform outside their own cultural identity. People are scared of making a mistake and being called out so they play it safe. Rather than engaging in consultation and dialogue, having conversations about content warnings and trigger warnings, some theatres have taken the easy route. On the other end of the spectrum, there are conservative pushes from parents, administration and communities to not have content that even touches upon gender identity, race relations, sexuality, or other challenging topics. Many plays are being banned in the United States’ school systems. This pushback could jeopardize progress, politicizing programming in such a way that audiences simply stay away.
In addition, many large institutions and theatre companies who have been around for decades are canceling shows, canceling whole seasons, and even closing their doors due to economic realities. As I write this in the fall of 2023, Steppenwolf Theatre in Chicago has just announced cutting 12% of its staff due to falling revenue and audience decline.
Technological Evolution
I think students need to have a really good grounding in the traditional methods of marketing. I don’t feel like we should be abandoning things like print ads and letter writing and postcards and other vehicles that have always been helpful in selling performing arts. But we definitely need to also give equal attention to the newer methods of social media and email and social media is always evolving. Digital theatre to stream online is something that we started during the pandemic and we intend to continue to do digital productions, but it was not the big saviour that we were kind of hoping for. I know we’re not alone in that, when we did digital works, the response was not at all at the level that we expected. It’s just that many people just don’t want to watch live theatre on a screen, right? It’s just not the same thing. On the other hand, digital theatre does give us the opportunity to reach beyond our physical space. And we were able to reach people across the country and into the States and UK. It’s an interesting challenge, trying to figure out what new methods will work and which ones may sound really great, but don’t actually do what we need it to do. – Haanita Seval, Director of Marketing, PTE, Winnipeg, MB
Many panels and discussions during the COVID times explored the transition that occurred towards digital theatrical offerings. In particular, the Siminovitch Forum on Theatre Innovation provided a fulsome conversation. Here is a summary of thoughts from both sides of the question:
What do we gain from this movement to virtual and on-line options?
- Accessibility
- Reach
- Imagination
- Memory
- Presence
- No physical constraints
- Democratizing of the form with free access
- An impetus change from a box office focus to getting money to artists
- Spaces to create
- The ability to take audiences backstage or give them a front row view
- Potential appeal to youth who feel more at home on-line
- Creation of new forms
What do we lose?
- Live experience
- Digital models could become elitist easily (greater gap between theatres that have funds to do it and small independents with little resources)
- Move from spectator to téléspectateur (different audience relationship to a screen)
- There is still an environmental impact with the technology used
- Engagement
- Imagination for the audience
- How implicated you feel
- An actor’s ability to play off responsiveness of audience
- Relationship between artists and audience
- Audience becomes witness rather than active participant (for TYA in particular contact with the audience is essential)
- Agency for audience
- Accessibility for those without technology or tech know-how
- Data justice/Security/Copyright
- Ritual
- Social/Collective experience
- Risk of overburdening already stretched theatre staff, especially at smaller companies
Activity: Is the on-line theatre that has emerged due to the pandemic a new medium, an adaptation…? And do you think it will continue as the pandemic moves further into the past? Should it continue?
It is important to note that digital and technological changes in theatre were happening prior to the pandemic. As part of the reality of the larger societal shift to a digital world, companies were exploring integration of social media into live performance, audience interaction through apps, virtual reality, holograms, and more integrated use of projections. Electric Company Theatre has been hosting an annual Performance and XR Virtual Reality symposium since 2020 and Folda is an annual festival of live digital art. This work is certainly exploring new ways to do theatre and as a result bringing in new audiences.
There is much to be excited about. Change is happening and if the theatre milieu can learn healthier and more inclusive ways to produce as a result of a pandemic, then it makes me believe we can tackle even greater challenges.
Thoughts on the changing theatre industry are continued under the Future of Theatre and Just & Equitable Practices – so read on…
Resources:
Pandemic specific resources:
Impacts of the Pandemic on Indigenous Artists – Indigenous Performing Arts Alliance (ipaa.ca)
Resilience project – Hill Strategies Research Inc
Siminovitch Forum on Theatre Innovation
Theatre Communications Group – Crisis or Chrysalis Townhall
Business and the Arts – Arts Response Tracking Survey
Other offerings:
Stages of Transformation | Listen | National Arts Centre (nac-cna.ca)
Balancing Act -Support for Parents and Caregiving in the Arts
Content Note: There are a lot of negatives here since this chapter is focusing on what needs to change and what is being addressed, but the important thing to note is that these changes are happening. There is hope and joy. There is incredible work being done by incredible people. Theatre has always created community and this community is working together towards a better future.
I continue to believe in the power of theatre because I have seen its impact. There is nothing like working together to create something beautiful, something inspirational, something that transforms or entertains. I have seen how theatre can make us better humans, can teach us about the world in profound ways, and can allow us to rehearse for a better world. Those of us who have been doing it for a while need to keep striving for models, practices, and structures that allow us to do the work in the best way possible so we can leave it a better place than we found it. As the next generation, you can then build on this amazing progress and decide the theatre you want to work in.