As anyone who goes to the theater on a regular basis knows, it is not always the cheapest pastime to have. You might want to see the latest smash hit, or maybe a fringe production that has received rave reviews. But, unless, you are rolling in money, what are the best ways to visit the theater on a budget?
The Edinburgh Festival Fringe is the world’s largest arts festival, with over 50,000 performances of 3,279 shows in nearly 300 venues across the city in 2016. It is held in August every year, and it is really never too early to start planning for the Fringe! There are so many things to consider: What type of venue is best for your show? City center or out of the main action? How do you promote it? How do you compete with the thousands of other shows appearing at the Fringe? Honestly, the top tip really is to ENJOY the Edinburgh Festival Fringe! The diversity, quality, and eccentricity on display is amazing. There really is nothing like it!
Children’s Theatre gets a bad rap. Some think it’s a fluff genre, with no substance. It’s as if a play for children doesn’t merit the same artistic credibility as a play for adults. Glitter, polka dots, and silly songs, can’t compare to Brecht, Stoppard, and Mamet. But these misconceptions couldn’t be further from the truth. Theatre for Young Audiences (TYA) is making waves, breaking molds, and giving artists endless creative opportunities fostering the future of theatre.
As a standby in the off-Broadway musical The Fantasticks, I’m often in a Starbucks during most performances, so when it was time to go on for a short time, my initial response was, “Damn, there goes all my free time.” As a parent of two small children, time is at a premium. But you may think I’ve completely missed the boat, that I should be elated at having a performing opportunity—and you’d be right, it just took me a couple of days to get here.
Community engagement must be a part of every theatre-making process. There is no theatre without an audience. The audience is as much a part of a play-making experience as the artists—so how do we incorporate them more actively into what we do? We must work with them – and I’ve learned, in so doing, that working with the community teaches me just as much or more about the play on which I’m working than anything I do in the rehearsal room or on stage.