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Disappointment...

I have thought a lot about commenting on the dispute between The League of American Theaters and Producers and IATSE which has led to the strike affecting the Broadway theater. I don't feel it is my place to publicly discuss the issues at hand because I don't know any more about them than has been disclosed in the media. I can, however, talk about disappointment.

The picture above is very ironic. It is taken in front of the St. James Theater where The Grinch That Stole Christmas should be playing. Instead a new show is in town: The Grinch That Stole Broadway.

Whatever the issues, whatever the impasse, because people on both sides of the table are unable to continue talking and compromising, the real loser is the audience. Ticket sales to popular shows are made months in advance and patrons plan special trips into NYC. Vacations are often planned around theater experiences and can't be replicated. For many people it is a "once in a lifetime" experience and one that won't or can't be duplicated after their ticket refund. It is disappointing to the patron and a disappointment to the City and organizations that count on the revenues derived from these visitors. Over 5 billion dollars is generated for the New York City annually through visitor spending by tourists attracted to productions playing in Broadway theaters. It is estimated that theaters and related businesses are losing about 17 million dollars a day during this strike.

Another potential disappointment is for BROADWAY CARES. They were in the midst of their six week winter fund raising drive, a window of time in which the attending audience is asked to donate to this important organization. A lengthy shutdown will be a major disappointment for them.

My hope is that the craftsmen and the producers will come back to the bargaining table looking for solutions that will benefit everyone...including the patrons and associated Broadway businesses and organizations. What blesses one, blesses all!

American Theater Wing...A Great Educational Resource

You often hear me refer to the Tony Awards in association with our faculty at US Performing Arts. So many of our teachers have been honored for their performances by either participating in a production which has been nominated or has received a Tony, or have been nominated for or received one for their personal performance. This award for excellence in the theater, both on Broadway and regionally, was established by the American Theater Wing in 1947 and named after the then famous actress, director and one of the founders of the ATW, Antoinette Perry. I still remember having attended a presentation of these awards as a very young aspiring actress in the 1950s and being so completely awestruck by the people in the room that I had goosebumps! The Diary of Anne Frank was honored that year as the Best Play and although its star Susan Strasberg was nominated the honor went to the absolutely intriguing and captivating actress Julie Harris for her role in The Lark.

Although awards of recognition of one's excellence in their craft is important, in my opinion the greater good accomplished by the American Theater Wing is in its original purpose. ATW's purpose or mission statement is in providing education in the theater. That the do that so well and in so many ways. If you are not familiar with the American Theater Wing take time to peruse their website. There you will find clips from Downstage Center, one of my favorite shows, featuring current Broadway actors in interesting discussions with each other and the host. You'll also find very valuable resources and links to sites with additional helpful information. They feature a number of networking opportunities as well. I think you'll find their site an important resource of current material.

The San Francisco Experience

There is no doubt that San Francisco is one of the most breathtakingly beautiful cities in the world. Its ever changing vistas and views are something you never get used to or take for granted. Its vibrancy and eclectic culture draws movie makers and theatrical producers from all over the world. Looking at the Sunday San Francisco Chronicle Datebook quickly shows you the numerous opportunities there are for entertainment.

This week I am entertaining an actor friend from London. This is his first visit to San Francisco and my husband and I want his visit to be memorable. We want him to see and taste the things that make San Francisco renowned. Frankly I haven't done this "tour guide" thing for awhile and I feel a bit rusty. The funny thing is that a few weeks ago at a social event a couple of people were comparing notes on having just done a similar thing with out of town guests. One of them said, "Boy do I really miss The San Francisco Experience. Do you remember that show that used to be at Pier 39? I used to start all my visitors to the City there and then we'd decide what we wanted to see after that." Well, this week I really miss The San Francisco Experience and I think it's time to bring it back!

The San Francisco Experience was a multi-media production celebrating the sights and sounds of this great city, shuttling viewers back and forth in time while comparing the historical events of San Francisco with today. It was packed with special effects. Most memorably it recreated both the 1906 and 1989 earthquakes allowing the visitor to safely experience what it feels like to be in an earthquake. Audiences not only learned interesting facts about The City but were stimulated to go out and enjoy the things they had seen. The show ran for over 15 years in San Francisco, finally closing its run at Pier 39 a number of years ago. During its final years it was very successfully managed by my business partner, Craig Patterson and if truth be told, I was one of the producers.

The production company founded by Bing Crosby, David Sacks and Charles Patterson went on to produce other Experiences such as The Hawaii Experience, The Hollywood Experience, The New York Experience, The Taiwan Experience, and The Christmas Experience. All were critically acclaimed and all had very long runs.

So, I really do think it's time to bring it back. With today's technology I think it could be a visitor's blockbuster.

The Ultimate Street Performers

Street performing is as old as civilization. Stories were passed down in early tribal fashion from one generation to another through musical and spoken word performances in the out-of-doors to gathered audiences. Today we similarly gather at street festivals, outdoor venues, and more formally at theatrical plays. Perhaps the greatest of all "street festivals" is the New Orleans Mardi Gras.

A tradition that I find charming, inventive and entrepreneurial is that of the corner street performer. You find them in every city, literally on the corners or in the subway and train stations. They are musicians, actors, comedians, jugglers and dancers. Just like in traditional theater venues some of these performers are absolutely "top notch" and others either need a little more seasoning or perhaps just don't have what it takes.

I tend to be drawn to street performers. I think they are unabashedly brave...there is nothing separating them from their audience...and sometimes you get to see an undiscovered gem. A good thing to remember is that after leaving Juilliard Robin Williams honed his improv craft on the streets of New York! I have seen some incredibly talented musicians and dancers performing their wares on the street.

Watching the gathered audiences is often as interesting as watching the performers. I'm also interested in the psychology that draws an audience to a performer. Why does one act draw a mass of viewers while another goes begging? Believe me the answer is not always the obvious, "because one is better than the other." This question was very much on my mind when I walked past a number of street performers today in San Francisco. I saw some musicians playing their hearts out (and very well) with no one even giving them a second glance. Perhaps as my husband said it's location, location location. But if it is as simple as that then why did the group I have nicknamed the "ultimate street performers" draw such a large crowd? In order to even find them you had to walk down a long pier and through double doors built to screen the noise of their unique sound. Once through those doors the first thing you notice is the crowds thronging the railings. Before you know it you are drawn to the group's melody and mesmerized by the choreography of their powerful, yet graceful dance. People didn't just stroll by or stop momentarily as I had seen them do with other performers. They stood enthralled for a quarter of an hour or longer even in the chilly weather. That's why I have dubbed them the Ultimate Street Performers. (Note the Diva taking center stage while the tired backup dancers rest in the background.)



The Ultimate Street Performers