No, really they said this..

[Erin_Candice]

I thought I would share for the amusement/horror of all in theatre..

Overheard in the lobby after a production of "Menopause the Musical": "This was so much better then King Lear"

My soul just died a little.

[j-la]

Maybe I am crazy but- I am happy to have people come out to the theatre. Any & all theatre. At any time.

[ORTaurean]

I have an experience, rather than a quote...

Last night an audience member walked into the house (general seating) and publically berated her husband from down center, directly in front of the entire audience about making them late and that there were no good seats left.  She was loud.  Reminded me of Hyacinth Bucket from KEEPPING UP APPEARANCES.  The poor husband was sulking behind her, shoulders slumped and brow beaten.  She wouldn't stop for the entire preshow.

[Erin_Candice]

Maybe I am crazy but- I am happy to have people come out to the theatre. Any & all theatre. At any time.

I'm happy people are coming out, but it would be nice if they could appreciate a little artistic integrity instead of a production that has no value past being an example of what "For-Profit" means.

[ljh007]

I was taking costume measurements pre-production for a young girl who was about to join our production of "Aida" (the Verdi opera, not the Elton John musical). I was describing her Egyptian costume, making conversation as I took the measurements. Her mother was very confused and asked - "Why are they wearing Egyptian clothes when they're in Argentina?" Turns out she was thinking of 'Evita.' Yeah, different show.

[smejs]

I was recently in a theatre-in-the-round type situation, furthest seat probably 8 or 9 rows away...and at intermission I heard a woman complaining to her friend "I wish they were wearing those mics" and pointed from her ear to her mouth (as in a face mic, not a lapel)....

During the second act I only noticed 2 times I think that the vocal quality was low....I think the woman was actually having more trouble getting past the thick accents of the characters.  

Now, I have argued with actors before who didn't care if an audience complained they were too quiet - the actor was saying we needed to train people to LISTEN and to work for it.  I disagree, you need to be able to hear.  But I COULD hear during this particular play.  I felt the woman was out of line.  I didn't say anything to her, but felt disenheartened...

Erin

[Erin_Candice]

Maybe that lady was hard of hearing and in denial.  Blame it on the actors and not her hearing.

[butch]

I am currently in my third year at a theatre in the round, and people having trouble hearing isn't always an actual audio problem in this kind of setting. So much of what we hear also comes from the visual, and it becomes difficult for people to understand, even though the decibal level may be there. They seem to get used to it after seeing a few shows this way. I don't think it is so much that the audience needs to be trained, as much as they need to adjust.

I'm curious, what show was it? Because I have noticed that I have heard that particular complaint more often on new musicals (we deal predominantly in musicals) and not things that people have seen a lot.

[smejs]

I'm curious, what show was it? Because I have noticed that I have heard that particular complaint more often on new musicals (we deal predominantly in musicals) and not things that people have seen a lot.

It was The Ladies of the Camellias, so though while not a musical, it was definitely one people did not know.  And like I said, there were thick accents.  The actors/direction did have them use the entire space fairly well, but yes, I'm sure adjusting to the theatre-in-the-round ... or NOT adjusting to it was much of the culprit.  I'm a huge fan of not using mics when not needed in a show...and I didn't particularly feel this show needed them.

Erin

[SM_Art]

I think it's rather easy to do a bad production of any Shakespeare show, especially one such as Lear... and often those are the productions that people see.  Having just finished the LA company of Menopause, I know that our audiences continually left with a smile, because it's a light-hearted, amusing show, and the audience is, let's face it, predominantly of the demographic for which it was intended... and they LOVE it!  To hear it was 'better than Lear' doesn't surprise me at all.  It's harder to screw up a show that doesn't have the deeper demands of a Shakespearean tragedy, certainly.
Just one of the reasons I love musical comedy....  I know it's not always the depth of some dramatic plays, but I prefer it when the audience leaves feeling entertained.  I myself have left a good theatre company's production of a bad show more than I care to, and it's not a fun feeling....

art

[Erin_Candice]

For the record, our Lear was phenomenal.  Directed by Michael Donald Edwards.  Visually stunning.  It was one of those shows that reminds you why you decided to go into theatre in the first place, unless you went into theatre to make money.  Menopause certainly does send people off with a smile.  I'm glad people like it and that it has been extended 3 times already.  I'm happy my place of business has a cash cow.  I'm not surprised that the audience likes it better then a tragedy.  I'm not surprised that more people have seen (and enjoyed) Napoleon Dynamite then Crash.

I started this thread not to defend the value of Shakespeare or cut down the value of fluff pieces, but to share a little anecdote.  I think we all feel prouder of some shows then others.  And I don't think there's anything wrong with being proud of a great production of a classic and looking at cheesy shows as cheesy shows.  I'm happy there are shows that help us keep the doors open so that we have the freedom to do the real meaty shows.  I don't think they have any artistic value, but that's not to say that they have no value.

[j-la]

A story-
My mother began taking me to musical theatre (her particular love) when I was very young. I have seen Pearl Bailey & Cab Calloway in "Hello Dolly", the original Broadway productions of "Evita", "Into the Woods", and numerous National touring productions- most memorably "Hair" in Boston.  I had the great, good fortune to attend numerous productions at Trinity Square Rep when the great Adrian Hall was the Artistic Director.
I carried that tradition on with my children- one loves Shakespeare- could quote the witch's "bubble" speech in kindergarten, the second has her BFA in performance and is a working actress, locally and the third is a techie- for fun. Most of their friends have never seen theatre unless they come along with us. If seeing a fun production of "Menopause" can excite someone to attend another production- bringing family & friends-
it's a very good thing - for the art form & for all of us- sooner or later they will see that  great production of "Lear".
I've been working in theatre for over 20 years as a designer & SM.
I've had my really good shows & really not so good shows. Even the not so good shows had their fans- the show got them to think and to feel-
I think that's the point.

[Erin_Candice]

The people that made this particular comment (who were well into their 70's) said it with the air of "Finally good theater is being produced.  I never thought that would happen."

[loebtmc]

Interesting conundrum, tho - because recently (as a voter for our local awards) I have seen some really mediocre-to-bad shows along with the good ones, including bad writing, bad acting and bad direction - also seen mediocre shows saved and great shows turned into travesties and overheard audience members assume all musicals or Shakespeare or whatever are like this so they needn't ever come back to live theater. As far as I am concerned, anything that takes the audience on a journey, with committed actors doing their best work, decent writing (and music where appropriate) and clean technical  aspects, needs to be celebrated.

I, too, grew up going to the theater and love those that makes me think as much as those that make me smile, but I think we as stage managers (and some other theater professionals) can better separate what works from what doesn't - the acting from the writing from the direction from the props/costumes/lights etc - than many theater-goers; even some of my actor and writer friends don't see beyond the "it was a nice song" syndrome.