college theatre

To the Unrecognized Theatre Workers

SarahLynn Mangan
A thank you letter to all those not recognized or hardly recognized for their work in the theater. Many times, the people who get the least thanks are those who do the most.

To the costumers to dressers to set builders to painters, to the stage managers and their tech-operators and their running crews, thank you. To the casting directors to the choreographers to the dance captains, thank you. To the laundromats to the wigmakers to the curtain cleaners, thank you. To the conductor to the pit to the assistant music directors, thank you. To the people who came up with the original vision of the production to the ones who decided to take a chance on it, thank you. To the marketers to the poster making companies to the web design fanatics, thank you. To the ushers to the program folders to the kiosk tenders, thank you. To the house manager to the production manager to the assistant stage manager to the interns to the box office manager, thank you.

 Thank you for creating theatre and always being willing to sacrifice your time, your energy and frankly your sanity to put on a wonderful show that is reflected through the actors on stage.

 Actors are consistently receiving flowers, food, and praise for their performances and connection with the audience, but I believe that the most praise should go to you people and even all the people I didn’t list. The actors would not be receiving this praise if it was not for you.

 I know you know this and you say it in your own head before the curtain opens or whenever someone gets hissy at you asking “Well what did you even do for this show?” but I am going to recognize it anyway, here in writing.

 For many of you on this list, your talents could be used in many different areas in the world, but you choose to spend them on something that can truly make an impact on either the teenagers seeing their first show or the elders seeing their last. Without you willing to spend a fraction of your talent in this industry, actors would not have anything to work for.

 Thank you for putting up with stuck up actors and people who really have no idea what your job entails but still being willing to continue to work with them.

 From the bottom of my heart, Thank you.

 

 Now for those actors who don’t always say thank you to the costumer every time they repair your costume or your dresser who helps you during the fastest quick change of your life, start thanking them. For those who don’t come in early to see what they can help with during tech week whether that being painting the set, sewing some hems, or even folding some programs, start doing that. For those who might have some extra cash to order an underappreciated crew member some coffee or a donut, start doing that. Start taking the time to really appreciate the people who help your job run smoothly, cause without them, you would be naked in an empty theatre with no lights on except for the ghost light.

Finally, for those audience members who get grumpy at the house manager or ushers when you arrive late and can’t be seated, take a deep breath and relish in the fact that you have made it to a theatre where all your troubles are supposed to melt away. For those who never shake the hands of the orchestra or stay until the end of the exit music, start doing so because they tend to do more work than the actors on stage, and applause for them after the exit music. For those who stare at the crew when you see them for a quick second in confusion for wearing all black, ask them what they did for the show and congratulate them on a smooth show. For those who aren’t patient with the box office start doing so and maybe they can figure out how the dates on your tickets were actually for a week ago instead of tonight.

 If everyone took the time to thank the people we don’t think of when we think of theatre production, everyone would have a grander time at the most amazing place in the world, the stage.

Don't Tony Worship

Jonathan Fong

In light of the recent Tony Awards, I just thought I’d write something that has been on my mind for a while. I’ve seen this happening a lot, in both community and professional theatre, and I thought it should be addressed

No, it’s not about people judging whether what won should’ve won. There has been enough debate about The Band’s Visit winning everything already, as there always has been and will be when a show sweeps the Tonys, and I’m not going to open that can of worms. In fact, what I’m going to talk about isn’t really something specific to this year nor any year in the past.
I’m going to talk about something else. I call it Tony worship. No, I’m not talking about those who have shrines to Tony from West Side Story in their rooms. I neither confirm nor deny the presence of one in mine. I’m talking about people treating the Tony Awards, and everything associated with or related to them, as the entirety of theatre itself.


Every year, I see dozens of small-scale productions, some community/amateur and some professional, of musicals mimic the Tony-winning set or costume designs of that musical’s original Broadway production. Every year I see other productions attempt to copy the original choreography, with varying degrees of success, of the original Broadway production. Every year, I see, whether online or in person, dozens of performances of the same songs from the musical theatre canon sung in the exact same way - intonation, tone, delivery, you name it. 
And every year, when I ask the person in charge of set design or the performer why, they say the same variations of the same thing - ‘(insert-famous-theatre-person-here) did it and won a Tony for it’.


Let’s ignore for a second the copyright issues which come with copying things such as set designs or costume designs (you don’t get the rights to copy a production’s set design when you get the rights to a musical, in case you were unaware). Let’s also ignore the real risk of doing things like mimicking an actor’s vocal tone in a song without proper vocal training to do so, which can actually do harm to your voice.


Thing is, yes, they won a Tony for it. But do the Tonys define theatre? Do they define your production and what direction it should take? Do they define you as an actor?
Sutton Foster, Patti LuPone, Idina Menzel - they’re all incredibly talented actors. No one’s doubting that Andy Blankenbuehler or Christopher Gattelli are wonderful choreographers, neither is anyone doubting the amazing designs of David Zinn or Mimi Lien. They’re all clearly good at what they do and the fact that they won Tonys for their work is proof of that. But at the end of the day, what they did was take the material given to them - librettos, plot synopses, the like - and interpreted and developed it in their own unique ways. And at the end of the day, isn’t that what everyone’s supposed to do?


As actors, choreographers, directors, designers, or whatever role you might have in the theatre, isn’t it our job to make our own interpretations of what we’re given? To creatively stretch the boundaries and go beyond the text or the libretto? Why are we defining what we should do by what others have done, and not the limits of our own creativity? Why are we copying other’s creative work just to feel secure in what we do?


I’m not saying that you shouldn’t seek inspiration in any way from other sources. Inspiration from others is one of the most valuable things you can get in the arts - it can offer insights you might have never otherwise considered. And I most certainly would be lying if I said I’d never looked at what other artists have done as guidance.


But please, for crying out loud, don’t just copy Sutton Foster’s Tony-winning performance in Anything Goes for your recital, or the minimalist set design of the 2005 Broadway revival of Sweeney Todd (yes, that actually happened) for your local community theatre production of the show. Don’t just sing Defying Gravity ‘that way’ because ‘Idina Menzel did it’, and don’t light the stage or design your props ‘that way’ because ‘that Broadway show did it and won a Tony’. That’s not justification for a creative cop-out. Yes, they won a Tony for it, but they won it not for copying what someone else did, but because what they did was original and creative.
Be creative. Be brave. Be theatrical. Stretch the boundaries; don’t be content with being ‘safe’ with what others have successfully done. Make your work as an artist unique and your own, not a mere imitation of what someone won a Tony for.
Don’t let the Tonys alone define what theatre is for you.