The most common problem independent theatre production companies (ITPCs)face is making a sustainable level of proﬁt to maintain their activities. Evidenceof how a negative economy can harm funding and cut business for local theatreis conﬁrmed in a 2008 article in the Denver Post:“We won’t know the full impact of the economicmeltdown on area theaters for a year, but most will facereactionary declines in everythingf rom corporate andindividual donations to season subscriptions toprogram advertisements.”
This isn’t just a problem in Denver and it hasn’t gone away either. In past years,many theatre production companies in Seattle struggled to keep their doorsopen. Even larger, seemingly successful companies have seen better days, like theIntiman Theatre, which cancelled their 2011 season abruptly due tooverwhelming debt and a lack of new funding resources.
Last year, the NationalEndowment for the Arts chairman Rocco referred back to statistics discovered intheir 2008 Survey of Public Participation in the Arts when sparking a discussionabout supply and demand for live performance art:“(The SPPA) reports a ﬁve percentage point decrease inarts audiences in this country. This is juxtaposed againsta 23% increase in not-for-proﬁt arts organizations, and arate of growth for not-for-proﬁt performing artsorganizations, speciﬁcally, that was 60% greater thanthat for the total U.S. population.”
While the purpose of this case study is not geared towards solving this issue,which is too mountainous to address in this format, presenting the overallobstacle ITPCs face helps to justify the issue of not being able to pay the talentwho participate in productions. In interviews with two ITPCs, CurtainProductions in Denver and Copious Love Productions in Seattle, their majorconcerns were with managing quality of talent and maintaining workingrelationships with talented professionals.
“Talent Solutions for Independent Theatre Companies”Table of Contents
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