Very compelling analysis, thank you. In my hometown (Omaha, NE) our free Shakespeare festival (not nearly as big a production as OSF or Cal Shakes, but still) never came back after the 'rona. It had been trending towards progressive ideology for a while, and although I have no idea what was the deciding factor in its demise, I wouldn't be surprised to find that audience size had been dwindling.
Fully agree that theatergoers just want a story and not a sermon. But I notice your not-so-subtle dig at entertainment from the right as well; my intuition is that no one, left or right, wants to be preached at when they watch a show, and if we had theaters blanketed with conservative ideology the audiences would find it just as off-putting. There has always been a tension among artists of all kinds between the obligation to entertain and the desire to communicate a message, between the desire to "make 'em laugh" and to proclaim vast and weighty truths about the world. In the visual arts there is the dichotomy between "mere decoration" and avant-garde innovation. In music, we see the oscillation between "hard and edgy" pop music like Nirvana being replaced by fun and bouncy music like Ace of Base (a point made excellently in John Seabrook's book The Song Machine).
Artists will do what they will do, but I would hope that, for all points on the ideological spectrum, a clear signal from the market such as drastically reduced ticket sales would lead to a sober reassessment of communicative strategy and goals among artists. We'll see, I guess.
I wanted to reach out and express my genuine appreciation for your insightful and thought-provoking blog post titled "Can Theater Survive the Revolution?" Your candid exploration of the current state of regional theaters and their struggles with woke ideology is both illuminating and thought-provoking.
You've captured the essence of a complex issue, skillfully highlighting how the overemphasis on ideological messaging can detract from the true artistry and experience that live theater offers. Your analysis of the disconnect between what theatergoers truly value—authentic performances, compelling narratives, and skillful execution—versus what some theaters are prioritizing sheds light on why audiences may be choosing not to engage.
Moreover, your personal connection to theater and your ability to convey the passion and grandeur of the art form is palpable. Your reflections on the delicate balance between the liminal space of performance and the immersive experience it offers resonate deeply with anyone who has been captivated by the magic of live theater.
I couldn't agree more with your call to action for creatives, producers, and artists to take this moment as an opportunity to deliver high-quality, engaging theatre from a variety of perspectives including more conservative perspectives. Your optimism for the potential theater dedicated to a "Market-Place of Ideas" to captivate and resonate with audiences is inspiring.
Thank you for tackling this important topic with a balanced and insightful perspective. Your article is a reminder of the power of art to transcend political divides and connect with audiences on a deeper level. I look forward to seeing how the theater industry evolves in response to these challenges and opportunities.
It’s amazing how quickly the decline of the Oregon Shakespeare festival happened. It’ll be interesting to see who will find a way to give theater-goers the good old-fashioned, agenda-free storytelling they’re craving.
Very compelling analysis, thank you. In my hometown (Omaha, NE) our free Shakespeare festival (not nearly as big a production as OSF or Cal Shakes, but still) never came back after the 'rona. It had been trending towards progressive ideology for a while, and although I have no idea what was the deciding factor in its demise, I wouldn't be surprised to find that audience size had been dwindling.
Fully agree that theatergoers just want a story and not a sermon. But I notice your not-so-subtle dig at entertainment from the right as well; my intuition is that no one, left or right, wants to be preached at when they watch a show, and if we had theaters blanketed with conservative ideology the audiences would find it just as off-putting. There has always been a tension among artists of all kinds between the obligation to entertain and the desire to communicate a message, between the desire to "make 'em laugh" and to proclaim vast and weighty truths about the world. In the visual arts there is the dichotomy between "mere decoration" and avant-garde innovation. In music, we see the oscillation between "hard and edgy" pop music like Nirvana being replaced by fun and bouncy music like Ace of Base (a point made excellently in John Seabrook's book The Song Machine).
Artists will do what they will do, but I would hope that, for all points on the ideological spectrum, a clear signal from the market such as drastically reduced ticket sales would lead to a sober reassessment of communicative strategy and goals among artists. We'll see, I guess.
C.M. Miller,
I wanted to reach out and express my genuine appreciation for your insightful and thought-provoking blog post titled "Can Theater Survive the Revolution?" Your candid exploration of the current state of regional theaters and their struggles with woke ideology is both illuminating and thought-provoking.
You've captured the essence of a complex issue, skillfully highlighting how the overemphasis on ideological messaging can detract from the true artistry and experience that live theater offers. Your analysis of the disconnect between what theatergoers truly value—authentic performances, compelling narratives, and skillful execution—versus what some theaters are prioritizing sheds light on why audiences may be choosing not to engage.
Moreover, your personal connection to theater and your ability to convey the passion and grandeur of the art form is palpable. Your reflections on the delicate balance between the liminal space of performance and the immersive experience it offers resonate deeply with anyone who has been captivated by the magic of live theater.
I couldn't agree more with your call to action for creatives, producers, and artists to take this moment as an opportunity to deliver high-quality, engaging theatre from a variety of perspectives including more conservative perspectives. Your optimism for the potential theater dedicated to a "Market-Place of Ideas" to captivate and resonate with audiences is inspiring.
Thank you for tackling this important topic with a balanced and insightful perspective. Your article is a reminder of the power of art to transcend political divides and connect with audiences on a deeper level. I look forward to seeing how the theater industry evolves in response to these challenges and opportunities.
God Bless.
Your Friend,
Frank Mihelich
It’s amazing how quickly the decline of the Oregon Shakespeare festival happened. It’ll be interesting to see who will find a way to give theater-goers the good old-fashioned, agenda-free storytelling they’re craving.