When my production staff and I are choosing a season, we’re very conscious of who our subscribers are, the issues facing them (and us) and even a sense of where we’ll be in a year. No crystal ball or navel gazing - just lots of reading and reflecting on more than scripts and budgets. There’s a real sense of needing to be connected and committed to our patrons’ lives, the community and, in this case, the greater Seattle region.
So it drives me a bit crazy when theatre boards of directors look nationwide for talented artistic directors - with little apparent focus on whether the new artistic director has a heart and vision for being locally-committed. Or whether it’s a revolving door to a better gig. Or a stable gig while working elsewhere too. How do you relate to your community … if it’s not yours? How do you listen to them . . . if you’re not here? Is there a contracted requirement to be a local citizen and participate in the life of your new artistic homeland?
I’m addressing the role of artistic leadership, not the functions of guest directors. The latter are freelancers hired for a particular production, maybe precisely because they’d bring a new perspective to a theatre’s audience, even shake things up. They fly in and out, maybe to work with actors who are also not from the theatre’s home town too.
This isn’t a rag on artistic directors who are moving targets. John Longenbaugh’s article in The Seattle Weekly pays tribute to two ADs and their departures, well at least one of them. The other doesn’t live here. But what’s next for these two theatres? What questions are their boards asking about their theatres’ expectations for artistic leadership and how these leaders are accessible to their constituents?
I’ve tipped my hat, and believe strongly that nearly all arts organizations need to be deeply committed to their city / region. Perhaps in an area with a strong tourist economy (like NYC) you can speak more generically to a broad audience. Otherwise, do you know who you’re talking to? Even as a matter of survival in the present economic strain (!!), we need patrons who know and trust the artistic and management leaders at “their theatre” (or symphony, dance company, etc). The tickets they buy and financial support they send are affirmation that we - theatre and arts leaders - have made their needs primary, and that our missions, visions, budgets and pursuit of vital art are indeed, local.
I’m thankful for people who are subscribers and donors at Taproot Theatre. It’s pretty astounding to have their loyal support, humbling really. There’s not much better than standing in the lobby and chatting with patrons about the show, answering questions, and knowing we play a role in their daily life. And they play a big role in mine too.
