Questioning the everlasting nature

Is there ever a time when it's ok for a theatre company to close?This is the question I keep asking myself these days. I'd like to separate it a bit from the closing of the Vancouver Playhouse, though obviously that is what has it on my mind. I don't know enough about the situation or the scene to comment about the specifics, but there is something general that I think needs to be talked about.

Old Growth Forest

The "ecology" metaphor gets a fair amount of play in the arts. The idea being that a scene is a complex, interdependent network of big and small, a diverse community that relies on each other in potentially unexpected ways in order to thrive. It's a metaphor I've used and genuinely generally am ok with. I do believe in the value of healthy bigs and successful commercial theatre along with the nimble, emergent and experimental and most of everything in between (it is a bloated middle that I worry most about.)

So, if we take, for the moment at least, the ecology metaphor a step further, the problem is that we, as an arts community, seem to want endless growth. Current structures to be maintained while new ones are continually born and grow. Which isn't how I understand ecologies to work. To be blunt, things have to die in order for other, new, things to grow.

So, is there ever a time when it's ok for a theatre company to close? Is it that it should only be by clear choice, rather then to avoid the creditors? This seems historically unlikely. For economic reasons, companies refuse to die. The need to maintain the operating support from government alone means that there is a rotation of Artistic Directors, a turning of larger and larger ships, with more and more influence from the Boards and mandates, structures and models developed in the 70's and 80's.

(Da Da Kamera is the only company I can remember closing shop. [Read Daniel McIvor's remarkable account here] It's rare and full of potential and hope along with sadness.)

With "austerity" and a growing radical conservatism meaning arts funding or private support isn't going to keep pace with the ever growing number of applications and companies, the ecology is going to fail if there isn't significant change.

I will admit that an early thought in hearing about the Playhouse closing was "Oh, at least there will be new money at the councils next year." It feels horrible to think these things, like a philistine betrayal of my peers.

But, We rail against greedy investors and CEO's who keep the lid on the 99% for endless growth, but we replicate it. We rail against politicians who want to hold up the status quo of economic relations, but we fight to maintain our own.

I sincerely hope the best parts of the Playhouse can live on. I hope that there are plans for the costumes and props and physical resources to be distributed into the community of companies, that the patrons and audience and supporters will continue to go to the theatre in a city that is doing amazing things. That the staff take their expertise and commitment and help others to grow to fill the gaps, and to create new, unexpected solutions.

The social and political world we live in is different from a metaphoric or even real ecology. There are ideologies and choices being made: agendas and missed chances. I recognize that.

But I also want to ask, is it ok for a theatre company to close?

**** Another possibility worth discussing: mergers

**** Updates: A good post by Ian Leung challenging the use of the ecology metaphor.

In thinking about the Polar Bear extinction issue (if we ruin the planet, that's not part of the ecology) is important. Though any one theatre is not a species.

On Anonymity

“The problem is not, fundamentally, to get people to slow down, or to move without being toxic to their environment. The problem is to make people aware that anonymity is as toxic to the ecology of heart as hydrocarbons are toxic to the atmosphere. The problem is how to restore intimacy, curiosity, trust, and play into the happenstance encounter of citizens, in an era when the happenstance and the unpredictable are a threat.” Pier Giorgio DiCicco [also]

On stage, we are not anonymous performers or artists – we use our names. This is different than the non-anonymity of celebrity because we not celebrities – that’s obvious. We are people making some very poor financial choices in order to stand in front of others and say our names in small rooms.

Big Question answers (1)

Mission Paradox is rolling out a bunch of big questions. Out of appreciation of that kind of thing, I’m going to try and answer Adam’s questions. I will probably fall behind.First question (abridged): Why would someone want to work with you? (Whole thing here)

A while ago, I was thinking a lot about the community theatre leanings of my work with Small Wooden Shoe

(“Community theatre for and by professionals”)

We had done the first Christmas Concert and were working on reading of Life of Galileo, and I was loving the relationship with the people doing these projects and the audiences who were coming.

And they were also among my favourite art events of the year.

I started saying, “We have to have ideas so good people will work on them for free. And then we’ll work to find the money to pay the people.”

This formulation does a bunch of things for me.

It puts a lot of pressure on me to have good ideas. Or to work with collaborators to make my medium ideas into great ones.

This pressure is a good thing. I think it will pay off in the show we finally make. And it certainly pays off in the commitment and investment of the people I work with.

We also have to treat people well, We have to work in a way that moves towards the parts of their work they love That gets them excited. Because the idea isn’t just the final production The idea (the one so good) is usually about the process too. About how we work.

People shouldn’t work for free (or at all) on something because the final show is so good, but the process is hell. (This does goes on and maybe even has a tradition in the theatre, but it’s a tradition I don’t have much time for.)

Of course there are bad days, there are fights and phases of a process that slog along and nobody can remember why they agreed to this. But the generosity of the idea and the ways of working are what gets us through those days.

So I hope we’re offering the chance to work on good ideas in interesting ways, Offering a chance to beat back the alienation and cynicism that can set in the professional art world. Offering a chance to make a good idea great by doing what you love to do.

And we work very hard to offer a reasonable wage.