ACHTUNG!

If you’re a playwright or care about the birth and life of new plays, you HAVE to read the recent posts at Parabasis. Check it out….

here

Here’s some of the meat:

Theaters:

–Consider themselves one flop away from folding

The following statistics are self-reported, and are probably somewhat skewed due to the selection-bias of the survey (i.e. they only surveyed theaters that produced new plays):
— New plays account for 45.6% of offerings on our stages
— 23.8% are world premieres
— Fewer than 2 shows a season are 2nd productions

–Prevalent emphasis on world premieres are helping to strangle the new play system

–1 in 5 theaters regularly seek new plays that have already premiered

–As a result: the writer/agent want to get as big a world premiere as possible if they want the play to have a future life. This drives them back into the big institutions that they find problematic in the first place

–Culturally specific theaters have to compete with large theaters for multi-cultural grants and frequently become “farm teams” for the artists who will be included in the “multi-cultural” slot at larger theaters

–Expectations have been downsized. Small spaces, small casts.

ACCESS:
–How do plays move through theaters? How do good theaters shepherd this process?

–Lack of Artistic Director access is frequently discussed. It is playwrights’ biggest perceived problem

–Pass-blocking of admin staff, particularly lit depts.

–Most ADs agree that access is the key… so… “how can writers + ADs build relationships?”

–How much do agents help? (this part is tricky, data-wise, i’m gonna try to get it right):
-62% of playwrights had at least 1 play produced from direct submission to theater.
-83% have had 0-1 produced from agent submission
-Only roughly 5 agents are well regarded

–55% of playwrights think formal difficulty is the thing that is most likely to sink their plays

–ADs, on the other hand, rank cost and production demands as highest factor

–“Everyone wants the same 10-20 playwrights, and those writers are backed up with commissions”

About Steve Patterson

Steve Patterson has written over 50 plays, with works staged in Portland, Los Angeles, Chicago, Detroit, Austin, Tampa, and other U.S. cities as well as in Canada and New Zealand. His works include: Waiting on Sean Flynn, Next of Kin, Farmhouse, Malaria, Shelter, Altered States of America, The Continuing Adventures of Mr. Grandamnus, Bluer Than Midnight, Bombardment, Dead of Winter, and Delusion of Darkness. In 2006, his bittersweet Lost Wavelengths was a mainstage selection at Portland Center Stage's JAW/West festival, and, in 2008, won the Oregon Book Award (he also was an OBA finalist in 1992 and 2002). In 1997, he won the inaugural Portland Civic Theatre Guild Fellowship for his play Turquoise and Obsidian. View all posts by Steve Patterson

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