In this post, I have chosen not to name a particular show to which I allude because my thoughts pertain to a very brief moment in the production. While you may be able to identify it, I am not writing theatrical criticism and don’t want my response to perhaps 30 seconds of stage time to be misconstrued as applicable to the entire evening.

I am not often moved to anger at the theatre. I may be disappointed in a show, annoyed by a directorial concept, discomfited by a noisy patron or shallow legroom, but I don’t usually get so irate that I am mentally jolted out of the production at hand and need time to settle myself down. But it happened last week.

While the production had updated a classic musical with many assorted contemporary references, what had me seeing red were fleeting one-liners at the expense of three recent Republican presidential candidates, including Rick Santorum. Was I upset because I support that individual or his competitors? No. Haven’t I laughed at jokes about them in other circumstances? Yes. So why was I deeply incensed? I was upset by the context of the comments, namely in the midst of a family-friendly musical. I think they were probably insulting and upsetting to some in the audience. And I’d like those people to keep going to theatre, even if I don’t share their entire worldview.

I read a great deal online about various theatrical issues, audience development being one and political theatre being another, and I am personally supportive of both. I think political drama and comedy can indeed have an effect beyond theatre’s four walls. Whether it’s as explicitly political as David Hare’s Stuff Happens, as subtle (save for the title) as Richard Nelson’s That Hopey-Changey Thing, or as socially aware as Mike Daisey’s The Agony and The Ecstasy of Steve Jobs, I think the theatre is a great forum for political topics (funny how my three examples are all from New York’s Public Theater). As for audience development, I think every theatre professional must (if they are not already) be constantly thinking about the needs and interests of audiences both current and future, as our art form must gain support from both ticket buyers and donors alike, not just for today, but ad infinitum.

So why did a couple of jokes that would go unremarked if heard on The Daily Show or Saturday Night Live get me riled? Precisely because I wasn’t watching those shows and neither was anyone else in the audience. I was happily watching a show which had absolutely nothing to do with the current political or social situation in America when these random gag lines flew out from the stage, displaying utter contempt for anyone in the audience who might actually support those individuals.

This is hardly an isolated incident, as I’ve been at events where a speaker suddenly inserts this type of joke to get a laugh; I’ve seen it woven into the scripts of awards shows or deployed by recipients of those awards. Frankly, it gets me pissed off every time. I’m barraged by it on Twitter and Facebook from people I follow or friend because of their theatrical interests, rather than their politics, but there it is more akin to a comment between acquaintances, and I can always opt out of my online relationship if someone becomes overbearing.

But why do theatre people, who strive to sell tickets and build audiences, participate in these drive-by insults of some portion of their audiences? Surely they must realize that, especially when dealing with a few hundred or more people at once, not everyone follows the same political bent, no more than they should assume everyone is from the same culture or the same religion (unless they have explicitly targeted a narrowly defined audience). They’re not going to suddenly trigger an epiphany, and if the goal is to appeal to audiences, why show disdain for those who might think differently on some topics?

Theatre affords those who work in it the opportunity to weave stories that communicate emotions, ideas, concerns with artistry and skill. By tossing out topical political jokes shorn of context, we play at being witty or current but only succeed in reinforcing the stereotypes that some would throw at us: lefty, radical, socialist, elitist, godless – what have you. In those moments, we achieve nothing but a fleeting laugh and the affection of the like-minded — and perhaps the eternal enmity of some of those we otherwise claim to court.

If we believe that among the dramatic forms, theatre is the most immediate and complex; if we believe that theatre must remain vital while the electronic media continues to encroach upon our territory and our audiences – then we mustn’t sacrifice our greater interests for an easy guffaw. If we wish, we can (and should) create works which rail against the status quo or those who would seek to diminish some in our society, we can make bold (or careful) and emotional appeals on those topics which we believe to be important. But when we stoop to irrelevant one-liners we play the very game of distortion and insult that I hope we all deplore in the political arena itself, a game which is reportedly turning off the populace in droves. We are better than that and, if we’re creative enough about it, if we use the narrative and rhetorical skills that we have in abundance, perhaps we can in fact change a few minds – all the while insuring that our audiences remain willing to go to the theatre many more times.

The murmuring from Canada was startling, and grew louder. First Toronto Globe and Mail theatre critic J. Kelly Nestruck tweeted about the cognitive dissonance of the Canadian national anthem being sung prior to a performance of the musical American Idiot. Various tweets followed, regarding both surprise at the practice and the evident irony of hearing “O Canada” before viewing a show about disaffected and damaged U.S. youths.  Nestruck then fanned the flames by writing a sustained piece about anthem-singing as a practice, which prompted a variety of responses, including one from producer Aubrey Dan, who champions the idea. As a kneejerk reaction, I pretty much sided with Kelly (with whom I had a pleasant lunch last month, pre-uproar). But the whole thing kept nagging at me.

As someone who attends very few civic or governmental gatherings, my primary association with the national anthem these days is from sporting events, which are also infrequent for me, but not alien. I began to contemplate why it is only athletic competitions which sustain our national anthem for so many people, since there audiences gather for many other activities, the performing arts unquestionably among them. Do artists, as some might wish to suggest, disdain our national identity? Are we playing into a negative stereotype by not, when together, uniting to express our appreciation for a country founded on freedom of speech and expression, the very thing we practice?

I then began to answer my own questions – even responding with contrary questions of my own. Gee, we hate curtain speeches and cell phone warning announcements as it is – do we really want to get up and sing? The çlash between an anthem (even ours) and a show like American Idiot would surely be repeated often; can you imagine the irony of “The Star Spangled Banner” before, say, Enron, Book of Mormon, or even Albee’s The American Dream? Would the famously difficult-to-sing “Banner” really set the right tone even for the most all-American of musicals, Anything Goes or Guys and Dolls? Even if the anthem made sense artistically, perhaps before South Pacific or Of Thee I Sing, should it be used as a commentary on or accessory to art, rather than for its primary purpose, as an expression of national pride?

There is, at least for many of those of my generation and younger, some mixed feelings about the U.S. anthem, as well as for its counterpart, The Pledge of Allegiance. They feel like vestiges of our youth, as we know them primarily from school days, where we first learned them and recited or sang them often. From lack of use, they have become symbols of our childhood, unfortunately, rather than vehicles with ongoing, profound meaning. I have watched many an adult sheepishly remove their baseball cap or place their hand near their hearts, self-conscious about public displays of national affection. The children of irony, we are embarrassed by the earnestness these acts require. All of these factors contribute to the incongruousness of imagining the national anthem being sung before theatre – or dance, opera, music and other cultural endeavors.

And yet…

In the days following the 9/11 attacks, I have heard stories of audiences both in New York and around the country who were deeply moved as they joined together for the anthem or the less-freighted “God Bless America.” Though I did not experience this myself, I cannot help but imagine that it was cathartic for performers and audience alike to unite for these songs and recitations that everyone knew, taking comfort in them as surely as they might find solace in a familiar prayer. The question is: why was this only acceptable for a short time after a national tragedy?

In countless blogs and discussions, online and off, we talk about how to build, strengthen and unify arts audiences, how to enhance the experience of attending a live event. And while I do think that the national anthem before every show, or “God Bless America” at every curtain call, would prove awkward and often undermine the aesthetic or message of many shows, I do wonder whether joining together only in laughter or applause in theatres truly builds the sense of belonging and community that are buzzwords for artistic and management folks alike these days.  Maybe we need to find a theatrical equivalent of these patriotic touchstones, lest our only shared moments at the theatre come as we chat in restroom lines with strangers or in the mega-mix sing-alongs at shows like Mamma Mia!

I do think many musicals would be the easiest place for this to occur, albeit at the “classic musical” primarily. I have this affectionate vision of audiences standing to belt out “There’s No Business Like Show Business” together, essentially warming themselves up for the entertainment yet to come with their own overture. Plays are more problematic in my musing on this subject, not least because no common text springs to mind; yet, imagine if audiences rose to intone, “We few, we happy few, we band of brothers,” a uniting phrase if ever there was one. You might dismiss this as a pipe dream (and it mostly is one), but even the briefest moments of audience consensus through speech or song might could a valuable addition to the live entertainment experience. Perhaps immersive theatre or “audience participation” need not be the only way to break down the barriers between the audience and the stage, or within the audience itself.

After all, even American Idiot brought out its cast for one last tune at the curtain call, with lyrics that might well serve as an anthem for all theatre: “It’s something unpredictable, but in the end it’s right. I hope you had the time of your life.”

“How will you make theatre for a better tomorrow?,” I asked. “Send me 6-word wishes for theatre: play, company, field, artists.”

On New Year’s Eve and New Year’s Day, I inquired of my Twitter followers (and some in turn then asked their followers) about their “Six-word theatre dreams” in variants of the same question: “What are your ‘six-word wishes’ for theatre to come? Dream show; career hopes; changes in business – your call.” “In only six words, what are your desires, plans, visions for the future of theatre?” “Theatre 2012 & beyond: how will you make theatre for better tomorrow?” “From limits, theatrical creativity can emerge. So what are your six word theatre dreams for yourself, artists, companies, or audiences? Imagine!”

After a slow start, the answers came flooding in and, for me, they provided an optimistic, inventive, creative start to the new year. The six-word form, which is certainly limiting, yielded answers that were practical, whimsical, inspirational and at moments even poetic (take that, haiku!).While the participants represent the barest tip of the iceberg of those who make and love theatre, they nonetheless paint  a picture of theatre’s possibilities alongside the desires we all have for the discipline. These are the dreams, in ultra-concise form; how many of them will — and how will they — be realized, in this new year or in the years to come?

A few words about my process: every response I spotted, if on topic, is included here (my apologies if I missed yours); not wanting to start placing limits too early in the new year, I have included multiple responses from those who chose to craft them, so a few who were inspired by the challenge will appear more than once. With over 100 replies, I decided not to attempt to organize these thematically, or with a singular through-line; they appear in alphabetical order, which serves to highlight certain themes and words. Even those single words are evocative: I noted ‘more,’ ‘accessible,’ ‘collaboration,’ ‘new,’ ‘work,’ and ‘risk,’ to select but six (in keeping with the original assignment) among those that recurred.

Finally, on the name of every participant, I have added a live link to their Twitter page. If someone wrote something that resonates with you, take the time to reach out to that person, especially someone you’ve not encountered before; follow them, ‘@’ them and strike up more of yet another theme found here often: conversation. “Social media” is a buzz-friendly construction, but new connections with those who share your interests, and our obsessions, is the most marvelous result of this still-new medium. You are not throwing thoughts out into a massive stream of incoherence; you are curating your own community and finding kindred spirits, in this case those who also have your passion for theatre.

Today I am merely a conduit. Revel in the ideas and ideals of those who are your friends, even if you’ve yet to ever meet them onstage, backstage or in the audience. Here are their six-word dreams — and perhaps yours.

*   *   *

A complete social media theatrical experience. @SimsJames

A Sondheim show in the Sondheim. @Dfact1

A spanking brand-new Sondheim score. @BlueskyFox

A successful non-jukebox Australian musical. @humphriesmark

Accessible, inviting. Engaging the audience’s imagination. @Gedaly

Accessible to all in everyday places. @TheatreSmart

Actors acknowledging crazy workloads techies have? @EmilySchooley

Alchemy over boilerplate, communication over sales. @Travisbedard

Always paid for work I love. @niclabonde

Amen. We re-own the creator’s dream. @HiQuity

Artists work with communities for good. @LindaInPhoenix

Audience feels something real during play. @Wmbish

Audiences choosing theatre over a DVD. @pearliestpearl

Bigger, better, faster, more (and original) @Lacatchat

Book of Mormon tix? Cheap! Easy! @Glennsumi

Bright, bold work supported and seen. @Poorboy_theatre

Bring the funny to the world. @Reduced

Bringing the arts back home. @Walt828

Candy wrappers opened before show starts. @AijaGreen

Challenge assumptions; examine biases; dream untethered. @Halcyontony

Clear visions of challenging new concepts. @SonnetInspired

Collaboration is key to creative success. @Donnachronicles

Collaboration as inspiration to the world. @TheatreSmart

Connecting the four generations working today. @TheatreSmart

Core shakers like Next To Normal. @twayward

Deep engagement, careful listening, connective questioning. @Matthewreeder

Desires-strong / plans-invisible / visions-scary @YesVersusNo

Disney over? Take two weeks OFF! @FriendlyLoner

Emerging dreams; landing real; refining play. @Lisalotta

Everyone being nice to the ASM. @Stagemanager92

Everyone involved who wants to be. @Lacatchat

Excellent, Relevant, Purposeful, Joyful, Accessible, Unforgettable. @Ddower

Extraordinary season: great work/smart investments. @ahrmi

Fewer premium seats in center orchestra. @GratuitousV

Find balance of creativity and marketability. @gabef1ores

Finish my Masters. Get a job. @Catipish

Follies gets filmed before it closes. @K_delrossi

For true collaboration, joy, humanity, community. @Sallycadeh

Funding for our company’s first season. @Askewtheatre

Get into (and outside) new spaces. @Lacatchat

Help make theatre relevant for all. @Kevinhoule

Honest work, accessible, friendly, thought-provoking. @Petricat666

I want to explore the light. @ReeseSondheim

Innovative forms of performance get funding. @LindaInPhoenix

Inspiration at each and every turn. @Keithbennie

Let’s revive original production of Pippin. @BlueskyFox

Lighting designers invited to first meetings. @LindaInPhoenix

Make art on my own terms. @MariahMacCarthy

Many brave, unconventional, bold original works! @BroadwayGirlNYC

Mary Stuart reopens with 2009 cast. @Raisins_Liasons

Me to We, Scarcity to Abundance. @Ddower

Mindbending fully produced dubstep space musical. @Musicisfreenow

Moments that make the hearts beat loud. @Failurefarms

More about art, less about money. @Kre8ivMona

More accessible. More diverse. More original. @CatPop

More arts funding support from cities. @EmilySchooley

More butts in more seats please. @Michaelhharris

More innovation, more David Cromer. @Alexqsmith

More opportunities for talented Canadian artists! @THEATREtc

More poor kids in the audience. @Buttercupples

More sharing of resources, talent, information. @Jfdubiner

More shows choreographed by Steven Hoggett. @TwoShowDays

More than forty percent houses. @Ryanroks

More youth audience for OffOff Broadway. @theaterfanatics

More new play productions, mine included. @GwydionS

Near West Theatre venue gets funded. @MarkWSchumann

New Broadway shows which ask questions. @stephtastic17

New original musicals not closing quickly. @Mdrnhousewivery

New plays get produced and thrive. @Bflood28

New voices, new approaches, new audiences. @Moorejohn

Newsies performed live in my kitchen. @Thecraptacular

No cellphones, talking, singing. (in audience) @Glennsumi

No electronic distractions in the audience. @Backstagejobs

Passionate tenacity leads to success, right? @JessKiva

Pay actors more, community involvement, laughter. @NSBTtheatre

Peaceful, productive three-department musical collaboration. @Naturalreadhead

Performances challenge audiences to THINK. @EmilySchooley

Personal, intimate, breaking all our expectations. @JessHutchinson

Play Harper in Angels in America. @SophG6

Plays people like better than movies. @MichaelRock

Popular, funny, life-changing theatrical experiences! @TheatreSmart

Produce the plays of unknown playwrights. @scriberess

Pub theatre pub theatre pub theatre. @dwbcampbell

Rediscover joy, inspiration, passion and fun. @Beth_wolf

Revival of Rockabye Hamlet – on Broadway. @Minisquiggs

Risk-taking, artistic integrity and conversations @Gbenaharon

Risk-taking new work. Balanced budgets. @RebeccaEnde

Rooms I want to live in. @Msteketee quoting @pollykcarl

RTC transfers Sons of the Prophet. @Shutterbug93

Sands shift, revealing new creative opportunities. @LindainPhoenix

See Art, Create Art, Support Art. @DFooksman

See one new storefront company/month. @ThtrBob

Sell out our run @americanrep. @thelisps

Serve the audience. Think outside box. @DarrenEdward

Shows that take me somewhere else. @GratuitousV

Socio-political Freedom through artistic liberation. @Occupyantigone

Steady work, inspiring teammates, creative progress. @ObsrvatnlstNYC

Students getting jobs in theatre industry. @Fmcctheatre

Summerworks selects Ten Foot Pole Theatre. @Robsalerno

Sustainable funding sources, embracing new voices. @Edenlane

Take big risks. Tell great stories. @CodyDaigle

The Mark Hellinger restored to legitimacy. @Kevinddaly

The world changes into something new. @OLittleGreenPig

Theatre as vital to American culture. @Fmcctheatre

To bring artists and communities together. @Dloehr

To change someone’s life with storytelling. @Amyjalltheway

To see MY plays Off-Broadway. @JOWinNYC

To think outside the box office. @Amyjalltheway

To work under a production contract. @BrittneyMorello

Want to make art? Do it. @Reynaldi

Women cast regardless of body size. @EmilySchooley

Work on something that really matters. @Roxiezeek

Working with former students. @Dramagirl

Write something more than a grant application. @Lacatchat

*   *   *

My six words for 2012? “I’ll see you at the theatre.”

A year ago, I wrote about the inability of most audiences (and many theatre professionals) to distinguish between a play and its production, especially in the case of new works. A few weeks later, I used the two versions of the film True Grit as examples of how one might begin to understand this distinction, as they struck me as two significantly different versions of a text that was largely the same (and since theatrical revivals can rarely been viewed side by side). Now I can add another corollary to my original post.

Steven Spielberg’s film of War Horse opened over the long holiday weekend and, as I tweeted the moment it ended, it is as if some splendid family film from the early 1950s had been made and then disappeared, only to resurface last week in glorious Technicolor. I happened to see it at a theatre on 67^th Street and Broadway, only two blocks from where I had seen the National Theatre/Lincoln Center production of the play War Horse about nine months ago.

There are, of course, significant commonalities in the stage and screen versions (Spielberg acknowledges that his film is adapted from both the original novel and the National’s theatrical adaptation); the overall shape of the story, its emotional core and its reliance on almost Dickensian coincidence at key moments are intact. Even the pesky goose steals moments in both. The film has a few more episodes in the life of Joey, the equine protagonist, than I remember from the play, but that’s not a huge point of differentiation.

The enormous difference between the two is that the animals in the film are in fact animals, while on stage they are embodied by the exquisite puppetry design and movement by South Africa’s Handspring Puppet Company. Every moment that the horses are on stage at Lincoln Center, even as we are swept up in the story, we marvel at the craft and technique that has made it possible for us to witness this story live. In the film, to borrow an unfortunate phrase, a horse is a horse, of course, and we marvel instead at the scale and beauty of the film making, even as the same story carries us along.

Having seen much advance skepticism that the film could measure up to the theatre version, I went to the film somewhat grudgingly, ever the advocate for theatre. My doubts were erased within perhaps 20 minutes and I found the film – even with its scenes of battle and loss – a joy to behold, as I was transported back to my childhood and teen years, when a book like Misty of Chincoteague or a film like The Black Stallion could endear horses to me in a way that they don’t manage to do in real life.

The War Horses serve as a lesson not only in play or production, or two versions of a common text; they show the magic and the limitations of the forms of film and theatre, each of which demand different yet equally valid creative solutions. Although many films are made of plays (and, nowadays, vice versa), the War Horse film bears not a hint of stage origins; it has not simply been “opened up,” but rather imagined anew, since it draws on two literary predecessors, both Michael Morpurgo’s book and Nick Stafford’s adaptation.

While not normally given to writing anything approaching a review, I would encourage people to see both, in order to grasp this difference between these two art forms, film and theatre; I particularly hope that the two versions are used by junior highs and high schools to illustrate and impart this understanding to any students who display interest in either, or both forms. Which to see first? I can’t truly say, because I happened to see the play first, so that seems best to me, but one cannot unsee what has already been glimpsed. Both stand on their own four feet (or eight, if you count both puppet and puppeteer on stage).

A final thought: I have not read the original 1982 Morpurgo book, though I plan to soon, but understand that it is told entirely from the point of view of Joey the horse. One can (I think) anthropomorphize an animal most believably in text than on film or stage, and it is telling that neither version of the story attempts to do so. Were it still a common form, or a remotely commercial one, I suspect the truest adaptation of War Horse could be achieved via radio play, where Joey could indeed speak directly to us, since he would be neither flesh nor fabric, but entirely a product of our own imagination.

Tuesday, December 27 at 7:30 p.m. I’m adding this about seven hours after my original post because, thanks to a Twitter follower, Daniel Bourque, I learned that the BBC produced a one-hour radio version of War Horse in 2008, after the play had opened at the National but before it was seen in the United States or on film. It starred Brenda Blethyn, Bob Hoskins…and Timothy Spall as Joey, who narrated the story. I regret I couldn’t find the broadcast available online, but perhaps some enterprising reader will figure out how to share it with us all one day.

When you last saw Peter Marks and me, we were being thoughtful and playful on the stage of Arena’s Stage’s Kogod Cradle (you can watch here on New Play TV), as a result of the impromptu debates that sprang up between us over several months on Twitter. It was clear that there was an appetite for more conversation, and indeed some of our regular Twitter pals who attended the live event were frustrated that they couldn’t just interrupt us at will and, no doubt, might have preferred shorter answers. So Peter and I resolved to continue the conversation, but no longer by accident.  The following transcript is from the Twitter dialogue on December 7, our first since the November event at Arena. This conversation included more than two dozen active participants, as well as our invited “special guest” Robert Falls, artistic director of The Goodman Theater in Chicago, arelative newcomer to Twitter.

As before with these transcripts, they are reconstructed to the best of my ability, relying upon participants’ use of the #pmdhes hashtag for tracking. I have cleaned up some common Twitter abbreviations for ease of reading, but I was cautious about converting anything where I wasn’t absolutely sure about meaning; sticklers, as a result, will find some messages that exceed Twitter’s 140 character limit. Retweets of comments within the conversation have mostly been excised. Finally, the transcript is most expediently prepared in reverse chronological order, so you’re advised to jump to the end of this post and then scroll upward for proper continuity.

*   *   *

Chadbauman 3:42pm  Similarly, Rick Lester from @trgarts likes to say that prayer shouldn’t be a marketing strategy.

Danfrmbourque 3:41pm  @productionkat I know. They love to retweet you and send out press release stuff, but not much real interaction. Thus I follow few.

Chadbauman 3:40pm   A takeaway from the event was @petermarksdrama saying if your business model is based on good reviews, you’re in trouble.

Productionkat 3:38pm   @Danfrmbourque I have been suprized at how little theatre do tweet to promote or answer questions

Danfrmbourque 3:36pm  @Chadbauman curious as I’ve had theatres tweet at me days after I had mentioned them; a bit funny, like they are in a time warp!

Chadbauman 3:34pm  @Danfrmbourque We try our best to be continually staffed, but sometimes that is impossible.

Danfrmbourque 3:32pm  @Chadbauman Chad, how regularly is Arena twitter account “Staffed”? Some theatres seem to have accounts live a few hours at a time.

RSTStatusReport 3:32pm  @Dloehr And the Tony goes to ………”Bathroom Espionage Stories!”

Petermarksdrama 3:31pm  I love what @Klange has gleaned about reviews. And thanks to @Bankyhimself for the hashtag reminder! Can trample my lawn anytime.

Chadbauman 3:31pm  @HESherman @RobertFalls201 @petermarksdrama great discussion today guys. Glad I could participate. Thanks for pulling it together!

HESherman 3:31pm   @rosalind1600  #pmdhes is PeterMarksDrama & HESherman, since this all started as online debates between us.

HESherman 3:30pm   @rststatusreport You’re as young as you tweet!

Dloehr 3:30pm   @RSTStatusReport @HESherman The phrase “bathroom espionage stories” alone was worth the price of admission.

HESherman 3:29pm   @Chadbauman And in some cases, during.

Chadbauman 3:29pm  @HESherman Much easier these days. They’ll tell us on Twitter what they think minutes after a performance.

HESherman 3:28pm   @petermarksdrama And the ones who retweet fans messages from people who just want to be retweeted by a celeb.

RSTStatusReport 3:28pm  @HESherman I bet there are some good bathroom espionage stories. DO TELL.

Dloehr 3:28pm   @RobertFalls201 That #blatantpromotion was with a wink, yes?

HESherman 3:27pm   I’m going to sign off. Feel free to keep talking and use #pmdhes, as I’ll create a transcript of all messages with it from this afternoon.

RobertFalls201 3:27pm  @HESherman This has been great & int, this new world. Tx 4 questions, comments, confusion. Go see #RED @arenastage #blatantpromotion

Klange 3:27pm  @HESherman @RobertFalls201 @petermarksdrama Thanks to all of you!

RSTStatusReport 3:27pm  @Chadbauman The fact that I first read “SM” as Stage Manager and not Social Media might be a sign that I’m getting old.

Petermarksdrama 3:26pm  @HESherman I also dislike proselytizing celebs who hammer daily at the same political causes. Gotta turn down the volume

HESherman 3:26pm   @Chadbauman I remember when I had to send spies into the ladies restroom to listen to conversations to judge reactions. Old times.

SMLois 3:26pm   @HESherman @robertfalls201 @petermarksdrama thank you guys for engaging in the conversation.

Walt828 3:26pm   @asc_amy: @robertfalls201 Of course. Doesn’t alter the case: 55% of grant funding goes to top 2% of NPOs.

Dloehr 3:25pm   @HESherman @RobertFalls201 @petermarksdrama Let’s all do this again sometime. 😉

ASC_Amy 3:25pm   @HESherman Thanks for organizing it!

Edenlane 3:25pm   Usually my plan too… unless featuring an interview RT @HESherman: @smlois I discuss what I’m going 2 c, not my post-show opinion.

Jfdubiner 3:25pm  @Dloehr @ASC_Amy @LindaInPhoenix Me too – expansive opps for communicating dif ideas about same content to dif auds.

Productionkat 3:25pm   BRAVO! RT @ASC_Amy: @Walt828 @robertfalls201 We covered 96% of our expenses in October with earned income.

Chadbauman 3:25pm  @HESherman I can tell how a show is being received in part these days by SM responses in previews.

HESherman 3:25pm   I think we’re slowing down. B4 all fall away, thanks to all of you, and especially @RobertFalls201 for joining the fun.

ASC_Amy 3:25pm   @Walt828 @robertfalls201 But if there is one, there are very possibly more & it proves other models are possible.

Dloehr 3:25pm   @PirateQueenKate Indeed. I’m actually drafting a post about OccupyDowerApt.

Walt828 3:24pm   @asc_amy @robertfalls201 One outlier doesn’t undermine the argument.

Productionkat 3:24pm   I found it to b a great 1st connection then larger donation @Klange: @RobertFalls201 @productionkat @HESherman @GoodmanTheatre

PirateQueenKate 3:24pm  @Dloehr See my #WDW2011 epic story of Washer/Dryer installation. Danger. Drama. Heartbreak.

HESherman 3:24pm   @petermarksdrama Andy Borowitz, John Fugelsang and Albert Brooks are worth a follow.

Klange 3:23pm     @RobertFalls201 We are nothing if not trailblazers.

Dloehr 3:23pm   @Jfdubiner @ASC_Amy @LindaInPhoenix What really intrigues me is the idea of telling a story that spans all of those forms…

SMLois 3:23pm   @HESherman I try to mention most of what I attend before I see it, but if I love it I promote. I never publicly criticize.

HESherman 3:23pm   @Chadbauman Twitter is simply the tech amplification of word of mouth. A media for the masses (vs. mass media).

Walt828 3:23pm   True. Does it have to be 100%? RT @asc_amy @robertfalls201 I’m not going to repeat our earlier “discussion,” but that isn’t the case

Danfrmbourque 3:23pm  @SMLois @Klange If I see a show I usually mention it, every little bit helps. If I really hate something I’m not likely to though

Petermarksdrama 3:22pm  @HESherman To answer your question: I followed a lot of well known comedians etc. But a lot of them perform on here. Doesn’t do it for me

SMLois 3:22pm   @RobertFalls201 @Chadbauman I suppose it depends on the reviewer. From some a positive review is gold. Others just don’t matter.

ASC_Amy 3:22pm   @Walt828 @robertfalls201 We covered 96% of our expenses in October with earned income.

HESherman 3:22pm   @smlois I discuss what I’m going 2 c, not my post-show opinion. More interested in promoting theatre than critiquing it publicly.

Chadbauman 3:22pm  @RobertFalls201 @SMLois @Klange we’ve had shows get negative reviews and do quite well because of positive word of mouth.

Walt828 3:21pm   @robertfalls201 Seems like Baumol and Bowen gave a license.

ASC_Amy 3:21pm   @Walt828 @robertfalls201 I’m not going to repeat our earlier “discussion,” but that isn’t the case everywhere.

HESherman 3:21pm   @Klange There’s great similarity.

Walt828 3:20pm   @robertfalls201 Seems as if the nonprofit model is built on ever-increasing unearned income. Wasn’t always like that, says Ziegler.

Klange 3:20pm  @Chadbauman @SMLois right! Cuz, ideally, each aud member has a unique experience across a broad range of tastes. Like attracts like

Dloehr 3:20pm   @PirateQueenKate @LindaInPhoenix Different types of stories, to be sure, but a fun challenge nonetheless.

Dloehr 3:19pm   @PirateQueenKate @LindaInPhoenix It also allows for fun storytelling–I’ve done it with plays, I’m doing it with #celebbowling.

Klange 3:19pm  @SMLois oh, of course not. You act as a curator – not just a mindless booster.

HESherman 3:19pm   @lindainphoenix Yes! I can ramble on in my blog posts, and I do. Here it’s about focus and brevity. Headlines, essentially.

Jfdubiner 3:19pm  @ASC_Amy @LindaInPhoenix @Dloehr Interesting how forms is defining function as there are more forms – fb, tw, blog, tmblr etc.

Dloehr 3:19pm   @HESherman @robertfalls201 Ben has an account, and we joked about it in January. I’d love for him to join in.

JaysenElsky 3:19pm  @HESherman Well, I am a youngin, so it really is an exercise. But it came from a real conversation. and, I agree with your hope

Geohunka 3:19pm  @HESherman  But that’s true of any form of communication. Besides, similarly, you only hear what people want to tell you.

PirateQueenKate 3:18pm  @LindaInPhoenix @Dloehr brevity forces clarity. You can’t couch weak ideas in flowery language and obfuscate. short, sweet, simple.

Chadbauman 3:18pm  @SMLois @Klange Nothing replaces word of mouth. I’ll take positive word of mouth over neg reviews any day. Trick is to get both.

HESherman 3:18pm   @petermarksdrama Yet your corporate overlords would be so proud of you.

Klange 3:18pm  @HESherman @robertfalls201 Maybe that’s where #OWS got the idea for the “human microphone.” 😉

Productionkat 3:18pm   I look at everyone as potential funders too-

RobertFalls201 3:18pm  @Walt828 I hear you and understand. These are issues we’re all grappling with. Large or small, we all need funding.

Klange 3:17pm  @RobertFalls201 @productionkat @HESherman @GoodmanTheatre It’s mostly people we met here. Tighter #DCTheatre community sprung up

SMLois 3:17pm   @Klange but I’m not going to promote all 150+ shows I see each year.

Dloehr 3:17pm   @LindaInPhoenix Exactly. I’m just responding to the idea that these 140 char posts exist independent of any context.

LindaInPhoenix 3:16pm  Funny this hit my feed during convo on social media Answers to 31 Social Media Questions You’re Too Shy to Ask

ASC_Amy 3:16pm   @LindaInPhoenix @Dloehr Indeed, for more in-depth you can always spill into a blog post.

SMLois 3:16pm   @Klange agreed. When I love a show I’m thrilled to talk about it. And I’m picky, so my opinion has some weight locally.

HESherman 3:16pm   @robertfalls201 Maybe 600 followers, but message can be RT’d and amplified many times. You never know what captures attention.

LindaInPhoenix 3:15pm   @Dloehr Actually, I think the 140 character thing is

RobertFalls201 3:15pm  @HESherman Sure. Beats working.

HESherman 3:15pm   @geohunka Over time, its sort of remarkable, depending on how much you wish to say publicly.

Petermarksdrama 3:15pm  @HESherman I was shilling with a wink.

Petermarksdrama 3:14pm  @Walt828 I so agree. And you gotta listen to what people are saying.

HESherman 3:14pm   I’d promised @RobertFalls201 a 45 minute conversation. Please stay if you can Bob, but no one will think ill if u must bow out.

Klange 3:14pm  @SMLois @petermarksdrama @hesherman I think it’s incredibly important to support other work, too. Word of mouth for plays, etc.

Chadbauman 3:14pm  @RobertFalls201 We are putting much more effort into building our own communications infrastructure as well.

RobertFalls201 3:14pm  @Klange @productionkat @HESherman I find that so interesting. No funders that I’m aware of at any level following me @GoodmanTheatre

Walt828 3:14pm   @robertfalls201  A recent report shows a huge income gap between rich NPO’s and the rest: top 2% get 55% of grant income. Is this fair?

Dloehr 3:14pm   Enough with the 140 character thing. It’s the accumulation of conversation that reveals who we are, as with any other medium.

ASC_Amy 3:13pm   @geohunka You can reveal your point of view quite easily. Honesty in convo = transparency.

Playwrightsteve 3:13pm   @HESherman @Walt828 Control usually equals canned PR messages. But Twitter is best used as a dialogue. Much less control there.

Dloehr 3:13pm   @RobertFalls201 People can also follow you on Twitter lists without officially following you, so it may be more people than that.

NicolesNotes 3 :13pm  @Walt828 I agree. It’s quite likely that this is why so many companies remain ineffective. There should be format, but flexibility.

HESherman 3:13pm   @petermarksdrama Now you’re just shilling. Doesn’t become you.

Petermarksdrama 3:12pm  @ddower Critics are assumed to be this, that, other thing. But we’re really just like Soylent Green. Believe it or not, we’re PEOPLE.

HESherman 3:12pm   @Walt828 One can control their own message, but not the flow of communication.

Dloehr 3:12pm   @HESherman @petermarksdrama Beeber. (sic)

Klange 3:12pm  @productionkat @HESherman @robertfalls201 We reach a lot of small funders aka followers, but we’re tiny. Haven’t noticed big funders

ASC_Amy 3:12pm   @RobertFalls201 I think it has grown in the past hour.

Geohunka 3:12pm  How much can you meaningfully reveal in 140 chars? Camaraderie is not transparency

RobertFalls201 3:12pm  Not sure what 2 make of having a reg aud of 20K 2 communicate w as a dir but putting lots of energy into comm w/600. (or is it more)

Dloehr 3:12pm   @TheTicketMaven If it’s “usually promo 4 org,” I’d say it’s being done wrong. Without engagement, there’s little point in following.

HESherman 3:11pm   @petermarksdrama What celebs WERE you following? Do tell! Inquiring minds want to know!

SMLois 3:11pm   @petermarksdrama @hesherman I’ve also stopped following anyone who only pushes their own work and doesn’t converse.

Petermarksdrama 3:11pm  @HESherman Yup. Post remains smart, informative, sophisticated, utterly indispensable news source!

ASC_Amy 3:11pm   @TheTicketMaven Actually only about 30% of my time on Twitter is promo for my org.

Walt828 3:10pm   Seems to me that to participate in Twitter you have to be willing to reveal. If you want to control the message, it won’t work.

RobertFalls201 3:10pm  @petermarksdrama @HESherman @jenniferehle Depends on the celeb. I find it interesting to get to know them without PR protection shield.

HESherman 3:10pm   @danfrmbourque Yes, comments devoid of context can be tricky. Also sort of amazed by folks making off-color jokes here.

TheTicketMaven 3:10pm   So social media is two-fold…usually promo for org but growth for the employee participating.

Dloehr 3:10pm   @BankyHimself #tiggerbounce #snoopydancing

ASC_Amy 3:10pm   @RSTStatusReport @JaysenElsky @Dloehr Indeed. *digs in heels at Shakespeare theatre*

Dloehr 3:09pm   @JaysenElsky Probably not. There’s always room for verbosity, or for a Mametian scene of nothing but one to two words back & forth.

RSTStatusReport 3:09pm  @JaysenElsky @Dloehr Gosh, I hope not. I’d like to think there’s still a place in the world for flowery language.

HESherman 3:09pm   @jaysenelsky Seems like a formal exercise to me. But IMHO, fad, not future (I hope).

Petermarksdrama 3:09pm  @HESherman I’ve stopped following all celebs/famous actors (except @jenniferehle because she’s so charming) don’t learn anything

Danfrmbourque 3:08pm  Twitter can be intimidating because so little room for context, Always careful when replying to those I don’t know because of that

Ddower 3:08pm  @HESherman I’ve learned a lot from watching what you’re learning, @petermarksdrama. Bunches about what we assume critics know/feel.

Dloehr 3:08pm   @HESherman @morydd The real trick is focus. The     is well-focused because of time. The #2amt stream is more freeform & always on.

Productionkat 3:07pm   We have done twitter fundraisers! 🙂 RT @HESherman: @robertfalls201 Have you found any funders who are actually engaging on Twitter?

HESherman 3:07pm   @petermarksdrama U still have vast audience if using print. Unless u say something inflammatory online, @washingtonpost best soapbox

Petermarksdrama 3:07pm  @HESherman @robertfalls201 I’ve found it wildly useful for background, for trends, for shows+writers I didn’t know about

BankyHimself 3:07pm  As someone who’s hung with @Dloehr in person, I’ll attest to his real-life “bounciness.”

Dloehr 3:07pm   @ASC_Amy @morydd It’s easy to be overwhelmed by the stream. That’s why the #2amt site’s there, to distill or spark conversation.

JaysenElsky 3:07pm  @Dloehr On true intimacy in 140 characters. Funny. working on a one act with dialogue entirely in 1-2 words. The future?

RobertFalls201 3:06pm  @petermarksdrama Yes! (Point proven.)

HESherman 3:06pm   @morydd I’ve used the firehose analogy as well. And this sort of Twitter gang conversation can be even trickier.

BankyHimself 3:06pm  Do these great minds sit around all day and think about theatre? No, sometimes they’re on the couch watching Breaking Bad too.

MariselaTOrta 3:06pm  @JaysenElsky @HESherman @robertfalls201 Listening aka lurking is also 1st level of engagement. Participating will likely follow

Petermarksdrama 3:05pm  @SMLois I see.

BankyHimself 3:05pm  Getting 2 know the person-side @RobertFalls201 who’s work I’ve studied/d admired , has helped encourage me as a young artist.

HESherman 3:05pm   @robertfalls201 @petermarksdrama Yet Peter says he has new perceptions from Twitter. If participation adds value with critics…

Klange 3:05pm  @Dloehr @petermarksdrama I can attest to that.

Petermarksdrama 3:04pm  @RobertFalls201 I’ve been told by PR people who advise, don’t respond to a critic, cause they have last word! (Not true anymore!)

Michaeldove 3:04pm   @HESherman Opening up the process and sharing the experience is so key to Forum. Can’t think of it any other way-just feels natural

ASC_Amy 3:04pm   @morydd I sometimes have to take 15 minute “twitter breaks” from my regular work, with timer and everything.

SMLois 3:04pm   @petermarksdrama don’t want any revelations of behind the scenes activity or anything implying I’d work on days off

Dloehr 3:04pm   @petermarksdrama But in person, I’m very much the same as here–bouncy, usually ready with a joke, ready to engage.

HESherman 3:04pm   @asc_amy Focus groups can be misleading in many cases, but absolutely, the self-selection of SM holds perils

JaysenElsky 3:04pm  @HESherman @robertfalls201 I think people lurk because they are afraid they have nothing to add

Morydd 3:03pm  @HESherman I also find following the #2amt much like drinking from a firehose. Hard to stay on top of convo and get other work done.

Dloehr 3:03pm   @mlaffs Man’s a good hugger, what can I say?

HESherman 3:03pm   @robertfalls201 I RT’d stories re MOTHER WITH THE HAT in Hartford, but didn’t offer personal comment due to possible perception of conflict of interest

ASC_Amy 3:03pm   @LindaInPhoenix @HESherman *zing*

Dloehr 3:03pm   @petermarksdrama …explain why I’d be vanishing for a few days in October.

Mlaffs 3:02pm   @Dloehr that bromance with @travisbedard is legen- *and i hope you’re not lactose intolerant* -dairy

LindaInPhoenix 3:02pm   @HESherman Maybe when I teach arts management next year…

Dloehr 3:02pm   @petermarksdrama …there’s a lot I don’t share. I kept very quiet about my mother this fall, for instance, only blogging to…

RobertFalls201 3:02pm  @petermarksdrama @HESherman @HESherman MORE?? No. I have enough critics in my life!

Petermarksdrama 3:02pm  @SMLois @HESherman @michaeldove Lois, what is the distinction? Why some ask you to stop?

Dloehr 3:02pm   @petermarksdrama Indeed. And I’ll admit, there are certain aspects I highlight, others I downplay. As open & silly as I am here…

Petermarksdrama 3:01pm  @seanjbryan @HESherman Amazing statistic

HESherman 3:01pm   @lindainphoenix Gee, you didn’t call me! (harumph, unfollow button)  😉

ASC_Amy 3:01pm   @HESherman You have a very self-selected focus group on social media, have to be careful of drawing conclusions.

Petermarksdrama 3:01pm  @Dloehr It’s extraordinary how much you DO get the essence of the person on twitter. Also, we all start w/common habit

ASC_Amy 3:00pm   @TheTicketMaven Yes, only about 5% of my interaction is with our patrons.

RobertFalls201 3:00pm  @morydd @HESherman V true. I follow discussions re: MOTHER WITH THE HAT, tweeting in theaters, etc etc, but have nothing to say to jump in

RSTStatusReport 3:00pm  @playwrightsteve Exactly. Also good way to make connections. I’ve met several playwrights through Twitter conversations.

Seanjbryan 3:00pm   @HESherman @petermarksdrama 98% of the people I know in the US I met through an online platform of some kind

HESherman 3:00pm   @RobertFalls201 Are there things you would like to learn from people via social media, as opposed to audience surveys?

TheTicketMaven 3:00pm   Many want the convo to be with the patron and that isn’t always the case.

Petermarksdrama 3:00pm  @HESherman @RobertFalls201 Bob, do you have a desire for more contact with critics??? Or is that secondary?

Mlaffs 2:59pm   @HESherman @ASC_Amy some folks are unable to think big and grasp implications of the nebulous internet

LindaInPhoenix 2:59pm   (it helped that social media was a topic)

Mlaffs 2:59pm   @HESherman @ASC_Amy @LindaInPhoenix i think case studies/ROI helps focus the convo to concrete benefit to org.

LindaInPhoenix 2:59pm   Half our speakers series this year was built on connections made initially via twitter

Michaeldove 2:59pm   @MariselaTOrta @hesherman And did you get any pushback on that?

HESherman 2:58pm   @morydd Didn’t mean to suggest all lurkers are reticent. You point is well taken. See, danger of very brief statements!

ASC_Amy 2:58pm   @playwrightsteve the @pewresearch folks have found the same thing in their studies.

Mlaffs 2:58pm   @HESherman @ASC_Amy good points, but convincing technophobes brings up the question of Return on Investment. I use case studies & consumer data

Petermarksdrama 2:58pm  @Dloehr @Klange @ASC_Amy I don’t pretend that we’re 1 big happy fam. But hearing voices as passionate about theatre as mine helps in job

Dloehr 2:58pm   @ASC_Amy @petermarksdrama Like with us, for example. 🙂

Playwrightsteve 2:58pm   Doesn’t decrease human interaction. Social media helps me keep contact w/ people with whom I otherwise would have NO contact

PirateQueenKate 2:58pm  @playwrightsteve & @ASC_Amy JINX!!! cc: @petermarksdrama @Dloehr

Dloehr 2:58pm   @petermarksdrama But meeting in person? All the awkward getting-to-know-you-ness drops away. Never ceases to amaze me.

HESherman 2:58pm   I have made more new real-world friends via social media of late than through just “meeting” people. Just had lunch with @nestruck.

GwydionS 2:58pm   @asc_amy @Dloehr I would never have met either of you without Twitter.

Ddower 2:57pm  MT @HESherman Yes. Our communication department @arenastage created it. But atop that you also have the Institute, with different rules of engagement.

SMLois 2:57pm   @HESherman @michaeldove I’ve had companies ask me to stop tweeting about our work while others pay me extra to run their account

MariselaTOrta 2:57pm  @HESherman @michaeldove “no social media” in artist contract–I blog my writing process. That wldn’t work for me

Dloehr 2:57pm   @petermarksdrama Amen. I’ve never seen it as a replacement for human interaction, which is the other criticism I’ve heard.

ASC_Amy 2:57pm   @HESherman @mlaffs an interesting blog re: the ROI of Social Media

PirateQueenKate 2:57pm  @Dloehr @Klange @ASC_Amy @petermarksdrama Lunch = Oyamel #NOMS

Playwrightsteve 2:57pm   @ASC_Amy Okay. So, we shared a brain just then.

Ddower 2:57pm  Interesting discussion at #pmdhes re: critics, artists, and Twitter. Join in now, or read and respond later.

Playwrightsteve 2:56pm   @petermarksdrama @Dloehr And Twitter leads to opportunities for 1-on-1 face time that would not have occurred otherwise

ASC_Amy 2:56pm   @petermarksdrama @Dloehr Twitter has actually increased my one-to-one face time with folks I wouldn’t otherwise have met.

HESherman 2:56pm   @mlaffs Is ROI the be all and end all? Isn’t a great deal of the benefit qualitative, not quantitative?

Morydd 2:56pm  @HESherman Not all lurkers are afraid of the interaction. I don’t join into every conversation I listen to in real life either.

Petermarksdrama 2:56pm  @Dloehr agreed–it’s not perfect, and not really a sub for one-to-one face time. But ppl who poopoo it usually don’t try to do it

HESherman 2:55pm   @Chadbauman Have @arenastage social media policies had to evolve as mass acceptance of form has grown so rapidly?

Jfdubiner 2:55pm  @HESherman That’s a hard pill for an old #dramaturg to swallow…

Dloehr 2:55pm   @petermarksdrama @Klange @ASC_Amy My wife was dubious until she saw how much fun I was having with @travisbedard & his ilk.

Michaeldove 2:55pm   @HESherman No mentioning of the show, that is, good or bad.

SMLois 2:55pm   @Dloehr @petermarksdrama which is why it has to be a conversation.

RobertFalls201 2:55pm  Yes. I think there is a danger of too much Twitter. Distracts f/the silence I need as an artist vs. noise I require as a producer

HESherman 2:54pm   @michaeldove ‘No social media’ in artist contracts sounds like a 1st amendment violation to me. Likely unenforceable.

Dloehr 2:54pm   @Klange @ASC_Amy @petermarksdrama What’d y’all have for lunch? (ducks from the brickbats)

Chadbauman 2:54pm  @HESherman @ddower Arena adopted social media guidelines in 2009.

Mlaffs 2:54pm   @Dloehr @petermarksdrama also arts orgs are overworked – they see it as *another* time-suck/commitment/resource-stretcher

Klange 2:54pm  @petermarksdrama @ASC_Amy Lol. It does take time, but the convo here has definitely led to increased collaboration in #dcTheatre

Petermarksdrama 2:54pm  @RobertFalls201 It’s easier transaction with you Bob because I admire your work. But as you said in an early tweet, you’re a “big boy” – I think so am I

Playwrightsteve 2:54pm   @Dloehr @petermarksdrama What is the character threshold on “true intimacy” anyway?

Dloehr 2:54pm   @petermarksdrama And my answer is, it’s not possible in a single face-to-face sentence, either.

HESherman 2:53pm   I remain amazed I’m so fluent on twitter. As I often joke, in person I have trouble says ‘hello’ in 140 characters.

Dloehr 2:53pm   @petermarksdrama I’ve gotten the “true intimacy isn’t possible in 140 chars” line before from people who don’t like twitter.

Mlaffs 2:53pm   @ASC_Amy @SMLois @petermarksdrama i’ve made a point of speaking 2 ROI & strategy to help people understand how it can be a benefit

ASC_Amy 2:53pm   @michaeldove I posted them on my blog (pls ignore the time lapse since my last post)

HESherman 2:53pm   @Jfdubiner Accepting that bad grammar & punctuation is OK, boiling thoughts down to briefest essence is new way to think

LindaInPhoenix 2:53pm   thought it would be a great way to interact w/ students, but only a handful follow.

Danfrmbourque 2:52pm  Twitter really breaks down walls between artists and critics. Casual, deceptively simple it encourages small talk and then bigger

Petermarksdrama 2:52pm  @Klange @ASC_Amy My wife says “You’re twittering your life away.” Makes me feel guilty!

SMLois 2:52pm   @petermarksdrama @asc_amy and the meaty discussion tends to come from the same small percentage of users

Dloehr 2:52pm   @petermarksdrama I think people are afraid also because they don’t realize how much like regular conversation it is.

HESherman 2:52pm   @ddower Is there a social media policy in place @arenastage regarding content? Who created it?

Jfdubiner 2:52pm  @RSTStatusReport @petermarksdrama Is that still true? Or is it hard to bend old ideas of community engagement to new definition of comm?

Ddower 2:52pm  One of fastest changes underway in this sector is the move from controlled messaging/access to transparency. Twitter works there.

Petermarksdrama 2:52pm  @RSTStatusReport I think that’s very true

RobertFalls201 2:52pm  @petermarksdrama Interesting. Some critics want NO contact with people they’re reviewing; does having this contact compromise or assist?

HESherman 2:51pm   @theticketmaven But that’s fine. You’re interested. Maybe you’ll join in, if not today, another time.

Michaeldove  2:51pm   @ASC_Amy @ddower @robertfalls201 @hesherman @shakespearectr What kind of guidelines, if you can share?

Klange 2:51pm  @ASC_Amy @petermarksdrama Many view it as trifling chats on reality TV/sports/whatever. I know it to be a place for real connection

Petermarksdrama 2:51pm  @ASC_Amy @SMLois It is a time-suck, no doubt. + I find the meaty discussion crowds out the promotion, so u have to wanna TALK

Dloehr 2:51pm   @Jfdubiner @petermarksdrama It’s almost like a haiku.

HESherman 2:51pm   @robertfalls201 Absolutely people lurk, but term is pejorative. Many not bold enough to engage with strong personalities at times.

TheTicketMaven 2:50pm   @RobertFalls201 I’m lurking right now

ASC_Amy 2:50pm   @ddower @RobertFalls201 @HESherman Indeed. It took official social media guidelines to get everyone at @shakespearectr comfortable.

RSTStatusReport 2:50pm  @petermarksdrama Maybe some folks feel more comfortable in a bubble? Engagement with larger community could shatter preconceptions.

HESherman 2:50pm   @robertfalls201 I refer to social media as the earliest days of radio or TV. Still so new. Constantly evolving.

Ddower 2:50pm  @RobertFalls201 @HESherman And it takes courage for an institution to allow the individual voice. So staffers, like me, walk a line.

Jfdubiner 2:49pm  @petermarksdrama As someone new to twittering, the form itself is hard. Like being a transfer student in a foreign language.

Dloehr 2:49pm   @petermarksdrama This is after taking me to the airport, asking, “Why are you going to DC? Arena Stage invited you to what? Why?”

HESherman 2:49pm   @petermarksdrama Yet its a subset of theatre folks who a) are on social media and b) who you choose to “hear.” Not general public.

Dloehr 2:49pm   @petermarksdrama Took two years and the wave of 2amt to get my AD on here, since he realized he should see what I was doing.

RobertFalls201 2:49pm  @petermarksdrama I have more than 600 followers BUT only interact w/5%. Think most people are “lurkers” and afraid 2 participate.

SMLois 2:48pm   @petermarksdrama many companies I work with see twitter as waste of time with no clear Return on Investment

ASC_Amy 2:48pm   @petermarksdrama Everyone I talk to fear the possible time suck, don’t understand the possibilities.

Petermarksdrama 2:48pm  @RobertFalls201 Your passion comes thru. Our engagement is esp interesting, Bob, ’cause I’m going 2 see your work in DC soon.

Edenlane 2:48pm   @HESherman Funders / Underwriters are asking about all of our social media presence to measure the reach of their support

RobertFalls201 2:48pm  @HESherman It all feels a bit like the Wild West. Uncharted.

HESherman 2:48pm   @brookem1109 Brooke, Brooke, Brooke. Priorities, young lady, priorities. But I guess getting @petermarksdrama good seat is vital.

Petermarksdrama 2:47pm  My question is, what limits Twitter in many theatre people’s minds? Why aren’t they flooding the platform?

Klange 2:47pm  @petermarksdrama @ASC_Amy @PirateQueenKate Thank you! I can only strive to get better & take what I can from each piece of feedback

HESherman 2:47pm   @lindainphoenix So many people assume retweets or “curated” content is something you agree with; don’t get it may b just for convo

ASC_Amy 2:47pm   @HESherman I’ve seen funders in other nonprofit areas mostly. Although a couple arts funders out of Chicago.

RobertFalls201 2:46pm  In my profile, I say I’m intensely political & have no fear of exposing opinions. Want to opine re: arts, politics, pop culture…

HESherman 2:46pm   @robertfalls201 Have you found any funders who are actually engaging on Twitter? Maybe that’s the next piece of the puzzle.

Petermarksdrama 2:46pm  @Klange @ASC_Amy @PirateQueenKate Karen, Your responses to the post review on here were smart, not emotional.

ASC_Amy 2:46pm   @HESherman @moorejohn I first really engaged with Twitter during my two months of unemployment. Huge to have a community.

BrookeM1109 2:45pm  Want to follow convo but must finish press night seating #Tessitorture #Procrastination

Dloehr 2:45pm   @RobertFalls201 @HESherman In the past, I’ve compared it to a global MST3K experience and/or a virtual Algonquin Round Table.

HESherman 2:45pm   @moorejohn As someone who’s consulting and doesn’t have regular daily gig, Twitter keeps me engaged with theatre community

PirateQueenKate 2:45pm  @ASC_Amy @petermarksdrama Yes, the theater wasn’t willing to admit shows were weak, easier to ban reviews from green room.

Petermarksdrama 2:44pm  @Jfdubiner @moorejohn for me, absolutely. I have far more context about what audiences and theater folks are interested in

Dloehr 2:44pm   @HESherman Indeed. Hopefully we can act as a gateway for them. (I’ll happily recreate Bob & Ray routines at the drop of a hat.)

HESherman 2:44pm   @robertfalls201 At the same time, I feel like I’m playing to an audience at times, with hashtag games and blog promos

ASC_Amy 2:44pm   @Klange Indeed. Have faith in your vision and acknowledge there are different tastes/perspectives.

RobertFalls201 2:43pm  @HESherman I agree & have come 2 learn that. Always a line 2 walk b/c institution = critics, funders, auds.

Rosalind1600 2:43pm  @Jfdubiner @HESherman @petermarksdrama But agree with Peter Marks on no politics. Plenty of other venues for that — like work.

HESherman 2:43pm   @robertfalls201 To me, it’s like having a whole bunch of pen pals all at once, with instantaneous response

Klange 2:43pm  @ASC_Amy @petermarksdrama @PirateQueenKate Or see one bad review as a referendum on your project/worth. One has to get past that

Rosalind1600 2:43pm  @Jfdubiner @HESherman @petermarksdrama I don’t mind talking only about theater. But other arts/culture interesting to discuss too.

LindaInPhoenix 2:43pm   @ASC_Amy @petermarksdrama I’m in a similar boat re political comments, but am comfortable posting political content w/o comment

HESherman 2:42pm   @Dloehr Yet we talk about Tom Lehrer and Bob & Ray, and probably lots of our followers have no frame of reference

HESherman 2:42pm   @petermarksdrama Save for weighing in on current #GOPmuppethearings, I am apolitical on social media, except for arts policy

Jfdubiner 2:42pm  @moorejohn @petermarksdrama Has getting to know audience/artists changed the way you write about the work?

ASC_Amy 2:42pm   @petermarksdrama @PirateQueenKate I see it happen when folks don’t take control of their own destinies and blame others for failures

Moorejohn 2:42pm  @HESherman Honestly it’s so raw, I haven’t wrapped my head around that it’s over. I took the buyout and had to be gone in 24 hours

SMLois 2:41pm   @petermarksdrama @hesherman @robertfalls201don I know some critics who feel it is a conflict of interests to get to know artists.

RobertFalls201 2:41pm  @HESherman @petermarksdrama One does form common community w Twitter…find people around you with shared interests include info AND entertainment value

Petermarksdrama 2:40pm  @PirateQueenKate Fascinating to hear theaters “demonize” critics. What the heck is that about?

Edenlane 2:40pm   @moorejohn True for our broadcast too… & the back channel can drive our content at times

Moorejohn 2:40pm  @HESherman I was seen as just a guy, not some cliched monster. People felt comfortable approaching me in theaters, and I welcomed it

ASC_Amy 2:40pm   @petermarksdrama I’m the same way. I’ll comment about a lot, but not politics or religion.

HESherman 2:39pm   @moorejohn So what’s your feeling about continuing now that you’re leaving the paper? Do you still want this presence?

Jfdubiner 2:39pm  @HESherman @petermarksdrama I want to hear about other interests/concerns/opinions. Talking only about theater gets boring.

Petermarksdrama 2:39pm  @HESherman @RobertFalls201don’t feel comfortable, e.g., commenting on political issues the way theatre people do on here. Journalist in me

Dloehr 2:39pm   @HESherman @petermarksdrama @RobertFalls201 …such as a common love of Tom Lehrer or Bob & Ray, for instance.

Michaeldove 2:39pm   RT @SMLois:     I think candid but careful might be the twitter motto for working professionals

RobertFalls201 2:39pm  @petermarksdrama Correct. Tricky to be both leader of an institution and individual artist. But that’s always an issue for me.

HESherman 2:38pm   @smlois Sort of the artistic Twitter version of “Trust, but verify”? 😉

Dloehr 2:38pm   @HESherman @petermarksdrama @RobertFalls201 What’s fascinating to me is finding those common interests beyond theatre…

Moorejohn 2:38pm  @HESherman Plus, social media connected me with new readers who didn’t buy my paper and never would’ve found me. Total game-changer

RobertFalls201 2:38pm  @HESherman @TheWing I too was urged by PR/Devo 2 blog about #RED. Found interesting to some but don’t want to just promote, want more

PirateQueenKate 2:38pm  Before Twitter, theaters could “demonize” a critic because the review was their only voice, now it can be contextualized more & discussed

HESherman 2:38pm   @petermarksdrama That’s an interesting point. We may start here given common interest in theatre, but how far beyond should we go?

Edenlane 2:37pm   GR8 rule of thumb RT @SMLois: I think candid but careful might be the twitter motto for working professionals

HESherman 2:36pm   @moorejohn How did social media change your image John? (and please hashtag all messages     to be sure they’re seen)

Petermarksdrama 2:36pm  @RobertFalls201 To me, Bob, it seems to have allowed you to open up on a variety of topics, not just theater…

SMLois 2:36pm    I think candid but careful might be the twitter motto for working professional

Klange 2:36pm  @PirateQueenKate @petermarksdrama Agreed. I’m no longer terrified of critics. I’ll take my lumps, but love the conversation

HESherman 2:36pm   RT @moorejohn: I was pretty much a presumed stereotype till people got to know me on social media.

HESherman 2:35pm   I first got involved in Tweeting and blogging at insistent urging of @TheWing’s Dir. of Web Development

Dloehr 2:35pm   @GwydionS Is it supposed to be different?

HESherman 2:35pm   @robertfalls201 Are you on Twitter at staff’s urging, personal interest, or what motivated you?

PirateQueenKate 2:34pm  I feel that @petermarksdrama is more accessible & now more someone I’d like to meet in person thanks to his tweets, not so before

Edenlane 2:33pm   great connection tool

RobertFalls201 2:33pm  Yes, got in trouble 1st wk (Should’ve used DM; in supporting colleagues, alienated others) Have had to learn 2 B candid but careful

HESherman 2:33pm   @petermarksdrama Same question does for you – are you engaging with people you didn’t know or didn’t expect (besides me)?

HESherman 2:32pm   @robertfalls201 So are you meeting new folks or connection with people you already knew professionally?

MariselaTOrta 2:32pm  @RobertFalls201 Who then do you find yourself talking to?

GwydionS 2:31pm   The fifth question: why is this Twitter chat different than all other Twitter chats? (Had to ask.)

Klange 2:31pm  @HESherman @RobertFalls201 @petermarksdrama I’m following!

RobertFalls201 2:30pm  I don’t think so. Originally thought I’d be talking with subs and @GoodmanTheatre #followers, but turns out that’s not the case…

HESherman 2:30pm   B4, people had to write or e-mail you, or maybe spot you in lobby, @petermarksdrama & @RobertFalls201. Now you’re avail nationally

Dloehr 2:30pm   @michaeldove @SMLois @hesherman @petermarksdrama @robertfalls201 Having survived #celebbowling for another day, I’m here.

Michaeldove 2:29pm   @SMLois @hesherman @petermarksdrama @robertfalls201 HERE, as well~

HESherman 2:29pm   @mariselatorta Wherever the conversation takes us. Starting with AD’s and critics being more accessible to audience, public.

RobertFalls201 2:28pm  I’m here. Bells on. Ready to make history.

SMLois 2:28pm   @HESherman @petermarksdrama @robertfalls201 following along here

HESherman 2:28pm   I’ll toss this out for both @petermarkdrama & @RobertFalls201: has using social media made you more accessible to general audience?

MariselaTOrta 2:27pm  @HESherman What’s the topic you three will be discussing?

Petermarksdrama 2:27pm  @HESherman @RobertFalls201 (raises hand) Present!

HESherman 2:26pm   @petermarksdrama @RobertFalls201 Anyone home? Ready to chat?

A blog post from the magazine Chatelaine, a publication/site heretofore unknown to me, has set Twitter abuzz with the assertion that a recent study (albeit highly unscientific) shows that people are happiest when having sex, exercising and going to the theatre.

The immediate impulse to cheer for the home team (theatre, of course; get out of the gutter and the gym) rapidly gives way to amusement about the company we keep in this investigation, and creative minds are no doubt at work pondering how to unite these diverse interests into a single happiness-generating activity to supersede all others.  It has already been suggested by others that chocolate might be added to the mix. Needless to say, I would be happy to tackle the research and development on this challenging artistic and social issue (if you know what I mean).

But I foresee a significant problem already, based on a business which has previously tried to merge several of life’s basic pleasures.

Once, perhaps 20 years ago, I dined at a Connecticut outpost of the Hooters restaurant chain, which has successfully combined pulchritude and food to the delight of many and the ire of probably just as many more. Without going into detail, I can attest to the fact that the chain’s signature attractions were in ample supply – but that the food was rather dire, and the accompanying sightseeing did not make up for it. Indeed, I have never again crossed the threshold of any of said establishments, for fear that I would develop a Pavlovian response that correlated attractive women with stomach-churning revulsion.

So even if we manage to address the not insignificant challenges of melding the top three pleasure-givers, as first identified by the respected sociological journal Marie Claire and popularized by Chateleine, I worry that we might well give rise to an entirely new set of psychosexual responses that would be our undoing. Imagine if a particularly successful coupling of sex and exercise took place, say, at a performance of a play the not-entirely-inappropriate Strindberg? The fear of a rise in Strindberg fetishists should be enough to give anyone pause (except, of course, psychanalysts, who would be jumping on their couches for joy). What if this multifaceted entertainment took on, say, O’Neill’s Strange Interlude? As the TV commercials warn us, after four hours, you should call your doctor, and that would result in a series of concurrent and perhaps amusing calls to EMTs for exhaustion and muscle cramps. Even if the theatre of choice were comedy, imagine the dysfunctions that would arise if one required activity at the farcical level of Noises Off to achieve fulfillment.

I will be setting up a think-tank/laboratory to explore this in greater detail, since success in combining these elements would surely sustain the fabulous invalid ad infinitum. But if science fiction has taught us nothing else, perhaps some elements of nature are best left untampered with, and maybe we’ll just have to stick with putting on great shows. Dammit.

Over the past 48 hours, the culture pages in England have been filled with reports which are all variants of the same story: “Walkouts abound at The Royal Shakespeare Company’s Marat/Sade.” I first spotted this on Sunday in The Daily Mail and since then, the BBC, The Guardian and The Telegraph, among many others, have all piled on.

Marat/Sade, while an acknowledged modern classic, is a challenging work with content that surely doesn’t appeal to all audiences. So it shouldn’t really surprise anyone that a play about the Marquis de Sade might provoke squirming and even early exits; I suspect that Doug Wright’s Quills, also about de Sade’s incarceration at Charenton, sent some people fleeing from assorted theatres as well. Frankly, I wouldn’t be surprised if artists involved in various productions of both of these plays see the odd hasty retreat as a sign that they’re succeeding, a badge of honor.

So whether the current press frenzy is a result of an opportunity to portray theatre as transgressive and dangerous during a time when arts support is already challenged, or if it’s a case of schadenfreude to see the fortunes of the august RSC brought into question, or if the show is in fact deeply off-putting – or simply not a good production – I really can’t say. But the reports have set tongues wagging on this side of the Atlantic as well, prompting online chat about whether it’s right to walk out of a show, whether anyone has personally walked out of a show, and so on.  As this seems to be snowballing, I cannot resist sharing a few thoughts and admissions.

Let me start by saying that I have worked on shows that have prompted audience walkouts – and I mean real walkouts, during the show, not politely at intermission. Off-hand, I recall people exiting mid-scene from two productions in particular at Hartford Stage: a 1986 production of Sam Shepard’s The Tooth of Crime and a 1990 interpretation of Büchner’s Woyzeck by director Richard Foreman (which ran, in total, only 70 minutes, but some folks just couldn’t wait to escape). As staff of an institution where I was, in part, responsible for drawing in audiences, this was troubling. But given the artistic choices, it was also inevitable; we did our utmost to prepare the audience for what they would be experiencing before they went in, and then had to let the chips fall where they may.

I consider the mid-scene walk out to be a very strong statement; it is at best impolite, at worst a middle finger thrust upwards at all involved (even if the director, designers, author and company leadership aren’t there to see it first-hand in most cases). During these plays, the people I saw leave made no attempt to do so surreptitiously; they haughtily stood and marched indignantly up the aisles, determined that others would register their statement. In one instance during Tooth of Crime, actor David Patrick Kelly (who was, coincidentally, also our Woyzeck), costumed with a pistol, paused the action as one couple left loudly and prominently – and leveled his weapon at their backs until they were completely gone, to the profound amusement of all who remained, which was the majority of the audience.

If we believe theatre to be a conversation with an audience, and at times a provocative or confrontational one, then perhaps the walk-out isn’t something to look down upon. It certainly beats staying and heckling the cast for material they did not create, but only take part in interpreting. It is perhaps the one opportunity the audience has to express displeasure during a performance, beyond stony silence (which can mean just about anything); theatre audiences do not have the outlet of booing, as opera seems to, but even then the “commentary” is reserved for curtain calls.

I have never walked out of a show mid-scene, or even between scenes, but I will confess to having quietly departed at intermission a few times over the years (never during my tenure at the American Theatre Wing, where such an action, if known, could have had repercussions in connection with The Tony Awards). But there have been times when the lure of television or bed have been stronger than the appeal of a second act, though I am not proud of this; in one case, I left because I was – for perhaps the only time in my life – offended on behalf of my religion and had no desire to watch it subjected to more ridicule. I have no doubt that had I willed myself to stay for some of those second acts, my ultimate opinion of the show concerned might have shifted, but at these times, I wasn’t patient enough to wait and see.

Was I taking the coward’s way out, rather than making a statement? I don’t think so, since every actor I’ve ever spoken with tells me how acutely aware they are, from the stage, of what goes on in the house. A full house in act one followed by one dotted with empty seats in act two speaks volumes. But I bet it’s preferable to audience members fidgeting in their seats, repeatedly checking their watches or glaring at their companions from time to time.

The problem with the walk-out, be it ostentatious or subtle, is that, as I alluded to earlier, it rarely reaches the people to whom the opinion is most properly expressed. They experience it, if at all, only through a stage manager or house manager’s report, and it is the house manager, box office personnel and even volunteer ushers who absorb the displeasure first-hand. Though it feels declarative as it happens, it is a fairly impotent act.

There is a corollary act, more acceptable but no less pointless: the withholding of applause at a curtain call. I have, as I know others have, at times been so miserable at a production that I am disinclined to applaud. But if it is the story, or the production concept which dismays me, withholding applause insults only the actors, who have just spent several hours telling me a story in the manner they’ve been asked to. I may feel better, but it is ineffective – the loss of my two hands hardly register in the overall decibel level of an ovation, nor does remaining seated while the rest of the audience rises to its feet visibly alter a standing horde.

I am not writing to endorse the walkout, since it is an expression of opinion that is misdirected and often falls on deaf ears. I feel for the actors in the current Marat/Sade, since surely they are giving their all, regardless of whether they in fact feel good about the show. But I cannot help but feel that a reduced audience is better than an actively hostile one.

What would I like people to take away from this? That sometimes a walkout is just a walkout, and it can be a sign of failure or even success. It really shouldn’t rise to the level of news coverage, let alone international attention, unless the audience is so decimated after the interval that half the crowd has fled, night after night after night. If you feel you must leave, at least wait for intermission, or if you must go sooner, a scene break. You owe that courtesy to the actors and your fellow audience members; remember, this is much more than changing a channel or stopping a film midstream at home. But if you really want to let the right people know what you think, write a letter or send an e-mail to the producer or company leadership; even tweets may never reach the decision makers.

No one should feel compelled to be miserable at the theatre. Leave if you must – that’s your right. But walk, don’t run.

This post originally appeared on the 2amtheatre website.