Theater For The Future

The Art in the Business of Theater – Collaboration Tools and Technology and the Storefront Theater Movement
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Summer Sabbatical

July 01, 2009 By: Nick Keenan Category: Uncategorized

The kids are here.

As the Cherubs program begins (we’re on day 2!) I’ll be going offline through the first week in August to:

Design six shows
Train 2 students to load in a complete rep sound system
Train 3 students to break apart a text and find / mix the perfect sounds to go with that text
Help train 9 students to be amazingly proactive and on-the-ball stage managers
Engage 156 students (along with 49 other jaw-droppingly awesome faculty) in a creative discussion that will form the bedrock of the best summer of their lives.

So, I gotsta go do that. There’s some fun stuff cooking that I can’t wait to announce.

But right now? I get to be here.

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Stage Management Awards Update: We have Green-light.

June 16, 2009 By: Nick Keenan Category: Community Building, In a Perfect World, On the Theatrosphere

Very happy news came in a couple days ago from @mltachco: The New York Innovative Theatre Awards (they that evaluate the off- off- broadway scene) is trying out an Outstanding Stage Management award this coming season.

Nice job, off- off-ers. Hey Chicago, can we make this happen already?

From their press release:

Since the very inception of the IT Awards, we have wanted to develop a means of recognizing the unique, necessary and often overlooked role of the Stage Manager. As a part of the celebration for our 5th year, we are excited to be able to present the inaugural Outstanding Stage Manager Award.

The IT Awards will be the premiere ceremony to showcase the people who are the “glue that holds the whole show together from before first rehearsal until after strike. Our work as designers, performers, and directors is NOTHING without stage managers to understand, interpret, support and execute it in a real-world context.” — In Defense of Stage Managers blog

(that’s me. hee hee!)

After years of research and consulting hundreds of theatre practitioners and especially Stage Managers, we have developed a process similar to our honorary awards, but one as unique as the award itself. The two-part process includes both judge’s scores and an application that will be reviewed by a committee.

Beginning in January of 2009, as a part of their assignments IT Award judges were asked to evaluate how the technical elements of the production flowed together. Those scores will help inform the committee who will review applications and make the final decision. The application asks for examples of the Stage Manager’s organization and leadership. Two letters of recommendation are also required from people who worked with the Stage Manager on the production.

The OSM (Outstanding Stage Manager) Committee is made of eight individuals that include stage managers as well as directors, actors, press, producers and crew. OSM Committe Chair, Stephanie Cox-Williams said “There are awards for directors, lighting designers, sound designers, set designers, actors, etc., but without a Stage Manager to put all of the pieces in motion, correctly and on time, those elements would not make a cohesive production. The IT Awards, is taking a big step forward by recognizing the unsung heroes of the stage.”

All productions registered with the IT Awards for the 2009 season and that had opening dates after 1/1/09 are eligible to submit an application.

We believe that we are the first awards organization to recognize Stage Managers along with all of the other production elements. It is an exciting step, but an unprecedented one so feedback from the applicants, the OSM Committee and the OOB Community at-large will be an important part of this process going forward.

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Those Who Do Not Learn from the Publicity Photos of the Past are Doomed to Repeat Them

June 11, 2009 By: Nick Keenan Category: Teachable Moments

It’s that time of the year when a new crop of companies pop up in Chicago, as ensembles of young artists graduate from colleges and form the next big thing, eager to announce a season of work. (I think we’ve counted 12 this year?)

Benno Nelson, a company member of The New Colony (who very well may be the next big thing that formed 2 years ago, or as I like to call them “an annual that managed to pollinate into a perennial”) is already interrogating the value of this particularly short and internal kind of life cycle.

Some of them *will* be the next big thing. But all of them will get there after exploring what came before.

So, with that in mind, I invite you all, young and old, to check out this blog hat/tipped my way by Simon Ogden.

inaproductionof.blogspot.com

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In Defense of Stage Managers

June 09, 2009 By: Nick Keenan Category: Teachable Moments

Anne Nicholson Weber, in the podcast interview I posted a few weeks ago, asked the question: “What exactly does a stage manager do?” Josh, Ray and I kind of looked at each other in that moment, thinking: “Do people really not know how important the stage manager’s job is?”

At the non-equity Jeffs last night (yeah, Jared), I got to thinking (again) about something I think is missing these theatrical award ceremonies – Jeff, Tony, the whole lot of ‘em.

How in the WORLD can we structure an award for best stage management?

Because when they do their job right, they are the the glue that holds the whole show together from before first rehearsal until after strike. Our work as designers, performers, and directors is NOTHING without stage managers to understand, interpret, support and execute it in a real-world context. With patrons, house emergencies, prop emergencies, scenic emergiencies, costume emergencies, skipped pages…

Sure, it’s a tricky award to evaluate – there are enough pitfalls in evaluating design (which still can be flashy, brash and loud enough to draw attention to itself), let alone a role that is quieter if not more central to the functioning of theatrical performance. The very definition of good stage management is when it just works, seamlessly, brilliantly, and without leaving any trace of emotional, procedural or intellectual tint on the designs, direction or performances. That is a no-mistake tough job.

You *can* tell when there’s a ninja SM calling a show back there in the booth – usually when a mind-bendingly complex sequence of events is timed so perfectly either very early (first time!) or very late in the run (ready for closing!) that it still leaves you breathless.
I’m talking about you, Ellen, Amanda, Joe, Tim, Kim, Jaime, Alden and so many, many more.

If awarding committees can see beyond the footlights enough to give awards to directors, musical directors, lighting designers, or musical sound designers (the mad science/art of seamless vocal amplification that again, ideally doesn’t draw attention to itself – a fact that led to it not being included in the Tony Awards until last year, 30 years after the beginnings of theatrical sound design), certainly there is some way to evaluate and recognize these foundational artists who through their creative management support the entire team.

So here’s the question: If you had to write the rules, how would you choose to evaluate a stage manager’s performance?

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Maintenance

June 04, 2009 By: Nick Keenan Category: Collaboration, In a Perfect World, projects

So this was on my desk two days ago. An inbox of low-priority filing that went back to October 2007. Yikes.

I realized, as this particularly busy season draws to a close (at the Goodman Owen stage alone our season included the premiere of Million Dollar Quartet, Ruined, the O’Neill Festival, Ghostwritten, most of which were tech-heavy monoliths), that it has been over two years I’ve done a real spring cleaning. It’s really only in June or August when we find an appropriate moment to do this kind of invasive cleaning and reorganization – where you open everything in your house up, one piece at a time, blow out the dust, and ask yourself the question: do I need this anymore? If I had this object or system around to solve a problem, does the problem even exist anymore?

July and most of June’s always devoted to the 24-7-30 Cherub program, last year’s cleaning was postponed by the immediacy of three large Goodman projects – Gas for Less, Turn of the Century, and the Latino Fest, and the year before that was devoted to planning, traveling, and getting our family to our wedding in Nova Scotia.

This year, I have cause to clean. (ha ha to KF). My wife just turned in her notice at her day job, a day job that has both paid the bills and caused immeasurable stress and disappointment in her life over the past two years. Instead, Marni has trained herself in a wide variety of graphic design and skills along with a group of like-minded creative types, and begins freelance design and project management work for a number of clients, including this design firm, doing work that challenges and empowers her. The choice to leave traditional, corporate employment at a time like this is not an easy one – we’ve needed to scramble to find health care, for instance, which by itself could cause someone to turn back. But the known benefits and promises of opportunity are many: flexibility in hours means our schedules will no longer be opposite, and we’ll actually get to see each other awake from time to time, and it’s amazing how much more energy and happiness you can have in your life when you do something you actually find enjoyment and value in.

Leaving the day job means that Marni’s coming back as a teacher at Cherubs this summer, and will be leading the fundamentals of design class. This is an amazing job – basically teaching 10 high school students who already love theater the language and tools of design.

So I’ve been devoting a lot of time to maintenance lately: cleaning the house, sorting through hardware, fixing the internet, archiving scripts and old work projects, repairing and upgrading equipment, getting rid of the stuff we don’t need anymore

Bit by bit.

Getting our house ready for a new life.

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You have no control over your life.

May 27, 2009 By: Nick Keenan Category: Community Building, Teachable Moments

No answers here, just questions.

Big events have been drawing this fact of life into sharp relief over the past week/month/year, on a huge scale and many spin-off, convoluted, personal scales.

The manufacturer of my car, who happens to be one of the leading employers of a nearby state, will likely be bankrupt soon. I’ll probably be getting rid of it anyway, likely for well below the market value. Because honestly? Even if it is valueless, it makes no financial or environmental sense for me to keep it. In another year, that would have been a decision that mattered, and it’s almost an afterthought.

I’m getting to the age when mortality is an internalized fact of life for pretty much everyone I know. This Memorial Day, we lost Will. And we had another health scare the next day that was almost made worse by that ugly, gaping maw in the social safety net that most professional artists find themselves slipping through at one point or another: Uninsurance. Don’t get me wrong, I think children and the elderly deserve universal health care first as we as a society can afford it. But I also believe that we should freaking find a way so that everyone can have access to it. Even the simple fear of losing access to health care has its own cost in missed opportunities for screenings and preventative medicine. I don’t care how Social Darwinist you’re feeling today, I’m done with losing and almost losing friends, and I think we need to find a way to prevent basic health care and especially preventative medicine from being an even slightly financial decision.

Prop 8 woes in California also demonstrate the government’s and more importantly the Body Politic’s ability to remove our rights to well-being and a level social playing field, but there are encouraging signs that at least there’s a winnable battle yet to be had there. It’s not going to play out in the judicial oligarchy, because that wouldn’t really have a sense of finality – the decision lies in hashing out the problem once again in the court of public debate and ballot. There are ways and means to win back that control, and build lasting justice in reaction to a particularly clear injustice.

And there’s one more thing, probably the smallest of all these things, but the one that seemed the most like the universe coming right out and bitch slapping the people I live and work with, declaring: “You. Yeah, you. The technical theater artists and independent theater producers. That’s right: You. Fuck You.”

The Texas Senate, in an apparent fit of pique, proposed and approved a measure to make Lighting Design functionally illegal. The really bafflingly scary thing about this is just how often this happens. In the face of some other social ill, DIY creative enterprise in general can and will at any time be just plain eviscerated and made illegitimate with the sweep of a legislative pen. The tax code does this, the health care system does this, we do it to each other and we do it to ourselves by leaving ourselves vulnerable and unprepared. The society itself does not see this work – by which I mean the work of independent, non-profit theater whose goal is revelation over capitalization – as legitimate. Part of us doesn’t think it’s legitimate either, as measured by our actions and our real impact and influence on our communities.

But that vague sense of laziness is really hard for me to jibe with Will, who lived this life all the way through, without the equity card, without the health insurance, all the while supporting the small companies that he cared about as a grant writer and advisor, touring schools and being a crucial part of bringing developing plays to life for the developing playwrights that he believed in. Ultimately, we give all of ourselves over, and request a modicum of empowerment from society and government just to do our work – to explore troubling and mundane subjects and what it means to be a community and what it is like to share an imaginative spark – without quite this much fear of being left out to hang for spending time on this way of life. One of those subjects could be, certainly, how it’s only been (some) Americans in this last half-century that have lived under the delusion that we do in fact have control over our lives – and what does that mean?

If you don’t have control over your life, then it follows that sickness and health isn’t something you get to choose or earn based on market performance. I don’t know when that idea started to make sense to us. If the licensed electricians legitimized as theatrical lighting designers by the Texas legislature can work and get enough money or support to get health care – a safety net for when not if we eventually fall ill – we should be able to achieve at least that for each other.

Precariousness, large and small. I am thankful for what I am granted the chance to hang on to.

Not everything falls apart. Give a hand to @travisbedard and @jimonlight, who fought and organized intelligently over the past two days for their right to light. If the bill gets changed tomorrow, I’m giving them the credit. And see the steps they took to get there on Twitter – it’s a compelling call to action.

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Sound Design Interview on Talk Theatre in Chicago

May 25, 2009 By: Nick Keenan Category: Chicago Theater, On the Theatrosphere, Sound


Chicago-based sound designers Josh Horvath, Ray Nardelli, and little ol’ me are interviewed by Anne Nicholson Weber in this week’s Talk Theatre in Chicago podcast. Ray and Josh talk about their design for Rock & Roll at the Goodman Theatre, and I talk a bit about the work I did for Piano Lesson at Court Theatre.

It’s a continuation of the discussion – and actually a great starting point if you feel lost – of aesthetic considerations of sound design that several bloggers have been talking about here and elsewhere over the past few weeks – from collaboration, using the text as a starting point, to having a conversation with your audience through sound. For those who caught my Twitter preview, the mythbusted phenomenon of Metonymy wisely didn’t make the cut, alas, but I’m sure you can tell where we brought it up – as designers one of our aesthetic goals is of course to make you (figuratively) crap your pants.

Also, there’s a little bit of throw down between the Chicago vs. Broadway approaches to theatrical aesthetics in general, so… Blood in the Water!

Hope you like it!

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I love on Chicago Amplified

May 15, 2009 By: Nick Keenan Category: Community Building, On the Theatrosphere, Tools

WBEZ’s Chicago Amplified program has beefed up its presence in the Chicago theater talkback circuit… quietly and diligently recording interesting conversations and performances that would otherwise be lost to the world forever.

One of these recordings actually captured a portfolio dream for a sound designer… a full recording of Remy Bumppo’s original commissioned work Think Tank: American Ethnic, with both performer dialog and sound design mixed in. If your exposure to theater on the radio is primarily through LA Theatre Works – or if you’re outside of Chicago and want to see me put my money where my mouth is as a designer – I hope you can check it out.

If you’re creating great programming in Chicago and don’t have a podcast infrastructure to capture it yourself, I’d also recommend contacting the good people at Chicago Amplified… It’s one of the few places that will lend its excellent web infrastructure and traffic to creative organizations of all stripes.

You can also donate to Chicago Amplified here… And catch WBEZ employee Don Hall (and friends of TFTF Schadenfreude) in this video, doing what they all do best: Crank.

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