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Shakespeare and Signature Theatres Seize the Moment
Despite the fact that theatre audience numbers are down from last year, two Washington-area theatres are mounting strategies to grow their audience share.
Shakespeare Theatre (no affiliation) and Signature Theatre (a former client) both recently opened new and improved venues for their productions. According to a Washington Post article by theatre critic Peter Marks, both theatres intend to reposition themselves by offering not just additional productions but productions that are likely to attract greater attention, not just here in the Washington area, but on the national theatre scene as well. The arrows in their quiver include more star power on the development, directorial and acting fronts.
The strategy here is not only clear, but is likely to be effective as well. Both organizations are forceful on the Washington theatre scene. Michael Kahn’s reputation for mounting memorable productions of the classics makes him a force to be reckoned with. Likewise, Eric Schaeffer’s Signature Theatre has been perennially magnetic, especially for those audiences who love new and refreshed musicals.
These are smart moves. All too often when companies open new venues - often in a state of complete physical, mental, and emotional exhaustion - everybody thinks that the sexy new facility will be enough. Well, as the line goes, “it ain’t necessarily so.� It’s true that shiny new buildings do tend to attract more people, but they are also usually more expensive to operate. The revenue bounce doesn’t always offset unanticipated cost increases, not to mention the time and attention that staff must spend creating fixes for the inevitable problems that new buildings bring with them. Performing arts venues are very complex facilities and — as good as the theatre designers, acousticians, and architects are who create them — there are always issues to address.
I have to tip my hat to Shakespeare and Signature here. Their moves signal that they understand that in order to win audience share, the whole experience has to improve. That translates to working hard on the quality of what’s on-stage, not just the quality of the stage, itself. A wonderfully made, comfortable theatre venue accelerates the rate at which audience members forget about the venue and focus on the work. Signature’s Eric Schaeffer’s greatest strength has been that he has been very adept at making productions that so engage you that you forget about the torture device upon which you’ve been forced to sit. Attention in his new spaces is going to be easier to get; he’s wise to ensure that it’s not going to be squandered.
In timing terms, Shakespeare and Signature have it right. The venerable Arena Stage (former employer and client) is expected to break ground on their new Bing Thom-designed complex in the coming months. For over 50 years Arena Stage has attracted the lion’s share of audiences and revenue. Even if Arena’s producing strategy keeps them at experience parity while they’re building their new venue, they will be at a competitive disadvantage when it comes to hanging on to their category leadership. In timing terms, they’re ripe to be bumped out of first place. I wonder if Molly Smith’s artistic agenda — as good as it may be — is enough to defend Arena’s leadership against these savvy and aggressive competitors.
In theatre as in other categories, timing and strategy matter. Clearly Shakespeare and Signature understand that. They’ve seized the moment.
Posted on March 5, 2007 09:32 AM | Permalink
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