BACK STAGE WEST
November 12, 1998
Now that Theatre
L.A. has harnessed the abundant energy of L.A.'s local theatres, its new leader
hopes to define the identity of the scene.
by Rob Kendt
Is 1998 Los Angeles
theatre's year? Is this the year it will grow up from a sprawling, incoherent
underground showcase community into a thriving live entertainment industry? In
short, is this the year theatre in Los Angeles will arrive?
The good news is
that scene is already hereÑor, at least, all the players are in place, some of
the sets are built, there is even a director. But the script is still in the
works.
The
"players" in this case are a large handful of scrappy, dedicated
theatre companies (and a smaller clutch of independent producers). The
"sets" are the theatre spacesÑranging from a very few large and
midsized venues to dozens of converted laundromats, warehouses, jails,
convenience stores, tire shops. And the "director" is that young but
hardy mainstay Theatre L.A., a stage producers' membership organization which
next week will stage its fifth annual competitive theatre awards show, the
Ovations, at one of L.A.'s only large-scale houses, the Shubert.
The
"script" in this rather strained metaphor would be Theatre L.A.'s
mission statement, something its new executive director, Alisa Fishbach, has
been mulling and discussing with her board since she took over the job in June
from the popular Bill Freimuth. Fishbach has some clear ideas, if not a master
plan, for the organization, gleaned from her own experience in both the
for-profit and nonprofit theatre worldsÑin casting and development at the
Center Theatre Group and the Los Angeles Theatre Center, and operations
management at the Shubert.
"Theatre
L.A. is in a period of fine-tuning what we do, restating our raison d'etre to
the point where we can then evaluate whatever ideas come up down the line in
terms of that new mission," said Fishbach, a tall, bespectacled young
woman with a quiet, unshakeable aplomb.
Under Freimuth's
leadership, Theatre L.A. got a number of long-dreamed-of projects off the
ground: Times Tix, a half-price theatre ticket booth, originally at the Beverly
Center, now at Jerry's Famous Deli; Kids Week, a weeklong festival of
discounted theatre to introduce kids (and their parents) to local stage
offerings; an in-depth study of the Los Angeles theatre market by arts wonks
George Thorn and Nello McDaniel of Arts Action Research, which suggested that
L.A.'s outsized quantity of stage productions should earn it the moniker
"Theatre City, U.S.A.," and, not least, the peer-judged Ovation
awards (see below for details).
Apart from these
programs and othersÑan opening night newsletter, a cooperative
group-advertising deal with The Los Angeles Times; the five-year tenure of Freimuth may be
best remembered for his relentless promotion of the sheer quantity of theatre
produced in the region. A 1993 county arts commission study put the figure at
1,200 productions a year, which would justify Freimuth's oft-repeated phrase,
with slight variations, that "there is more theatre in L.A. than in any
city in the world."
"You know,
we all joke about that mantra Bill had," Fishbach said. "But the
funny thing is now I'm getting phone calls from people outside the theatre
communityÑfrom the convention industry or whateverÑwho are quoting that phrase
back to me. Which is fantasticÑit's basically laid the groundwork for us."
If the Freimuth
period got the message across that there is a huge and persistent theatre scene
in L.A., and made great strides in linking the players in that scene to each
other, less addressed was what all this might mean to a potential theatregoing
audience. As L.A.'s resilient small theatres could tell you: Size isn't
everything.
One reason for
the extraordinary amount of L.A. theatre activity is its staggering talent
populationÑactors, directors, writers, and designers who want to get onstage at
almost any cost, either to do theatre for its own sake or to showcase their
talents to the film and television industry. While the creatively motivated
stage artists of L.A. hold out its best hope for claiming the title
"theatre town," and the showcase-motivated work is just a fact of
life in an film industry town, neither thus far has attracted a wide and
attentive mainstream audience. Of course, with their limited resources to even
produce their shows, few L.A. theatres can advertise or publicize their work
widely. Doing what no single theatre could do on its own, Fishbach feels, is
the proper task of Theatre L.A.
But is it possible
that between the artistic adventurers and the showcase-mongers, there is just
too much stuff on L.A. stages for any potential audience to sort through?
"I don't
think it's a matter of there being too many theatres," Fishbach said.
"It's more that the theatre community in Los Angeles doesn't have a
clearly defined identity of what it is to the outside world. People are now
buying into the reality that we have a creditable amount of theatre, but they
don't have a sense of what that theatre's about. New York does; even though New
York theatre is much more than the big Broadway shows, that's the identity in
the minds of people, and anything beyond Broadway is a part of that in some
way. What we have to do for the community is to establish a more clearly
defined identity."
Of course, if the
mega-suburb of L.A. itself seems eternally gripped by an identity crisis, many
who live here cite that sense of freedom from easy categorization as part of
the city's appeal. In the theatre world, such non-identity means that some
theatre artists feel a sense of boundless possibility they don't feel in other,
more established theatre towns, whether or not there's an audience to
appreciate it.
"I don't think
that works, I don't think it sells, and I don't think it's artistically
particularly sound, either," said Fishbach without equivocation.
"It's the role of Theatre L.A. to make the theatre community realize they
need to clearly define who they are. I mean, when I think about the theatre
companies around town that are really successful, those companies as individual
groups have a very clear identityÑthe Actors' Gangs, the Cornerstones can
articulate what they're about. I think if more individual groups could do that,
then we can try to find out what the collective identity is, based on that, and
then Theatre L.A. can market that.
"You know,
people have talked about doing a campaign like the milk campaign or the "I
Love NY' campaign for L.A. theatreÑbut what exactly would it be
advertising?"
One candidate for
L.A. theatre's identityÑand one that already sticks by defaultÑis as a
stepchild or, more charitably, an adjunct to the film industry. It's often
posited that film, TV, and theatre are essentially in the same business, using
the same talent, and that they should work togetherÑi.e., that deep-pocketed
Hollywood should subsidize small theatre.
"There's
these two arguments," Fishbach said. "One says we have to connect
with the film industry; we provide them with talent and product, they have to
give back. The other mentality is, We are completely separate and shouldn't
link ourselves with the industry at all because it devalues us in some way,
which I don't buy."
Fishbach's
answer?
"I think we
have to remain differentiated from the film industry in some way, but to deny
that it's here and that it is somehow connected to who we are is unrealistic.
We have to find how we are connected with the industry, because that's part of
L.A."
If Fishbach
hedges her bets, then, on pronouncing final answers about Theatre L.A.'s
mission, it's because she doesn't feel it's her role, as the leader of a
dues-paying membership organization, to impose a pre-set agenda. Asked if
she'll have a mantra, as Freimuth did, she demurred.
"My mantra?
I don't know that I want to get to the point that I boil it down to one
phrase," she said.
Which is not to
say that Fishbach is not opinionated. With a degree in theatre from Occidental
College and her years of experience at the Taper, LATC, and the Shubert, she
said one of her own personal agendas is "having people take the art of
producing seriouslyÑthat it's as important an element as anything else that
goes into creating theatre. If there were a recognition of that, every other
part of it would become much stronger, because people could pay attention to
their work instead of dividing their efforts.
"I talk to
actors who are literally planning on producing their own piece that they're
going to be in themselves. How can they do their best work in that situation?
They can't. And if they're not doing their best work, artistically it's not
going to be successful, and financially it's not going to be successful."
Of course, one
paradox of this town with too many actors is that it's also a town with too few
bona fide theatre producers.
"If you
think about how many producers there are in townÑpeople who consider themselves
theatre producers first and foremostÑthere aren't that many," she
lamented. "I'd love to see more. I'd love to see the people who are going
to take the financial risk and put the blood, sweat, and tears into it."
Another L.A.
scarcity is good midsized spaces: When a production under the mostly
non-remunerative Equity 99-Seat Plan is a hit, producers have few midsized
venues to which to move it. And companies like A Noise Within and the Colony
Studio Theatre, ready for moves to larger theatres, have struggled and/or
waited to find appropriate spaces.
These and many
other challenges, including fundraising, greet Fishbach and the organization
she heads. Even if she does hammer out that "script," hers is the
kind of job that is never really done.
"The thing
about Theatre L.A. is that there are so many things it could be doing,"
she said. "This is not an organization that has a problem finding
something to do with its time. Making choices about what we're going to do is
probably the biggest challenge."
With a thoughtful
and savvy leader like Fishbach, Theatre L.A. will be an organization to watch,
even after the Ovations are over. And even if 1998 isn't L.A. theatre's year.