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| How utterly ironic. Also, I wrote a book about DPAC. |
The Triangle theater ecosystem has a long and vibrant history. But as with all ecosystems there are good times and bad, birth and death, growth and loss. Theodore Reik pronounced "There are recurring cycles, ups and downs, but the course of events is essentially the same, with small variations. It has been said that history repeats itself. This is perhaps not quite correct; it merely rhymes." It feels that way now: these questions are ones that have been asked before, which is what led these artists to do the damn thing in the first place.
Much of the downswing for our ecosystem started before 2020, but was, of course, exacerbated by loss of physically being able to gather. We've long said that was crucial to live theater and the pandemic only served as proof of concept. Can theater happen online? Kind of. Is it the same? Not even remotely (pun fully intended).
So here we are, asking these questions again.
Where are the champions?
With the loss of our dear great one Liz Grimes Droessler, where is the next champion of local live theater artists? In the late 90's/early 00's, Danny Cameron served in many ways to fund and connect theater artists in Chapel Hill and Durham. Before that, Mary Duke Biddle Trent Semans and Ella Fountain Pratt made names for themselves (and foundations and awards) by ensuring the next generation of artists were supported, both with money and people. Who is stepping in now to not only bring the money, but also gather the people, find the spaces, and give a loving kick to the rear of terrified artists, saying "you are talented. go do the damn thing."?
Where are the experimental venues?
When the Carrboro ArtsCenter began, it was a haven for independent artists of all genres, both visual and performing. Many beloved theater companies relied on that space over the decades to produce their art. When the ArtsCenter decided to gradually phase out live theater, it was a blow to not only Carrboro artists but audiences, too.
Jeff and Ed at Manbites Dog in Durham served a similar purpose and maintained a space that saw so much experimental art happen. Rachel Klem did it at Common Ground Theatre, too. What venues are willing to be open and take the risks to make sure new work is being created and seen?
Where are the new artists?
It was an absolutely delicious, delightful, heart-warming night in Carrboro in August to witness a master class reading of "Ripcord" at Lanza's Cafe with Marcia Edmundson and Lenore Field (and all the rest). David Berbarian and Jeri Lynn Schulke were mesmerizing in "The Woolgather" last October. I've no doubt TIP is still churning out great work. RLT is finally coming into fully representing the community it has been a part of for a century. But these artists and theaters have been stalwarts in our community for 20+ years.
So where are the new artists? Where is the next Mike Wiley or David zum Brunnen or Serena Ebhardt: phenomenal performers who are from here and decide to live here and make this community stronger with their art? Where are the next Jeff Storer or Paul Frellick, supremely talented directors who moved to the area and saw a need for their art and then did the damn thing? (One could make the argument that the local colleges had a larger responsibility in that time frame, so I'll save that for another post.) What the heck happened to the high school and college groups like One Song Productions or Company Carolina?
How are we communicating? With each other? With our audiences? With ourselves?
When the News&Observer shuttered its arts coverage (and this was before 2020), it was a blow to the Triangle performing arts community. Could Roy ever hope to write about every show happening in the area? No. But just what he could cover was a signal to audiences that work was happening.
When the Independent stopped publishing a weekly calendar of events, it was a blow to the Triangle performing arts community. Could Byron ever hope to write about every show happening in the area? No. But the calendar lent credence to the fact that work was happening. And audiences could check the calendar and get ideas.
Am I being an antiquarian about the power of print? Possibly. But we all know that online calendars (there have been so many) and social media (at the mercy of the algorithm) have not come close to replacing the consistent audience draw of print.
Word of mouth will always remain the best audience communication method, yes. What is happening that is memorable enough to talk about? Theaters started discontinuing their season subscription ticket models long before the pandemic. This turned out to be a downward spiral: if you have to sell MORE individual tickets, then your work needs to be MORE enticing, so that MORE people talk about it. In most cases, that meant more mass appeal shows, well known names, or marketing gimmicks.
How are companies, venues, artists communicating with each other? Another friend recently mused, "I wish there was a way for the different art genres to get together and talk about their work." TriangleArtworks makes this happen once a year at SMASH, but on a regular basis? Way back in the day, there was a briefly a theater artistic director monthly meeting happening. But now? Sure, general auditions are not exactly fun, but it gave directors a chance to catch up with each other, learn about what work they were planning, and see new artists. And it gave performers a chance to meet each other and share notes about work and companies.
As fall seasons start in the performing arts companies remaining across the Triangle, now is a good time to ask questions and try to find answers that will make the ecosystem stronger, healthier, more diverse, more inclusive, better able to weather whatever may come. Have we been here before? Sure. Can we make it better next time? I sincerely hope so.
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