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ARTC 2007 AND BEYOND by Daniel Taylor
I’ve discovered something while attempting to arrange my thoughts: I’m turning into a curmudgeon. It is far easier to think of things I don’t like than to articulate what I think ARTC should be doing. Since I may well be the last to notice this, I feel I should apologize to anyone who may perceive me as being unnecessarily negative, either now or in the past.
THE MISSION OF ARTC
Promote and practice the art of radio/audio drama.
ISSUES THAT NEED RESOLUTION
FORM LIVE vs STUDIO Among some of ARTC’s members there is a feeling that the increasing number of live performances on our schedule comes at the expense of studio production. If true, this in turn affects the availability of new salable product and our cash flow.
I’m not sure this is true. It is possible, of course, but I consider it more likely that our current sound editors are already working as fast as they are inclined to work. This being a volunteer organization, we really have no incentive to offer them to allocate more of their available time to these projects, nor can we or should we force them to.
The answer to this problem is to attract more volunteers capable of post-production and sound editing, toward which I realize David is already taking steps.
I would love to have the problem that a handful of CDs are ready to ship off for duplication, awaiting the cash to pay for it.
REPERTORY vs OPEN AUDITION
The ARTC acting troupe has been mentioned as one of the organization’s strengths, and I agree. Unfortunately, it is also one of our weaknesses, as projects that cannot be cast from this relatively small pool of actors simply don’t get done.
I am convinced that there are enough idle actors in the Atlanta area, of sufficient talent or diversity, and of sufficient inclination to work with us for free, that we can fill the cast of any script we are likely to produce – and keep any number of sound editors busy.
I perceive that ARTC’s regular actors would resist the suggestion that we hold open casting calls, as they would fear – rightly – that they might get fewer parts as a result, thus making the enterprise “less fun”. Less fun for the actors who get fewer parts than they think they deserve, and less fun for the producer/director who chooses the best fit for the role, and then has to deal with the actor who wanted it the most.
We already have several actors who gripe about every production in which they are not cast. On the other hand, not all of our actors have the time or energy to appear in every production. As our calendar grows more populated, this situation will only get worse, as we either continue to accept poor casting, or attempt to recruit actors from outside and potentially alienate our “regulars”.
AMATEUR vs PROFESSIONAL
ARTC, I think, is “coasting” on our earlier successes. The situation is aggravated by the fact that some key people responsible for those products are no longer available to us at all, and others are not available for the length and intensity of commitment another production would take.
As a result, ARTC is in danger of losing some skill sets completely. We have degraded from a focused professional troupe to a social organization. This hasn’t been a sudden transition, and I’m not going to attempt to pin it down or blame anyone, but I keep coming back to that word, “fun”.
“Fun” isn’t the point. It isn’t why we’re here. Why we’re here is the creation and preservation of a particular genre of dramatic presentation. The result of having created a product of which we are proud is, indeed, Fun, but that doesn’t mean each intermediate step in its creation was fun. Rehearsals, I think, need to be less of a party and more of a workshop. Not that I have any idea how to make that happen.
DRESS CODE FOR LIVE APPEARANCES
It’s a real problem, a barrier to us looking as “professional” as we can, and I confess I don’t see a way around it. We have several actors, of varying degrees of talent, who simply will not wear logowear and resist the suggestion to dress in a particular style or color to achieve a group visual identity. (I confess at times I am one of those actors, as I don’t own a lot of “dressy” clothes and am disinclined to purchase more.)
CONTENT
“SOUNDTRACK” MUSIC vs “MUSICAL GUESTS” ARTC’s musicians add an immeasurable dimension to our shows, and I’m delighted that people of such talent have consented to play with us. That said, we are not the ARTC Cabaret and Amateur Hour. Many of our actors can carry a tune: Very, very few of them have voices of professional caliber. I would rather we concentrated on those arts that we do well than have our cast break into (mediocre) song in the middle of a show.
FAMILY-FRIENDLY vs MATURE CONTENT
I believe I’ve made no secret of the fact that I think most ARTC content should be broadcast- and family-friendly. (This represents a softening attitude from my earlier stance that it ALL should be. I certainly don’t regret having done All Hallows’ Moon or The Brides of Dracula, but I would certainly warn parents bringing small children into either show that it ain’t exactly Scooby-Doo.)
I’ve come to realize that I am an old fogey, and that my idea of what should be on the air is not shared by those who actually PUT things on the air. I still believe there is a need to responsibly assemble, and clearly label, our products and performances, with an eye toward the audiences for whom they will be presented.
REVENUE SOURCES CD/CASSETTE SALES COMMERCIAL DOWNLOADS GRANTS and SPONSORS PAYMENT FOR LIVE APPEARANCES PROMOTIONAL VENUES BROADCAST LIVE PRE-RECORDED LIVE APPEARANCES WEBCAST LIVE PRE-RECORDED PROMOTIONAL EXPENSES ADVERTISEMENTS PRINTED MATERIALS Postcards, Posters, Bookmarks, Handouts, Playbills BUTTONS LOGO MERCHANDISE Tee shirts, Tote bags, Lanyards