Although many do not recognize it, local theatre is the cornerstone of the dramatic arts. (By local theatre, I mean what people watch in their own towns.) While metropolitan centers like New York City exert influence, what really counts is the theatre that people see. A theatrical production is often unavailable either in print, film, or other media: it is experienced only by those who gather to see it; and, since most individuals stay close to home, close to home matters. While famous plays have impact, the effect is diffuse when compared to print-centered writing or to film. The effect of non-local theatre works only along the lines of a “trickle-down” influence, rather than the direct impact of other forms: people read a story, but read about a theatrical production.
Given the importance of local theatre, one would think that such performance would be thriving — unfortunately, it is not. This is especially true for local playwriting. Because local theatres have no obligation to present new, local work, they typically turn to renditions of familiar plays that audiences have seen before. While productions of such plays may be comfortable for audiences and for the theatre makers involved, they create minimal opportunities for local dramatists. Though most regions of the country — even far-out, rural places — have some local theatre, they do not often have local dramatic writing. Such a situation hurts local writers and theatre as a whole by inhibiting regional diversity in a form that, of necessity, must be regional. Continue reading “Local Theatre”