In recent times, theater has been treated like the ugly stepsister of cinema. With gigantic motion picture blockbusters coming out every couple of months, to the naked eye, it would appear as though theater were a dying art, but the truth is simply that the theater scene has broken down into a cache of small theater companies, and Philadelphia is home to many of them. Chances are, whether a theater company was established one-hundred years ago or two weeks ago, they began in much the same way. However, there are reasons why some theater companies have been around for over a century and why others will fizzle out within a year. Though is true that much of the success of such an endeavor can be attributed to luck, there is still a set of guidelines one must follow if he or she is to seriously pursue said endeavor.
First and foremost, the absolute most important question to answer is “Why start a theater company?” Perhaps the idea is born of a passion for acting or producing, like the owner of the Clubbed Thumbs Company, Meg MacCary. Perhaps the goal is to incite some sort of global impact, like Michael King, founder of the Nunya Theater Company or Susan Bernfield who started her company with the expression of feminist ideals in mind. Whatever the reason may be, one must figure it out. It helps to write a mission statement in order to keep the original goals in mind. If not solid, the goal may shift, and along with it the stability of the company. The foundation could crumble before the company is built.
The second question should be, “What sort of company would best suit this goal?” Professional? Community? Amateur? No matter which of these are in pursuit, the journey begins with this: creating a board of directors. “Your excruciating journey begins with your fellow artists” (Tobias). Who will be in charge, and of what? The board should be comprised of people with various talents. “This means including people like playwrights, technicians, designers. But this can also mean including people with other backgrounds and expertise. Law and business people are excellent! I repeat, excellent” (Tobias). The more skills a board of directors has to offer, the more fortified and well-rounded the company will be, and thus, run into fewer problems and/or be able to face said problems accordingly.
“We didn't have anything for years and then we started with an advisory board. They're great and we frequently call on them for favors and we do feel their support, but we don't meet with them often. But for example, Paula Vogel is on our advisory board and she's writing our fundraising letter. Really, the advisory board is made up of people we know, who respect us but aren't involved in the organization in a hands on way. But the executive board is much more hands on”(MacCary 1).
Seeing as how finances (both acquiring and managing) are crucial to a theater company, and just about any other company, someone who can handle budgeting and handle it well is a necessity.
The pioneers of the company then need to come together and ask themselves and each other, “What exactly is our vision?” There are scores and scores of people out there trying to do the exact same thing, so what will set one company apart from another? Perhaps a community has a lack of theatrical culture. In that case, originality would not be as large of a factor. “Begin a movement”, says Mike Tobias, author of the article “Starting A Theater Company”. If one decides he or she would like to plop a theater down smack dab in the middle of a city’s theatrical epicenter, then chances are that if it has nothing fresh and new to offer, it will not be very successful. That would be a scenario in which a company would like to focus on making a unique name for themselves. Obscure forms of a theater such as street performances, media collage (a collaboration of theater with other mediums, such as cinema), environmental theater (theater that takes place in an unusual setting) or even puppet theater might be motifs worth looking into to give a company a bit of the “wow factor”.
Once the directors of the company are basically clear about what they would like to accomplish, it becomes that much easier to find the type of space that would be ideal. Different venues are ideal for different types of work. For example, a black box theatre, which is very simplistic, austere, and is basically comprised of a small performance space and seating for the audience, would be ideal for a minimalist approach to theater, or even simply for a company that is low on funds. If the production as well as the company’s bank account calls for grandiosity, then perhaps a larger theater with an elegant atmosphere, a three or four section house and mezzanine seating would ideal. The theater space is as much a part of the performers as the actors, sets and performances themselves. Though the company may or may not have the funds to secure its ideal space at this stage in the game, it is still a good idea to know what is needed before engaging in pursuit.
If it turns out that the endeavor is bigger than just a few friends wanting to get together and produce great theater, one might want to look into getting the company registered with the local authorities especially if it turns out that the performances will turn a profit.
“In order to become a registered business and protect the name that you have chosen, you must register with your city. You may have to register as a D.B.A. ("Doing Business As"), effectively registering it as an alias for one or more individuals in the company…After filing your name, you must announce the creation of your business in a local paper” (Warren).
Even non-profit organizations (which most theaters and companies are) have some paperwork to file.
“Most theaters are 501(c)(3) nonprofit organizations. A nonprofit organization needs a document that will state that it is a legal entity! Thus, you have the Articles of Incorporation, an application that will certify that you have a board of directors, a principal office, and a beginning plan for your organization” (Tobias).
Requirements for registry vary from state to state. It is highly advisable that a lawyer help with the registry process, and oversee the adding of provisions to the legal documents. The provisions should include a statement the company will not illegal privilege itself with money and/or gifts and that there is a plan set aside in case the company is to cease and desist. The process will make the organization taxable, but it will also grant the organization the rights to open bank accounts, accept money for shows and advertisement sales, apply for 501(c)(3) status and accept donations. (Tobias).
Once the company is legally allowed to gather funds (other than those inside the members’ pockets, that is) then the next step should be deciding how to manage them. There is a score of ways to acquire funding, however, generally one way could be more ideal than the other depending on what type of organization is seeking aid. Donations and grants are far more readily available to non-profit organizations than a company that is using theater to make a living. If government aid is not right for a particular organization, it would be beneficial for them to look into perhaps charging dues from members, asking for loans or donations from friends and family members, taking out business loans, etc. Once the starting capital is raised, it will be easily spent on all sorts of expenses, ranging from equipment rental to rent for the theater space, to props and costumes, legal things. A company would benefit from hosting non-production activities, such as teaching classes or hosting other events. This way, the organization could bring in more money without having to spend very much, or any at all. It would also be an effective way to extend a hand to the community and get the theater company’s name on the lips of community members. (Warren). This very well could be the most important step of all because without theater-goers, what good is theater?
The researched assembled has been gathered with the goal of giving the reader a formula as to starting a successful theater company, and all the research comes from professionals who are successful because of these tips. However, how success is gauged cannot be determined by any factor listed above. It is gauged by how the people who have poured their blood, sweat and tears into a project feel at the end of the day. Whether a company racks in thousands of dollars a night or holds free performances for the local grade school does not matter. If they have no regrets and feel as though they have completed every task as correctly as possible, they have achieved status as a successful theater company.
Works Cited
"Starting a Theater Company... An Interview with Meg MacCary of Clubbed Thumb." Interview by Lisa. Culturebot.com. Culturebot.com, 15 Oct. 2004. Web. 1 Apr. 2010. <http://www.clubbedthumb.org/wp-content/uploads/2010/01/Starting-a-Theater-Company.pdf.>.
Tobias, Mike. "Starting a Theater Company." Squidoo : Welcome to Squidoo. Web. 04 Mar. 2010. <http://www.squidoo.com/startingignitetheatre>.
Warren, John. ""So You Want to Start a Theater Company?"" Theatre Bay Area. Nov. 1999. Web. 25 Mar. 2010. <http://www.theatrebayarea.org/programs/nomads_comp.jsp;jsessionid=16779171471738C8F62FF6134845E6E1?hi=1>.
King, Michael S. "Recovery and Starting My Own Theater Company." Editorial. BACKSTAGE: The Actor's Resource 18 Mar. 2010. Http://www.backstage.com. 18 Mar. 2010. Web. 2 Apr. 2010. <http://www.backstage.com/bso/news-and-features-editorials/recovery-and-starting-my-own-theater-company-1004076265.story>.
McGrath, Maggie. "Aluma Playwright Discusses Theater, Gender." Www.thedailypennsylvanian.com. 1 Apr. 2010. Web. 2 Apr. 2010. <http://www.dailypennsylvanian.com/article/alumna-actress-discusses-theater-gender>.
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