This discussion deals with the announcement by a local community theater group that its 2017 season will include a production of Andrew Lloyd Webber’s “Jesus Christ Superstar”. In terms of my own bias, I am a dues-paying member of that amateur company that proposes to produce this musical.
In the interest of establishing a basis for the concerns I have with such a production, I need to explain some facts about the community in which the production will take place. I also need to define a few terms commonly used in discussing theatrical issues.
The Pentacle Theater recently celebrated its 60th anniversary of producing regularly scheduled, theatrical events in the Salem, Oregon area. That fact suggests there has been 60 years’ worth of dedication by volunteers that has resulted in this longevity. It also suggests that The Pentacle is like many other community theater non-profits that began appearing in America shortly after World War II. In fact, it is the third or fourth such non-profit with which I have been associated since 1996.
Here is a partial description from Wikipedia of what defines “community theater” –
“Community theatre refers to theatrical performance made in relation to particular communities—its usage includes theatre made by, with, and for a community. It may refer to theatre that is made entirely by a community with no outside help, or to a collaboration between community members and professional theatre artists, or to performance made entirely by professionals that is addressed to a particular community. Community theatres range in size from small groups led by single individuals that perform in borrowed spaces to large permanent companies with well-equipped facilities of their own. Many community theatres are successful, non-profit businesses with a large active membership and, often, a full-time professional staff. Community theatre is often devised and may draw on popular theatrical forms, such as carnival, circus, and parades, as well as performance modes from commercial theatre.
Community theatre is understood to contribute to the social capital of a community, insofar as it develops the skills, community spirit, and artistic sensibilities of those who participate, whether as producers or audience-members. It is used as a tool for social development, promoting ideas like gender equality, human rights, environment and democracy. Most of the community theatre practices have been developed based on the philosophy of education theorist Paulo Freire’s approach of critical pedagogy in theatre and implementation techniques…
Community theatre is distinct from amateur theatre which, while it may be community-based, is non-professional.”
You may choose to agree or disagree with this definition, but it does provide a framework for discussion.
In the case of The Pentacle Theater of Salem, Oregon, the definition fits in the following respects. It is a large organization with volunteers numbering over 1,000. It has its own state-of-the-art facility located in a charming, wooded setting west of a city that vies for being Oregon’s second largest. Salem is the capital of the state. The Pentacle does have a paid, professional staff consisting of a CEO, office staff and a professional set designer.
Actors are not paid, so the Pentacle is a non-professional theater. Within the scope of the definition cited previously, The Pentacle does not employ professional artists to perform with amateur casts. Consistent with the earlier definition, The Pentacle is an educational non-profit under the 501c3 chapter of the federal tax code.
One question arises that begs defining – what qualifies performances that are done by amateurs as being “amateurish” performances? Also, at what point does a production meet standards common to professional productions?
As a country, we have become accustomed to the New York City theatrical community’s defining levels of professionalism. Those standards have spread nationally, and to whatever extent, have become common to regional theaters throughout America.
Now, we need to define “regional theater”. I apologize again for taking the easy way out and using Wikipedia as a source.
“Regional theaters often produce new plays and challenging works that do not necessarily have the commercial appeal required of a Broadway production. Companies often round out their seasons with selections from classic dramas, popular comedies, and musicals. Some regional theaters have a loyal and predictable base of audience members which can give the company latitude to experiment with a range of unknown or “non-commercial” works. In 2003, Time magazine praised regional theaters in general, and some top theaters in particular, for their enrichment of the theater culture in the United States. Some regional theaters serve as the “out of town tryout” for Broadway-bound shows, and some will even accept touring Broadway shows, though those more typically play at commercial road houses.
The types of plays which are staged at regional theaters varies (sic) dramatically. While some are devoted to the classics, others only produce new work, or American work, or something else entirely, depending on the vision of the organization’s leadership as well as its founding charter.
Many regional theaters operate at least two stages: a main stage for shows requiring larger sets or cast, and one or more other stages (often studio theaters or black box theaters) for smaller, more experimental or avant-garde productions. In addition to box-office revenue, regional theaters rely on donations from patrons and businesses, season ticket subscriptions, and grants from foundations and government. Some have criticized regional theaters for being conservative in their selection of shows to accommodate the demographics of their subscribers and donors. However, regional theaters are often much more experimental than that (sic) commercial theaters that rely solely on ticket sales. The LORT (League of Resident Theaters) theaters represent the not-for-profit theaters in the country that pay wages to artists. Due to audience feedback, artistic staff, and a theater’s history, each theater may develop its own reputation both in its city and nationally.”
Therefore, in my humble opinion, The Pentacle Theater generally fits the definition of a regional theater with exceptions. Rather than a black box stage, The Pentacle has two downtown rehearsal rooms in the building that also houses its administrative offices.
The Pentacle collaborates with other local theater groups by participating in a common interest group that generally meets monthly. The Pentacle and the other members of this group share assets including props and costumes as well as advertising each other’s schedules in play programs for audiences.
The two counties that form the Salem Metropolitan Area have the common asset of enjoying the work done by over a dozen other theatrical groups, all of which tend to better fit the definition of “community” theater. In short, The Pentacle provides an excellent source for the smaller groups to access the assets of that larger group.
However, Salem is also one of the cities within the nine counties that form the Portland, Oregon Greater Metropolitan Area. In that context, audiences will find every possible combination of community, regional and professional theatrical groups. To that mix, add the assets of Ashland’s Oregon Shakespeare Festival (OSF), and one tends to see germinal ties with the New York theatrical community. OSF staff recently received Tony’s for original scripts. One might also note that Jeff Whitty who won the Tony for his book of “Avenue Q”, grew up in the theatrical community of Coos Bay/ North Bend, Oregon.
And then there is the developing film industry which seems to find Oregon to be ripe with fresh settings when compared with the overwrought, overused Los Angeles settings.
Back to the subject at hand. The Pentacle Theater of Salem, Oregon has announced its 2017 theatrical season, and one production scheduled is Andrew Lloyd Webber’s “Jesus Christ Superstar”. That particular piece would seem to me to have inherent in it, some very likely pitfalls that a community or regional theater might encounter.
I must admit to having never seen a staged production of “JCSS”. I have however, recently attempted to watch the original film version starring Ted Neeley as the Christ. And that is my first concern – casting.
The Pentacle Theater has produced some excellent musical theater productions in the past few years. “Into the Woods”, “Chicago”, and “Urinetown” stand out in my mind. One other Pentacle musical theater production of “Les Miserables”, was what I would describe as being able but flawed in some respects. Perhaps, such flaws provide a basis for understanding the critical difference between a production that is done on a professional level and one that suffers from some amateurish flaws that are not the subjects of this particular discussion.
In every “talk back” setting that I can recall attending where an audience meets cast and crew after a performance, one common question asked, tends to be of least significance for professional level performers – how do you memorize all those lines/lyrics? So that issue is the first level for determining whether any given performance leans toward amateurishness rather than professionalism.
However, the vision of the director and of the theatrical designers is most important. These would typically include sets, costumes, lighting, music and makeup. On the amateurish level, one might think of the old theme that goes “I’ve written a show…my dad has a barn…let’s put on a play!” Summer stock.
In more professional, regional terms, that same discussion might go, “I have a vision of an entire gestalt for a musical theater production, and I am asking you experienced designers to collaborate with me in producing a show that enhances my director’s gestalt.”
The most significant pitfall in producing a musical like “JCSS” would be when a director actually has no vision for the show except for recreating a standard interpretation by copying professional productions.
And there’s the rub. In all probability, any such show was a successful production due to the level of professionalism exhibited in each performance. The pitfall is to what extent can a regional or even a community theater draw upon community assets that will result in successfully staging a show that nearly matches that level?
The Pentacle Theater has been fortunate in having been able to draw upon community assets on a volunteer basis with those assets often involving the casts and crews having had training in professional settings, without the glamour and glory associated with out-and-out stardom. By the same token perhaps, just as many (if not more) such volunteers have not had any professional training beyond that provided by being involved in Pentacle programs, both educational and experiential.
Has The Pentacle Theater ever produced a successful, professional level production of an Andrew Lloyd Webber musical? For its 60th Anniversary Gala, The Pentacle published a brochure on October 26, 2014 that listed every Pentacle
production for the past 60 years. Since 2000, two titles seem to qualify – “The Sound of Music” and “Joseph and the Amazing Technicolor Dream Coat”.
I myself did not see either of those performances. My assumption is that “Sound” was probably the original Rogers and Hammerstein version. ALW wrote his adaptation which played in London in 2006. Jeff Sanders directed the Pentacle production in 2011, five years after the British television show that featured a talent search for a new Maria in a revised ALW version.
Cherie and Tom Ulmer directed Pentacle’s “Joseph” in 2001.
Mary Kate Lindbeck directed a Pentacle production of “JCSS” in 1985, more nearly contemporary with the original 1970 music album which was published and which preceded the musical’s debut itself.
“JCSS” appears to be currently licensed through the Rogers and Hammerstein group whose website already lists the 2017 Pentacle Theater’s April 2017 production.
On that same website, issues of difficulty are discussed. Vocal demands are described as being “moderate” to “difficult”. It notes the need for a strong male vocalist as the lead. It lists “some” dancing skills as a requirement. And it goes on to suggest that the show would be appropriate for everything from a high school production to professional theater.
Those are the selling points of the copyright holder.
A Google search of images related to various productions of “JCSS” reveal a somewhat different story. An examination of the character of Herod Antipas in each, the original film cast and the London revival, shows two equally valid and yet opposite treatments of that character.
The minimalist film version features an iconic, bare-chested potentate surrounded by cast members who seemingly represent various sexual orientations. The ornate stage revival reveals the same potentate, but outfitted in extravagant costume.
At this point in my discussion, the issue of production pitfalls focuses on the vision of the director. Will the Pentacle version attempt to recreate the minimalist film version or the extravagant London stage version? Or, possibly, will it feature an entirely new gestalt?
The answer to that question will not be known entirely until the opening night of The Pentacle Theater’s production. To the future cast and crew of that production, I sincerely wish them all to “break a leg”. On opening night, I want to be thrilled!
James M. Kemp Salem, Oregon November 2, 2016
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