Open Forum

Dare to Be Different: 

Those committed exclusively to a "top ten" approach when selecting their season deny audiences new theatrical experiences, ranging from simply enjoyable to profound and thought-provoking. When a director avoids new or lesser-known shows that may have never made it to Broadway or the West End, they miss an opportunity to introduce their audiences to talented new writing teams. Adding a new, lesser-known, or unknown title to a season can be a positive experience for all involved. It certainly was the case for me and my students. It also benefits the resumes of students who plan to study theatre in college. Your choices build the theatre resumes for those in your program. During high school, theatre students should experience a variety of theatrical styles, including classics (from Shakespeare, Moliere, Greek Mythology, etc. and/or classics from the canon of American musical theatre), new published works, original unpublished works, improv shows, one-acts, dance concerts, etc. If you do good work, people will come. 

Some directors are reluctant to choose a show they have never seen. But working on a new or lesser-known title can be a source of inspiration, inventiveness, and great pride. While there is fear of the unknown, it can also be invigorating to work on a show with no expectations from your audience other than to be engaged and entertained. After a workshop, a young director confessed his reluctance to try new things for fear that his lack of inventiveness would be revealed. I thanked him for his honesty and advised him to rely on the creativity of his production team and cast. 

If you free the collective creativity of the group, you will be rewarded.

Enthusiasm is contagious. The best way to motivate creativity is to be creative and invite your team to join you in the process. Invite input from everyone. Listen to and think about your design team's insights and ideas. They might modify your opinions about the look of the play. Do not feel pressured into believing that your job is to have a single vision and implement it against all odds. Instead, choose to free the collective intuition of the company to see how it may shape your vision of the play. While the final decision is up to the director, the amassed creativity of the assembled company will often be more interesting than the creativity of one person alone. 

Finally, look forward for opportunities to present important work. Those opportunities often come when you least expect them – and are not always without controversy. Carefully consider all sides but be courageous. In some instances, a production may close, and you will realize afterwards how important it was. 

Be courageous and enjoy the journey.

Jim Hoare