Here's Marjorie!

A few weeks ago, Cahoots was given a wonderful Christmas treat. Thanks to the generous support of the Metcalf Foundation, we will have Marjorie Chan as our Associate Artistic Director for 2006.

Of course, Marjorie is no stranger to Cahoots. As our Playwright-in-Residence, she's working on a new play that takes place in Beijing during the 1989 Tiananmen Square massacre. And she has performed in three previous Cahoots productions, Noran Bang, Mother Tongue, and The Vic.

The really good news for all of you is that you'll get to hear a different voice on The Red Hut. Marjorie will be posting regularly to the blog starting with this entry today titled:

Now is Better Than Later
or Why Buying Theatre Tickets Early Is A Good Thing

This is an email from me, Marjorie. The newest employee of Cahoots Theatre Projects (our HR dept. prefers "partner" over "employee"—just like at Starbucks - JS) courtesy of the good people at the Metcalf Foundation (shout out to the money! You learn quickly, padawan - JS). Is this just another email telling me about our upcoming production Bombay Black?

Well, sort of. But it's more specific than that. Because yes, I do want you to go. But my point is, if you are already planning to go, here are 5 reasons why you might as well go ahead and buy your tickets now.

Reason #1: Word-of-Mouth
Ah! Those magical words. Word-of-mouth. Yes, it's true. You, the theatre-going audience has an impact on the ticket sales. When you love a show, you tell your friends, and they make their way to the theatre, and they tell more friends. And everyone has a good evening, and the hard-working actors onstage have an audience. But for this scenario to work, you gentle audience, have to attend the show early in its run. And yes, every theatre producer takes the chance that you may not like the show, but the producers believe in it. They wouldn't bother producing it otherwise. They like it, so you should give it a chance. After all, if you really don't like the show, well, it doesn't matter whether you saw it early or late in the run. But, it makes a difference to the theatre company.

Reason #2: What are you waiting for?
Really. Honestly. What are you waiting for? You've seen the posters, heard the press, impressed by the artists involved before...what are you waiting for? Our culture has become so spontaneous amd impulsive. Haven't you found it more and more difficult to pin down a lunch date or a meeting? We schedule dates with pencils, knowing a phone call on the day may or may not confirm the time. We cancel appointments with ease and impunity. Cell phones and email make cancellations and changing of plans too easy. When did we become so afraid of commitment? What ever happened to making a decision and sticking to it? I'm tired of it actually. I have missed so many shows, so many evenings of culture just because I couldn't commit to going. And I regret it. I probably ended up in front of the tube watching a bad reality show instead of contributing to my city's culture and enjoying myself. If you want to go, then go. Book a ticket, call your friends. Write it in your datebook in pen.

Reason #3: The Numbers Question
If you are thinking, "I can't really spare the cash right now." Well, seeing theatre is actually very inexpensive. There is always the option of the Pay-What-You-Can dance and the Sunday morning lineup. Theatres have posted minimums, usually $8-10. I try to give at least that, and if I can afford more at the moment, I pay more. Do you know why? Because, I actually feel silly when I go see a show with a cast of 5 and let's say I put in a fiver. 5 bucks. That's not even lunch (well maybe in Chinatown). That means that 5 bucks split with just the people onstage (not including the stage manager, the designers, the director, the playwright etc etc), just split with the actors, well, that's only a buck each. One measly dollar for acting your guts out for 2 and half hours. Now, I know very well that is not how the economics of theatre work, that the PWYC option is way to make sure anyone who wants to see it, can see it and is not a box-office split. Having said that, if PWYC is only option available to you, then please come see the show.

But let's actually have a look at the costs of tickets on a regular night, okay?
$15-20, $5 Student HipTix. Now what can you buy for $15-20 these days? You can get a decent dinner. You could see a movie with popcorn. You could...You know what, I can't even finish this list. It's true there are a number of things that $15-20 can get you, but they are just not comparable. You know when I think about how much I spent at Christmas on cousins I don't even really like and who never, ever bother to say thank you...well...I just get a little sick. The fact is $15-20 for the privilege to see live theatre, professional actors, a brand spanking new play, the opportunity to share a unique story and culture with an intimate group of people, an experience that will never be the same night-to-night, well, in my opinion — it's a steal. And trust me, I'm a born bargain hunter. (It's true. Hey, she was bound to be a cultural stereotype in some way - JS)

Now, if you are still looking for a bargain, here are some more options for you:
Preview tickets: January 4 - 7th 8pm - Tickets are ONLY $10! Also do you have 9 friends? Because if you can round up a group of 10 people who want to see the show it's only $10 each. We're calling it 10 for 10. Catchy huh?

Convinced yet? Ready to buy your tickets? yes? No? Okay, read on.

Reason #4: The Gas Gauge
Think gas gauge equals production company's bank account. Have you ever been in your car, on your way somewhere, and you look down at your gas gauge...and the red light is on. But then you go over a hill and the red light goes off. A few minutes later, you're waiting at a stoplight and the red light goes on again. You keep driving. Because you know why? You know your car well enough to know that even though the red light on your gas gauge is going on and off, you have enough gas to make it to your destination. It really isn't the best thing for your car, but you don't really have a choice because you're already on the road and you've done it before and you'll make it through barring any surprises.

This is what it is like when you produce a show. All of the theatre's resources are currently tied up in the show. So everything that a company can throw at it, everything to make the show happen, it's being utilized. Small non-profit theatre companies, like Cahoots, like many others, they often have to go to their very limit, their very edge to make shows happen. They are driving with their gas gauge on. Sometimes the cash flow is better and the light goes off, but it will keep coming back. This is a very crucial time; this time while the show is in tech and doesn't open for another week. All of a theatre's resources have now been spent, the tank is so empty. But where is the next gas station? Well, revenue from the box office doesn't really start coming in until the show opens - in another week. But, (and this is where you come in), but if you buy your tickets in advance, guess what? You top up the tank. It's not a lot, but it means so much to the theatre company. It means that if there is some sort of emergency, or some unforeseen expense, the theatre company has something in the tank to handle it and bring you the best show possible. (Amen to that. The payments on the company Hummer are a killer - JS)

Reason #5: Plays Get Lost in the Rockies
Okay this is low down the list, because it is not really a reason to buy early, just in support of this play and playwright. I don't know what it is, but despite a vibrant theatre scene in Vancouver, there is little sharing of great plays and playwrights. For some reason, great plays that do well on the West Coast get lost somewhere over the Rockies and take a long time, if ever, to make it to Toronto. I feel like that about plays from Toronto too, that they have a hard time moving West, but it is my impression that it is worse going the other way. I really don't know why this is — except the very painfully obvious reason that I am loathe to consider. Is the Toronto scene actually that arrogant, to think that only Ontario playwrights have anything worthwhile to say? I'm sure the rest of the country might have that impression, because, well, I think Toronto gives off that impression. I suspect it probably has more to do with available funding for writers of new work at the municipal and provincial levels. And also perhaps producers want to produce a show from someone whose name the public might recognize, so they pass over a non-Ontario playwright for an Ontario playwright. But of course the question is how are other writers going to develop a name, if they aren't given a production? And so a conundrum of a circle is created. Unless. Unless, a brave company (or in this case two) with some vision takes a chance. Nightswimming is a dramaturgical theatre company, specializing in developing, but not necessarily producing new plays. Nightswimming liked what they read coming from Vancouver playwright Anosh Irani, coughed up the funds and commissioned a new play. Cahoots, being a producing company was happy to take on the challenge of producing Bombay Black, because they believed in Anosh. And who wouldn't? His play The Matka King (at CrossCurrents at Factory) was startling and revelatory and riveting. (And not just because my boyfriend was in that reading.) In fact, the titular Matka King was played by Sanjay Talwar who takes on another fascinating role in Bombay Black (One that hasn't been castrated - JS). Back to playwright Anosh. This is what was written about this very exciting writer's first novel The Cripple and His Talismans:

"Magic realism at its finest ... We are in the grip of a storyteller, at once inventive, capricious, comic, dark, ribald and tender..." - The Globe and Mail.

Ribald AND tender? Pretty awesome combination. Generally unbeatable in my book.

Wow. I can't believe that you have read down this far. You must share some DNA with me, or possibly be one of my few friends or like me, have insomnia. Thank you for reading this. Please think about what I had to say. Really. Of course, I want you to buy tickets to Bombay Black, but I also hope it gets you thinking when some time in the future, when you are considering going to the theatre. Buying early really helps. Okay that's all. I'm done. Soapbox back under the bed with the dust bunnies. I hope you are well and have a happy new year. Here's to 2006 and another year of creation!

Cheers,
Marjorie


Thanks for that post, Marjorie. You'll hear more from her in the near future—without my annoying annotations.