Ken Davenport on Reviving Reviewers

I have written before on why I love Ken Davenport. 

His recent post on defending & promoting theatre critics 

is just another reason to add to that list: 

"Earlier this month, up North in colder Canada, the Canadian Journalism Foundation put on a panel discussion called “The Walking Dead: Do Traditional Arts Critics Have a Future?” Tough title, no? Perhaps a bit exaggerated, but with the advent of the internet, the role of the critic in theater and all art forms has been challenged. (Just yesterday, my blog-spiration, Seth Godin, posted this gem of an entry about Critics and my production of Macbeth.) 

Will they survive? You’re probably expecting me to say, “I HOPE NOT!” Sorry to disappoint.

See while I’ve certainly got some issues with critics, especially in an industry like the theater, overall I’m a fan. Why? My mission statement as a theater pro is to amplify the conversation about the theater. The more people talking about it, writing about, discussing it, debating it, etc. the better. The louder the conversation, the more likely that the art form will not only survive over the next 100 years, but will thrive over the next 100 years. And critics help stir up that conversation. But as the title of that panel discussion tells you... even they know they’re in a tough spot. So I thought I’d come up with five ways to help bring ‘em back:

1. Why have one reviewer when you can have two? Take a cue from the late great Siskel & Ebert and instead of having one reviewer – have two & have each of them review shows side-by-side. The public will get two discerning opinions, the shows will have two chances to impress, and the competitive gamification (“I’m right!  No I’m right!”) between the two will make the reviews more fun.

2. Qualify ‘em. There are a few critic associations out there in the world, but what if papers, etc. only hired those critics that were “accredited” and had a certain amount of education in the theater arts, in writing, criticism, etc? Critics help shape the future of the theater...shouldn’t we make sure that they are well versed in what they’re doing? A Good Housekeeping seal of approval might give them even more authority than they already have, and might distinguish themselves from the hundreds thousands of other reviewers on the web.

3. Raise the profile of your critic. Would you recognize the chief critic of the NY Times if you saw him on the street or in a theater?  What about the critic for the LA Times? I’d bet money you wouldn’t. That’s because the critics have always been more “behind the curtain”-like wizards. They’ve come forward a little more in the past five years, but if I was running a paper, I’d get them out in the world like a celeb... at openings, at press events, on twitter, etc. Pull back the curtain. People will become more attached, and therefore more likely to read, and more likely to trust.

4. If you can’t make your critic a celeb, then hire one. Wouldn’t Cherry Jones make a killer reviewer? Or what about Harvey Fierstein? Yes, it’s star-casting, but if it comes with readers, then wouldn’t it be worth it? I know, I know, maybe they’re not the best writers, but you could get them some ghost writer to help. Look at this example:  Huffpo had James Franco write reviews of some shows he just saw. Admit it, when you read James Franco, you were intrigued, right? I bet most of you click this link to see what he said, just because he’s James.

5. One reviewer doesn’t fit all. I’m still shocked that our biz has critics that review Shakespeare...and Disney musicals. Do music reviewers review Opera and Pop? What if a different reviewer (or even regular person) was assigned to a show depending on what the show was, and who that person was? A mom of four for a family show. A professor of literature for the latest Ibsen reviewer. Let’s face it, if I don’t like family shows, I’m probably not reading a review on a family musical anyway. So the people reading that review might believe in it so much more if it was written by someone they can relate to.

Criticism deserves a place in our art form, just like it deserves a place in our government, and society as a whole.  But it’s going to take some 2013 ideas to prevent them from being overrun by the criticism of the masses."

A Broadway Board Game!

Theatre geeks, 30-somethings and competitive kids 

will have a ball playing this board game!
~New York Post~

Lets you imagine being Glee star Rachel Berry 
playing with her Glee club members. 
~Extra TV~

At the end of the day, I am still that 13 year-old obsessed with Broadway & camped out at the stage door. So, I'm not ashamed to say this board game looks great & could provide endless hours of embarrassing, indulgent awesomeness. Be A Broadway Star! was developed by BroadwaySpace.com & producer Ken Davenport [who holds a special place in my heart & theatrical upbringing]. It has been featured in the New York Times & as one of Kathie Lee & Hoda's "Favorite Things" on The Today Show. HERE are the rules of the game. It normally costs $39.99, but is currently on sale for $29.99 [click here to purchase]. 

P.S. My birthday is September 26. Just sayin. 

The Great American Trailer Park Musical @ Theatre Wit

This production was a breath of fresh air. It was a musical whose songs were new to me but were still memorable, catchy, & less campy than expected (very Bat Boy-esque). I didn’t realize The Great American Trailer Park Musical has had such a rich/international production history: it debuted in 2004 at New York Music Theatre Festival. In 2005, TGATPM premiered Off-Broadway Dodger Stages on September 27, 2005. In 2006, it made its’ regional debut at the Hippodrome State Theatre in Gainsville Florida. 2008 marked the 1st National Tour, with the same cast taking to show to the Edinburgh Fringe Festival. 2008 also marked TGATPM’s English premiere in Birmingham, England. In 2010, Arizona Onstage Productions in Tucson, AZ presented TGATTM  as the world’s first scratch-and-sniff musical (the audience was handed out cards to scratch & sniff at different points throughout the show). TGATPM also made its’ Australian debut in 2010 with a production at New Theatre in Newtown, Sydney. The fact that this musical has existed & continued to be performed means the piece is quality, somewhat timeless work. It was a very smart choice for Kokandy Production’s premiere production: it is a quality show that is relatively unknown but is still appealing to a wide range of people. Kokandy Productions is a new company started by by Scot Kokandy; he has previously co-produced Towle Theatre's GOOD BOYS AND TRUE & was one of the awesome People of Godspell who joined together in produced GODSPELL on Broadway (a movement ultimately incorporated by my buddy Ken Davenport). TGATPM marks the company’s first full production & it presented a wonderful first impression. Check out their blog & keep an eye out for their future productions; I predict this company brings some great work to the stage.

The production was performed impeccably with a keen eye on details. One detail that was very much appreciated: a good program. It is my firm belief that a production should take pride in the details & establish as much of a sense of continuity in the theatre space as possible. I have been to recent productions that didn’t even hand out a program (infuriating, in my book). This program was engaging & cleverly constructed (rules for living in a trailer park, faux ads, etc.); the program lacked cast bios, but it was a very nice touch otherwise. That acute attention to detail was equally apparent onstage: from the hair claws to the Cheetos, the artistic & production staff was clearly committed to wholly creating this world within the trailer park. The set was impressive; it was not only visually appealing, but also smart & vibrant utilization of a constricted space. There stationary set consisted of three trailers, one of which had a cut-out in the front so that actors could use the interior space to provide a sense of dimension.  It is especially imperative for this specific show to have a stellar set since the setting is a character in itself. Set designer Zachary Gipson created a community that was part cartoon campground, part honky-tonk hang-out, & entirely awesome. 

The Players

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty), 

Alex Grelle (Duke), Bri Schumacher (Pippi), Jonathan Hickerson (Norbert), Christina Hall (Jeannie) 

Jennifer Wisegarver (Donna), Ashley Braxton (Lin), Danni Smith (Betty) served as our Greek chorus; they gave exposition & insight on the characters & community while still playing isolated, independent roles. The singing capabilities of this cast were exceptional across the board & these women were steely belters who made 3 voices fill the space like a full ensemble. Their internal interactions were also notable: it was evident that these actresses have developed a strong performance connection and were [justifiably] confident onstage. As Norbert & Duke, Jonathan Hickerson & Alex Grelle provided nice punctuating moments in this female-heavy ensemble. Hickerson was an especially strong actor & carrying the bulk of the show’s conflict. The two stand-out performances were by Christina Hall as Jeannie (the agoraphobic wife trying to muster the strength to leave her trailer for her anniversary) & Bri Schumacher as Pippi (a dancer who’s the newest resident of Armadillo Acres & having an affair with Betty’s husband). Both of these women were impressive singers who performed their respective roles without turning them into cardboard, bland stereotypes. They nailed the jokes & an understanding of what made their characters fun & funny, but did not do the easy & obvious disservice to the production by relying too heavily on the humorous aspects of the show. This cast is a rarity considering there really were no weak links; but that sentiment could be applied to the entire production: no weak link & no complaints (except for the lack of cast bios, but I can let that slide). 

BUY TICKETS [or visit HotTix like me]
This was also my first Theatre Thursday experience, but more on that later... 

Thank You, Ken Davenport.

My musical theatre upbringing was substantially influenced by a man named Ken Davenport. I was in 6th grade when I first got the clever idea to write letters to the Human Resources Departments of Broadway theatres to tell them I loved their shows & ask them to send me a playbill. RAGTIME opened the next year & is/was my favorite musical, so I promptly wrote a letter to the Ford Center for Performing Arts. Ken Davenport sent me a playbill, a business card, & a post-it that said he was happy a 13-year from Delaware loves theatre & that one of their production managers was also from Delaware. His business card had his email address; it was an AOL address. This was in the age where AOL was bright, fresh, & shiny; instant messaging was revolutionary. Obviously, I added his AOL name to my Buddy List & IM’d him the first time his name showed up. We chatted online regularly. As a junior high girl who had recently transferred from one school to a starkly different one (picture Bring It On, but worse), his friendship helped to salvage that awkward period. I sent him my first attempts at theatre criticism & he took them seriously. He was kind, smart, and maybe/hopefully saw some of his younger self in me. I wrote a review of the national tour of Show Boat, which he showed to the actual producer of the tour; he encouraged me by not discrediting my opinions despite my age. I remember sending him a cassette tape of the musical Wuthering Heights, which at the time I thought was amazing but has since disappeared into the musical theatre abyss. [I still think that random musical rules, SO CHECK OUT Heathcliff’s Lament, I Belong to the Earth, One Rules My Heart, or If Only]. Eventually, Ken made it possible for my sister & me to see RAGTIME from a perfect pair of front-row seats (which is still, HANDS-DOWN, the best production I have ever experienced). When we picked up the tickets at the box office, I met Ken for the first & only time in person with my parents & sister. He was kind, my parents were appreciative, & we could not be more excited.

Our happy, scrappy snap-shots from that evening:

P.S. RAGTIME IS STILL THE BEST MUSICAL EVER:

NOW, LET'S FAST FORWARD

Ken Davenport currently serves as one of the most important producers on Broadway.

His success is astounding but not surprising.

He produced the current Broadway revival of Godspell,

as well as Chinglish, Oleanna, Speed the Plow,You're Welcome America, Blithe Spirit,

Altar Boyz, The Awesome 80s Prom & My First Time.

He writes an exceptional & insightful blog entitled The Producer’s Perspective,

which addresses the tangible/business-oriented aspects of theatre, gives insight to the inner-workings

of the Broadway world, provides industry classifieds, & offers ticket discounts / giveaway opportunities.

He appeared in a 2008 iPhone commercial,

after creating the highly-successful TKTS iPhone app.

He is the perfect example of the recipe for success as a producer (or anyone in the arts):

work hard, work well, & invest recognition/interest/effort in the future talent.

Thank You, Kenny D. I wouldn’t be blogging without you :)