[NEohioPAL] The Unattainable "Younger" Audience ('How To'- Points)

[Lincoln King-Cliby]

+1

I am in the "20s" category (having hit 24 last week), and pretty much
everything Matt noted is spot on. I'm not so sure that I'm with him on the
one-act/intermission thing (it depends greatly on how entertaining the play
is and if its a 30-minute ten-minute intermission, which can quickly sink my
feelings about a mediocre performance.

I recently blogged vitriolically on the subject of how painful,
tedious, stiff and flat out unentertaining I've found the majority of GLTF's
 last season, and I would venture that I have a stronger theater
background/more exposure to live theater than the majority of my peers. Yes,
in part, I subscribe to GLTF for the "torture" (I never have been a
Shakespeare fan, but am trying to broaden my horizons) so I can't complain
too loudly but... sigh. I loved *Arsenic and Old Lace, *the touring
production of *Seeing Red* was entertaining and educational* *and I won't
complain about *Forum, *but aside from that...I'm having doubts about if
it's worth renewing again; several friends have mentioned that their
subscription has lapsed or will be lapsing.

Before I go any further, I'll also note that I'm an avid supporter of Fourth
Wall's works as well; I've seen ever show that their figurative curtain has
gone up on since their first show three weeks after I first arrived in
Cleveland, and while I can't say I've loved every show I've never not been
at least entertained... I've never felt like it was a waste of time or
money. I've also seen some shows that were incredibly entertaining
(Sprosty's *Schism* and *The Bank Guards* and David Allan's *Just Shy of
Closure* -- all "new" plays that can't be found anywhere else and not some
trite social commentary that's been dusted off to lecture at the audience.

I don't mind a work requiring thought or contemplation, but if it merely
serves to lecture or be incredibly obtuse without simultaneously having at
least some entertainment value you're just going to alienate audiences, who
have literally dozens of demands for their time and a greater number of
entertainment outlets to choose from.

One other comment I'll make on the variety of "environmental" observations
that Matt made (all of them valid): *Pacing Is Critical*. Maybe it's just
me, but a healthy number of the shows I've seen recently have, to put it
politely, had a languid pace about them. This includes scenes and scene
changes, which can kill momentum.  I'm not advocating running a show on
"fast forward", of course, and there are artistic concerns to be aware of,
but move things just a little faster. Don't feel like you're giving me
"better value" for the price of admission if you keep me in my seat for
three hours for a show that only needs to be two and a half. You aren't, and
you're significantly reducing the chances that I'll be in a large hurry to
come back and see another show with you.

And that leads me to another "environmental" concern well outside of the
physical theater: *Keep Your Telemarketers Under Control.* Yes, fundraising
is critical, along the lines of Matt's usher in the movie theater analogy,
if I want to engage you, I will do so. If you call me asking for a donation
and I say "no", "not right now", or "sorry", please don't call every week
and ask again, and I really don't appreciate guilt tripping. This is, pretty
much, the sole reason I've essentially stopped seeing shows at the Cleveland
Play House -- I figure, if I don't go, eventually I'll fall off their call
list.  Believe me, when I have disposable income I'd like to dispose of I'll
find you. I believe in Fourth Wall's mission, the other reason I've donated,
and continue donating, to Fourth Wall is the fact that they don't bug me.

Mr. Short's reply also has many points worth paying attention to, and I
think this is symptomatic of the unenviable position some companies are in.
I think a portion of the problem is that there are two distinct audiences
 -- the "stereotypical" audience, somewhat older (dare I say retired) couple
who is comfortable in the stereotypical atmosphere, and likely has more
disposable income available for purchasing tickets and making the
contributions that are so critical to keeping a theater going.

Then there's the younger audience with less in the way of disposable income
at the present time, through a combination of  lower total income and
college debt for whom the "stereotypical" atmosphere is foreign and
uncomfortable but who are the audiences of tomorrow. As politically
incorrect as it may be to say it, the current audience will not be around
forever -- either through death, relocation, or attrition, the current
butts-in-seats will not necessarily be butts-in-seats 10 years from now. If
theater is not made approachable and desirable for today's "young" audience,
it will be that much more difficult to get them in seats or to open their
checkbook when the current audience is gone...

Ok, I can see everyone out in NEOPAL land shaking their head and shrugging
about that crazy guy with no reverence for theater ranting about old folks,
so I'll shut up now.

I'll leave you with this: Go see Fourth Wall's The Bank Guards (dates and
times at http://www.myspace.com/fourthwallproductions) -- witty, well paced,
and very entertaining.

Lincoln
(Cleveland Heights; aside from being an avid Fourth Wall supported, not in
any way associated, nor do my opinions, ..., etc.)


On 5/21/08, Matthew A. Sprosty <mrsprosty at hotmail.com> wrote:
>
>  Dear Neopal subscribers,
>
>
>
> I first want to say that what here-in lies in this posting is the sole
> opinion of myself, and myself alone.  What I write to you does not reflect
> on any of the opinions by Fourth Wall Productions, a company I am Resident
> Playwright for.
>
>
>
> Second- let me say- Pick up the book: *The Tipping Point: How Little
> Things Can Make a Big Difference* by Malcolm Gladwell.  You'll find stuff
> in this book that will probably help you out.  (if you can read between
> lines...)
>
>
>
> At least once a year, maybe twice a year, a debate is started on NeoPal
> about getting younger audiences into the seats of our theaters.  I have
> read all the postings, but never addressed them.  Being a stereotypical
> writer (I'll admit it), I like to just sit back and be shy about most
> things.  Only offering an opinion of support if I feel it's needed, but
> never throwing my hat into a conversation that could make myself appear
> disagreeable.
>
>
>
> I do want to offer input, and help, for you- if you'll let me- on how you
> can start the arduous process of getting younger people into theatre.  What
> I'm about to recommend, and say, will take some out of their comfort zone.
> Because there are two types of theatre in this area- one where theatre
> people think is good theatre, and one where the younger generations think is
> entertaining.  (And, under no circumstances, does this mean that the two
> can't co-exist in the same production.)
>
>
>
> I will be the first to say that I am not a theatre connoisseur.  In fact,
> I find myself feeling like a fake when involved in an interview with the
> local media.  It was never my intention, earlier in my career, to become
> so involved with theatre, and now that I am 25 years old, I feel blessed
> that the initial heads of Fourth Wall (Justin Tatum and E.B. Smith) took it
> upon themselves to make sure that I stayed with this craft.
>
>
>
> I do feel I have a unique "in" with the younger generations when it comes
> to theatre.  I find myself a movie-lover penning plays.  I think to myself
> that I do not write for the older audiences, and that what they say
> (although the constructive criticism is *always *appreciated) is only
> trying to make me write another style of theatre that has become "the
> conventional" form (I can be close-minded sometimes, I warn you).  The
> "conventional form" being the theatre that has underlying (sometimes
> OVERlying) themes, moral lessons, tales of struggle, and a language (filled
> with monologues) that gives actors a feeling like their lessons in Greek
> acting are being put to good use.
>
>
>
> This theatre- is not the theatre that the younger generation will flock to.
> The underlying themes, moral lessons, should be there, but way more subtle
> than what we're used to in this theatre world of ours.
>
>
>
> Here's a breakdown of some points in finding that play that could entice a
> younger audience-
>
>
>
> Let's start first with casting-
>
>
>
> To intrigue a younger audience, your principle players must be someone of
> their age.  High schooler's can connect with people ranging from their age
> to twenty-five years of age.  Any older than that, and they will not feel
> like the person can be relatable to.
>
>
>
> (observe the ratings of younger generations as the cast of "Friends" got
> older…)
>
>
>
> You have to look at what these younger generations are watching.  "Grey's
> Anatomy", "The Hills", "One Tree Hill", "Dawson's Creek".  Even if it
> offends your artistic inputs- watch them if you want to get these younger
> people into your theatre.  You have to know what they like.
>
>
>
> Check out episodes of "Sex and the City" (HBO version- not TBS), or early
> seasons of "Friends".
>
>
>
>  They like witty people.  They like situations that aren't "dire" by any
> means, but rather "relatable".  (They get their news from "The Daily Show"
> more often than not- watch it)
>
>
>
> Rent "Garden State", "Mean Girls", "Clueless", "Can't Hardly Wait".  If
> you haven't seen the Shakespeare "Taming of the Shrew" adaption of- "10
> Things I Hate About You"- check that out.  Rent "Moulin Rouge!" for an
> up-to-date "Camille".
>
>
>
> Going back to "Grey's Anatomy"- the show, for it's current season had to go
> back to "funnier, more fun" storylines, because they realized that their
> pathway of going to serious story lines was cutting into their ratings, and
> that the core audience base of the younger audience was losing interest.  While
> Denny's death in that show was heart-wrenching, and well-written, kids were
> more interested in the McDreamy/McSteamy storylines.
>
>
>
> What does this tell us?  A good plan of action when selecting your plays
> to intrigue the younger audience is to find a play dealing with young
> twenty-somethings dealing with a romantic issue.
>
>
>
> (Fourth Wall's "Just Shy of Closure" by David Allan, had the
> twenty-something female audience members gushing…)
>
>
>
> Play picking-
>
>
>
> I will touch on the fact of why you should look at One-Acts first for
> attracting the younger generation later.  But, that's point number one.
>
>
>
> Two- Look for something with realistic dialogue.  Dialogue that flows,
> with minimal monologues.  If there is a monologue- make sure it's comedic,
> or touches on good points, sporadically through it.  The younger
> generation will tune out quickly if it's a monologue of a character going on
> a diatribe about something only significant to them.
>
>
>
> Remember- a good portion of the problem with the younger generation and
> theatre is that they are not exposed to it anymore.  Most of these
> audience members I've come in contact with through Fourth Wall will say-
> "The last play I saw was Shakespeare in high school."  A Shakespeare play.
> After they studied Shakespeare, and were graded on Shakespeare.
>
>
>
> They flee to movies to be entertained, because somewhere in their psyche-
> Theatre can be equated to Education.  And why suffer that on a Friday
> night?  We need to get passed this stigma.  Find fast-paced plays dealing
> with issues relatable to them.  Romantic issues.  Money issues.  Sinful
> issues.  Keep it light-hearted.
>
>
>
> Also, realize- the younger generation isn't sitting in on a theatrical play
> and dissecting it like us (us students of theatre are).  They are sitting
> back and wanting to be entertained.
>
>
>
> The theaters-
>
>
>
> The best theater I have seen so far in Cleveland that would not make a
> person of the younger generation nervous to go into is closed.  But,
> Dobama's theatre on Coventry was perfect.  Half the time a "youngin'" goes
> to see a movie it is just to hide out from his life.  Most of the time,
> it's not a specific movie that intrigues him, but rather just going to the
> movies.  To sit in a dark theatre, with his/her friends, and escape for a
> bit.
>
>
>
> The biggest thing that bothers the younger generation is meeting with
> workers.  If you go to see a movie with a younger generation in the
> audience, watch their eyes as the "Usher" comes in to do his rounds.  Regardless
> of how into the movie they are- they watch the "Usher"- unsure if they are
> going to get into trouble.
>
>
>
> Maybe One-acts are the way to go with these audiences members.  Maybe the
> fact that at intermission they will have to run into theatre employees to
> get through the ten minutes is a turn-off.  It's something to consider…  A
> one-act will ensure the younger audience members that once they are in-
> they're in.  And they can enjoy the play until they clap and leave.  With
> minimal talking to theatre professionals as they go.
>
>
>
> What could be a big help but a little suggestion?  Arm rests.  Arm rests
> provide a little sense of security for the younger I's.  Knowledge that
> even if someone is sitting next to them- they are not invading their space.
> Sounds stupid, I know, but it could go a long way.  (Fourth Wall cannot
> afford arm rests, yet)
>
>
>
> Prices-
>
>
>
> Even Fourth Wall's $10 ticket prices ($7 with a student I.D.) maybe a
> turn-off because it's more expensive than a movie ticket, but kids aren't
> dumb.  They know a deal when they see one.  Bang and the Clatter have a
> good idea of "Pay when you Can", but it's a situation where most kids might
> not understand it.
>
>
>
> If you ask a twenty-something if they have seen theatre- they will probably
> tell you they saw something at Playhouse Square.  That theatre is too
> expensive to see on a regular basis.  They still do not understand how the
> local theatres in the area actually offer cheap tickets.  It might be an
> idea to enlarge your ticket prices in your ads.  Especially the ones that
> speak to their wallets.
>
>
>
> Howard Levanthal in the 1960's performed psyche experiments on college
> students.  He would give them booklets on the dangers of tetanus, and went
> so far as to say these students should be inoculated.  He went so far to
> tell them that the University (Yale) was offering free shots for them if
> they wanted to.  But, even after they read all the dangers, understood all
> the dangers, they still didn't get inoculated.  Only 3% did.
>
>
>
> He did the experiment again- adding a map to the booklet, describing
> exactly where the University health center was- and the inoculations went up
> to 28%.  Even though these students already KNEW where the health center
> was…
>
>
>
> What's this teach us?  To get the younger audiences into our theatres- we
> need to spell out everything for them.  It's not enough to just send out
> flyers, but we have to find a new way to advertise…  A new way which
> almost puts Theatre in their way.  Where they feel, with all the
> information presented to them, that it's almost foolish for them not to go…
>
>
>
> Also, if you are going so far as to draw a map for these younger audiences,
> especially include where they can park their car.  Pointing out parking
> will allow them to not have to roam around and find parking.  Once their
> car is parked- you got them.  So, make sure you make that hurdle as easy
> as possible for them…
>
>
>
> Advertisements-
>
>
>
> This is a hard subject to approach.  (I've heard through the rumor mill
> that) Tony Brown has his hands extremely tied at PD of how much he can do.
> How much space he can use for theatre and the arts.  How much theatre he
> can see and review.  In my opinion, the man is extremely spread thin with
> all he has to cover as far as the Arts go in Cleveland.  Would it matter,
> though?  The twenty-somethings I ask of what they view in the "Arts"
> section of the Plain Dealer is the movie times and the horoscopes.
>
>
>
> Is there a way to make local theatre "exciting" in the local printed press?
> That's an issue for a later date.  But, right now, the majority of theatre
> coverage is just reviews of productions already going on.  If you have a
> play aimed at the twenty-something audience, I would see if a local reviewer
> could help you out with a "Preview."  I'm sure the theatre critics support
> the plight of getting younger audiences in…  Shouldn't we all work
> together?
>
>
>
> But, who knows, like I said- the Arts section of papers has suffered with
> the "migration" of younger-art-loving generations.
>
>
>
> When you advertise your play- pick what parts of it will engage the younger
> generation.  Create a one-sheet (slogan, logline) that will entice this
> audience you are looking for.
>
>
>
> *"A play about having a second chance with your first love…"  (Just Shy of
> Closure)*
>
> * *
>
> Realize that these younger generations have never heard of most of the
> plays you might do even if they are published.  Try and include as much
> information as you can in your publicity.  Whether it be in the image you
> use, or just a paragraph on the back of the postcard- whatever.  To entice
> this audience- you're going to have to explain why they should come.
>
>
>
> If you have enough money in your budget- see what it takes to run radio ads
> on 96.5 Kiss FM.  Or Q104.  Start your advertisement with something like-
> "Looking for something to do on a date?"  (Being a high school'er in the
> Cleveland area- I was starved for new ideas to take my unofficial
> girlfriend out to.  I had no idea about the theatre area here.  You didn't
> reach me.  One way you could have is if you got onto my radio stations.)
>
>
>
> Another way you can reach someone like me is through MySpace or Facebook.
> If you do not have a page set up for your theatre- do it now.  It's the
> easiest way to communicate with the younger generations.
>
>
>
> Pickwick & Frolic *made* me love their establishment by getting me free
> tickets to come see their comedians.  That might be a way to go.  Regardless,
> a younger generation will word-of-mouth your production, your company, to
> their parents if they enjoy it.  Also with their friends, and that might
> start an epidemic.  If a parent of one these youngsters come- that's a
> 40-60 year old audience member for you.  Which is younger by standards
> than what we have coming to our shows now, isn't it?
>
>
>
> Fourth Wall does unpublished plays so we have the liberty to write and
> produce movie trailers for our plays.  If you have the right to- you
> should think about doing the same.  The apple.com trailer site is a go-to
> place for a bunch of people I know who just want a taste of everything that
> is out there.
>
>
>
> For ideas on how trailers connect with the younger generation- go to *
> www.apple.com/trailers* <http://www.apple.com/trailers>  .
>
>
>
> You can view Fourth Wall's at:  *
> http://www.youtube.com/user/FourthWallProduction*<http://www.youtube.com/user/FourthWallProduction>
>
> It's definitely something you should consider doing if you can.  It gives
> the "kids" a chance to take in the feel of the play.  Most importantly- it
> gets them excited to see the production, more so than a postcard can.  Or
> a camera aimed at the stage can…
>
>
>
> *Me, as Literary Manager, And Resident Playwright-*
>
>
>
> I pride myself on finding the plays that I think the younger generations
> will like through unpublished plays.  While I'm writing you during the
> time when Fourth Wall is putting up my show "The Bank Guards", I simply urge
> you to search the past productions of our theatre company (*Just Shy of
> Closure, 2 Man Kidnapping Rule, Stained Glass Ugly, All the Way from China)
> *, or a theatre company like "Theatre Ninjas".  These companies in the
> area are searching out, and attaining, these younger generations of theatre
> go'ers by putting on productions that speak to them.
>
>
>
> I realize we all have mission statements to adhere to, and current audience
> members that might not like the idea of changing up, at least, one play a
> season to play to these non-theatre go'ers- but I encourage all to take the
> chance.
>
>
>
> Fourth Wall is a catalogue for your companies to see.
>
>
>
> So, if you can, come see *The Bank Guards*.  It's a play I wrote for
> twenty-something men.  The men that were dragged to Fourth Wall in the
> past by their girlfriends, and I felt- needed a testosterone riddled play.
> It's my try at creating an "action" movie for the stage.  The
> non-theatre-go'ers (the young, non-theatre-go'ers who you won't hear from
> because they don't have a voice in our community, yet) have said that it was
> extremely entertaining to them, and "played like a movie."
>
>
>
> You might not like my play *The Bank Guards*, but I wrote it to easily
> entertain the younger generation of theatre go'ers.  It might be something
> for you to check out to understand what I might have meant through my
> verbose ramblings here…
>
>
>
> The best piece of advice I can give you is an example of what they like…
>
>
>
> *The Bank Guards*
>
> Is at
>
> The Enterprise Center
>
> 540 East 105th St. St. 221
>
>
>
> Friday, May 23rd   @ 8:00pm
>
> Saturday, May 24th   @  8:00pm
>
> Sunday, May 25th   @  5:00pm
>
> Monday, May 26th   @ 7:00pm
>
> (free beer night – no one under 21 permitted)
>
>
>
> Saturday, May 31st  @  8:00pm
>
> Sunday, June 1st  @  5:00pm
>
>
>
> Call  330-283-2442
>
> Or email *tickets at fourthwallproductions.com*<tickets at fourthwallproductions.com>
>
> To make reservations
>
>
>
> Or come see *Dog Sees God: Confessions of a Teenage Blockhead* by Bert V.
> Royal
>
> July 17th-27th
>
>
>
>
>
> Sincerely,
>
> Matthew A. Sprosty
>
> Resident Playwright
>
> Fourth Wall Productions
>
>
>
> Ps. I hope nothing in this email offended anyone.  If you have any
> questions, don't hesitate to write me at mrsprosty at hotmail.com
>
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