SALT LAKE CITY – Theatre in America has reached one of those critical transitions that redefines how we approach art. Recent cuts by the NEA have led to numerous (and heated) discussions about whether or not we can cultivate a larger audience to support the body of theatre already in production.
Pioneer Theater Company is one of the most professional theater companies in our state. Granted we only have three to four (and many will argue five) Equity Houses in Utah, but still, the financial support towards a handful more of companies places additional productions next to what the standard Utah patron sees as professional level.
Pioneer, however, is definitely at the top. The quality of performance is often impeccable. Design elements are always strong and the audience is rarely left wanting more. Thankfully, they staff a live orchestra for their musicals (it’s so sad more companies don’t or cannot afford to do this nowadays). Sunset Boulevard, now playing at Pioneer, is certainly no exception to the reputation Pioneer has built.
This tremendously strong ensemble presents the story of Joe Gillis (played by Benjamin Eakeley), a screenwriter who has nearly given up on creating the kind of film that ought to be made and is settling for the scripts he knows will sell. He’s placed in a powerful conflict between the disappearing silent film genre to the epic talkies entering the movie houses: Norma Desmond (played by Lynne Wintersteller) embodying the tragically dying silent film era and Betty (played by Vanessa Reseland) inspiring our young Joe to write the next great film that will change the cinema.
The vocals were delightful, the set extraordinary, choreography suited the show, and the lighting literally brought the film to the stage. I’m not going to comment much on each of those elements because, while this was a musical and while most everything indeed was sung, the heart and weight of this show lies in the tragedy of one dying art and the hopeful yet callous adoption of the next. By this count, Wintersteller was divine in her portrayal of Ms. Desmond. And Mr. Eakeley was superb in his respect towards the meat of this script. However, what captivated me most about this show, was that battle ensuing on the stage and how it relates to both the national arts scene, Utah theater, and most specifically, Pioneer Theatre itself.
The evening opens with a welcome to the audience and an introduction to Pioneer’s next season of shows which I anticipate will be stellar. Upon hearing the titles, though, instantly my mind went back to a comment one frequent Pioneer theatergoer made one evening months ago, “They’re great shows and the quality is fantastic, but I really have no idea how they pick their season. None of the shows seem to have anything to do with the others.” Interestingly enough, during Pioneer’s introduction of their season the only phrase that tied the titles together was “there’s something for everyone.”
That phrase, while certainly appealing, is a high stakes decision for a theatre company. Most small companies attempt to take on that mission, yet they spread their audience too thin and are unable to gain a strong and devoted (and action-oriented) following. Pioneer, however, has been in this business a good deal longer than those small theater companies. Perhaps having “something for everyone” is a wise decision for such an established company. It may just be how things have always been done, or it may be a soft tactic towards cultivating a new audience.
If Sunset Boulevard exemplified the type of audience that Pioneer is attempting to grow, I would be worried. The show appeals strictly to an older generation accustomed to the grandiose musicals of the 1980’s, or the strict theater fanatic and industry member (which is a good crowd, but it’s not growing fast enough in Utah). Younger audiences will be bored by Sunset Boulevard. There’s not enough flash, nor speed to get you through that first act. The second act is significantly more approachable, but still I affirm that I doubt this show will build audiences. I certainly hope Pioneer proves me wrong.
They’ve been in this gig longer than I have. They just might do that.
Subscribers to theatre organizations around the country all have one thing in common… they trust the management of their organization to make choices that will entertain them and expose them to high quality performances regardless of the style of the selection. That trust is what builds organizations and endures through difficult times. That trust is what creates the personal bonds and ultimately delivers donations for long term development of all of these organizations. Pioneer Theatre, under Charles Morley, has consistently met that trust and created high quality productions for the people of Salt Lake City.
The reality of where new subscribers and theatre audiences will come from in the next ten years is somewhat fuzzy. If you look at the demographics of the country, a theatre organization would not be wrong in emphasizing its marketing power to capture the aging baby boomers. In the next decade more people will retire with more money, time on their hands, and longer life expectancies than ever. Don’t think that the only new theatregoers are young theatregoers. Certainly they are the ultimate future, but in today’s world the older generation is still the crowd with the money and time…and will be for several more years.
I’d also add that creating a SLC Performing Arts Center that serves the community as an educational institution like the Tampa Bay PAC may not be a bad thing. Judy Lisi and The Tampa PAC educate over 50,000 children annually with their many programs, all of course at a cost. However, to build a new theatre simply to attract the few and far between Broadway blockbusters would be ludicrous and fiscally irresponsible, given that arts funding is being cut across the country and faces many challenges in the next few years.
Finally, I’ve seen productions all over the country and Pioneer Theatre produces shows as well as any of them…case in point, Sunset Boulevard. No theatre in any city outside New York, including LA, gets all the touring shows in the first year or two. Building a new PAC will not guarantee first run touring productions. It’s a big country with over 190 theatre venues. Be grateful for Pioneer and the other fine Equity organizations in Utah.
Fantastic comment. Thank you Elle34 for taking the time to respond on our site. I agree that the reason Pioneer has been so successful over the past few years is because of the consistant quality of their productions. That’s not to say every show has been a homerun, but overall the performances at Pioneer certainly match those at many other professional houses across the country.
You bring up a fantastic point regarding new theatregoers not solely being defined by their age. There are so many different factors to think about as we try and anticipate who will be the next big supporters of theater.
And finally, your comments on the SLC PAC are well appreciated. Now that’s a conversation worth having.
I’d add that anyone stating that building a PAC could extend the stay of a Broadway touring show simply is neglecting to study the history of venues in other cities. Few cities anywhere have enough audience to support more than two weeks tops of a touring show, LA being the exception. Subscribers make up half of the houses and few cities have enough subscribers to fill half a 2500 seat theatre for two weeks or 16 performances, approximately the numbers needed for show guarantees.