Following Up on Chad Deity

Written by Tony Adams Monday, 19 October 2009 11:22

Looks like last weeks post on Chad Deity hit some nerves. A lot of folks have contacted me about it, mostly off-the record, but a lot of interesting perspectives. A couple of folks want to talk more, so I'm excited to see what they have to say. I know, I'm a bit eccentric, I like hearing from smart people even if they completely disagree with me. I'll tweak and post my thoughts as the conversation warrants.

I didn't mean to signal out Victory Gardens, and I should have been more clear on that. I don't hold them blameless; however, it is a wide spread problem.  Most of the people who wrote me in support of VG were very clear and explicit about pointing out other local Tony-winning theatres faults in terms of co-productions and inclusion.

I have to admit VG does a far better job than most in the country about making sure there are interpreted performances and other ways to improve accessibility and make sure people with disabilities still can go to theatre. They deserve a lot of credit for that. Their access project should be a model for other regional theatres. And they produce more works by and featuring artists of color than a lot of theatres in town. (Although weren't some of those were co-productions with Vista as well? You wouldn't know it from the website)

A couple people pointed out that not all of that is the fault of Victory Gardens. The co-production and Vista's logo is on the poster and postcards and the web page for Chad Deity. While it's not on the tickets or door, it is in the program. So VG isn't hiding from it, but they're not really pointing it out either. I watched the ED work the room before the show. A lot of credit was taken, none was given from what I heard. I can't say whether that's intentional or not. I just didn't hear it.

In the story (which still hasn't posted my question in the comments), I bristled at Kallish talking about those smaller theaters (namely InterAct in Philly and and Mixed Blood in Minneapolis) also getting rights when VG was the one with the transfer rights (the "important" ones.)  VG can't be blamed for what Jones writes, but their Executive Director left them out as well.

Also, it gives me pause when non-profits shift from supporting the play or the writer into protecting their property. VG seems to have signaled (or at least their commercial producer turned ED has signaled) they're making that shift.

A couple of folks pointed out I didn't actually say what I thought of the show. The show itself is good.  I thoroughly enjoyed it. Is it the greatest show ever staged? No. A couple parts are a bit messy structurally and at the end could be a bit tighter, but overall it's solid. Right now it seems about 70% narration and 30% dialogue, and there are some places it would be stronger if it was more dialogue. But when it's clicking it's excellent. It's been a while since I've seen an audience as engaged as they were in a house that size. (that's obviously much easier to to in a storefront than in a house that size.)

I have one more thought on something I saw there, more on that tomorrow.

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