For many people, theatre IS their outlet- a way to escape from the average, everyday, 9-5 grind. However, when your 9-5 grind consists of singing "9 to 5" and dancing full out to all the other numbers in that show (while in 3" heels), it may not be the most relaxing thing to leave your paid rehearsal and go to an unpaid rehearsal for a show you're doing 'just for fun'.

This community is big but small at the same time. You'll likely encounter a lot of the same people at auditions. Stick around long enough, and you'll end up doing a show together.

Community theatre is forever thriving and expanding, with a wonderful mixture of big, bold productions and small, intimate performances across the country. But putting on a show doesn’t come cheap. Why is it so hard to make a profit in community theatre?

While theater aficionados are familiar with many titles and shows the average theater goer can only name a handful of show titles that aren’t musicals.  Bluntly put, musicals fill seats, for the most part they are less risky as well. 

Starting a new show is always an exciting time for an actor/ actress, and it’s an excitement I live for whether I’m doing tech on the show or acting in it myself. But I’ve noticed something particular happening in my theatre community.  There is inherent sexism that is prevailing over every single theatre group in my hometown.  We have about 12 different groups, and we all run into the same problem-  the shortage of men.

One thing that I have seen a lot more often around my theatre community is that people are bad mouthing their first theatre community. Sometimes we don’t realize that other people in our theatre circle are listening to what we have to say about different topics. Including this one which has so much to do with how we are viewed by others, especially potential directors you might work with in the future.

Whether you’re a big commercial theatre company, regional theater, community theater, conservatory, or high school, picking a season should never be random and thoughtless. The shows an organization produce are integral to how it's perceived by potential theater-goers. When choosing a season, it’s important to keep the actors and director in mind, as well as the type of theater-goers you’re trying to attract.

The idea of "theatre" is a fascinating concept. People actually choose to bare their souls on stage, allowing themselves and their audiences a chance to experience life through a different lens. They put their bodies and mental health into a state of constant exhaustion while learning lines, perfecting choreography, and mastering songs. We always find ourselves as theatre-lovers romanticizing over the lights of Broadway and the stars we see perform on the Tony Awards.

But what about the "unsung hero" of theatre--community theatre?

I want you to imagine something. Imagine huge crowds of people filing into a special venue to witness a display by professionals working at the highest tiers of their field. The tickets were expensive, the seats aren’t quite comfortable, the drink prices are outrageous. Specialized, high-powered lights illuminate the playing area and loud music fills the air. The professionals emerge, dressed in specialized clothing and equipment, and begin their hours-long display. The action is intense, sometimes exciting, sometimes heartbreaking, and about halfway through, there is a break for everyone to recover and chat. When it’s all over, the crowd will cheer for a job well done and grumble if their expectations weren’t met, but they’ll probably go to a similar event in the future. Those same fans will gather around their televisions once a year in a celebration of the best of the best, usually with friends, food and drinks at the ready. 

Now, here’s my question: did you picture a Broadway show, or a sporting event?

It's 2019, and we have a lot of issues. Theatre and art are rightfully being accepted and respected as part of the conversation about our feelings and the problems themselves, as well as changing policy and, well, the way we live.

In reaction to the news and national events, we open up our computers, and we create; we gather our friends, and we create; we get on stage, expose our guts, and we create. We create plays and work that responds to this new world we're in, the very one we attempt to change through art and creation.

That's awesome. Really, it's awesome. But it also could potentially create some issues.

As an actor in community theatre in a city in Australia I come across some… interesting directors. As a director of youth theatre I’ve definitely made a blunder or two. Thus I watch and analyse directors I work with in order to improve my own practice. This series will explore the various downfalls I’ve experienced or witnessed and how to fix the situation. In part one we’re looking at casting calls. These have needed to evolve over the years to move with the times. Unfortunately, we have directors in community theatre (and probably professional too) that haven’t kept up.