Interesting news. Artists Repertory Theater has just announced the creation of a
“resident acting company” of four actors who will appear in multiple shows next season, with a long-term goal of employing 8 resident actors.
ART has struck me as floundering a bit lately, choosing tame shows while their directors phone it in (meanwhile Third Rail Repertory, arguably the best company in town, turns out consistently great work with a 12-person company). I’d love to see things turn around over there, and this could be a step in the right direction—they’ve also got some exciting shows lined up for the 2008-2009 season, including Tracy Letts’ Artist’s Rep-commissioned adaptation of Chekov’s Three Sisters.
And the actors on board are top notch: Michael Mendelson, Todd Van Voris, Vana O’Brien, and Amaya Villazan. Not only will these actors be in a bunch of shows, but they’ll become in a sense the public face of Artist’s Rep. ART’s Deborah Elliott told me:
“We [currently] do post-show discussions, we do outreach to local schools, and what’s going to happen now is that these actors will be given first opportunity to lead or participate in all of the behind-the-scenes experiences. They aren’t going to be doing all of them, but certainly every actor will have an opportunity [to get to know the audiences].”
This is a move in the right direction, and it brought to mind this article by monologist Mike Daisey (who will be in town for TBA this fall), about the death of the regional theater system and what it means to local talent when theaters outsource:
When regional theaters need artists today, they outsource: They ship the actors, designers, and directors in from New York and slam them together to make the show. To use a sports analogy, theaters have gone from a local league with players you knew intimately to a different lineup for every game, made of players you’ll never see again, coached by a stranger, on a field you have no connection to.
The outsourcing conversation feels particularly relevant on the heels of the Drammys. Most of the awards given to Portland Center Stage went to people who were brought in from elsewhere, which kind of strikes me as complete bullshit. It’s no commentary on the quality of the work PCS was honored for—I sure can’t argue with the Outstanding Production nod to Twelfth Night, for example—but if you’re going to insist that these are “local” theater awards and not allow any touring productions or non-locally produced shows to compete, where’s the logic in then recognizing what is essentially touring talent, brought in from New York to work on a single project?
re: outside talent, I agree, mostly. But the 12th Night cast and design team were mostly from Ashland, and most of them had worked in Portland before. Jane Jones, the director, was from Seattle, and has worked in Portland before. And OSF is the only functioning regional repertory company left. I’d much rather see PCS use the Ashland stable of actors than bring in a bunch of New Yorkers.
You’re absolutely right when you call bullshit on PCS’ Drammy wins for their out-of-town hired guns. It’s not PCS’ fault, of course, but rather the Drammy committee’s failure to support the actual local theatre talent.
And to the previous comment: Ashland, while oh-so-close geographically, still isn’t Portland.
Did you happen to have a beer with any of these out of town “hired guns” during the weeks and months they spent in Portland? Did you have the opportunity to speak to any of them about their experience working with Portland theater artists? Or what they plan to say about working in Portland when they move on to their next gig?
I have, and I can tell you that that many were utterly surprised and delighted to be recognized for their hard work. Many of them have remarked at what a supportive and inclusive community this is, and shared with me how excited they are to participate in the high level of work taking place here.
It is hard, often thankless work, the theater. And honest aknowledgement of achievement (of any kind) is all too rare, no matter what home address you cite on your employment records.
And here’s the other thing to keep in mind: These “hired guns” (ie, itinerent working artists cobbling together a living in their chosen art form the best way they know how) take their experiences of working here and become ambassadors in the regional theater circuit, spreading the word that we are a town to watch.
They proudly reference their Drammy award in their bios at institutions across the country (right alongside their Helen Hayes awards).
And we want them to do that, especially if we are serious about Portland taking the leap onto the regional stage with a strong reputation as a town committed to creating work at the highest level.
Insularity, or a “no outsiders wanted here” mentality, is not going to get us there. Griping about the Drammies (which helped to score yet another mention for Portland in the New York Times, incidentally)is not going to get us there. An open and engaged dialogue between the artists making their home base here and artists working regionally and nationally CAN and WILL get us there.
Of course I’m not arguing for preference for out of town actors over the theater artists who’ve made that hard commitment to become resident theater artists in this town. I am a passionate supporter of the work that is fomented here in our own backyard. I think it stands up proudly to work created anywhere in the country. Our pool of resident actors is rich and deeply experienced in a way that living and working in the same town can really help to encourage. I am also honored to see so many new ensembles and companies moving here from all over the country and committing to putting down roots in our fertile soil.
And I didn’t agree with all the awards and omissions at this ceremony or at any Drammy ceremony I’ve ever been to.
As with any group of people, they have their tastes, their biases, their agendas. But I wouldn’t give up the opportunity for this community to come together and celebrate its hard work for anything. And I wouldn’t deny hard working theater artists the opportunity to be recognized for their achievements, no matter where they “hang their hat” when they are not performing on a Portland stage.
Portland Actors Conservatory has been doing the classes/residency/production thing for 20 or so years already. And now they’re an accredited. Cool program and operation.
If the Portland theater community should never be afraid of competing in the national talent pool. Sometimes it will cut the mustard, sometimes it won’t, and losing is often the best lesson and impetus to growth.