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Combatingthe
Privilege
of
Art:
An
Assessment
ofCommunityAccesstoTheatre
ByLinaRenzina
ThesisAdvisors,ProfessorAmyE.Hughes
ProfessorLeeQuinby
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INTRODUCTION
Change:ascitizensandmembersoftheworldweareconstantlytryingtochangethe
qualityoflifeontheearthweinhabit.Politicalclout,aleadershipposition,orwealtharenot
easilyaccessiblefortheatrecreatorsoraudiences,especiallythosewhohavebeenextremely
oppressedbytheirsociety.However,theatreprovidesauniqueplatform:sometimes,itcan
evensparkamovementordiscussiononacertainpoliticaltopic.Itcanbecreatedbyanyone;
therearenorulesaboutwhocancreatetheatre.Buttherearerulesaboutwhocancreate
certainkindsoftheatre,whereandwhocancomeseeit.Manydonothaveaccesstoculture,
forreasonsofsocialclass,raceorreligion.Theideaofaccessibilitytocultureisaradicalideain
itself,whetherornotatheatrecompanycommittedtothisgoalissociallyconscious.Low
incomeneighborhoodsoftensufferfromalackofculture,whichiswhytheatreisfrequently
viewedasreservedfortherich.Bothpractitionersandcommunitieshaverecognizedthe
problemandhavebeguntodowhattheycantohelpsolveit.Duetothelackofaccessibilityto
theatrein
certain
communities
and
the
need
for
these
communities
to
recognize
and
solve
problems,agrassrootstheatremovementbeganinthe1970s.InspiredbytheworkofAugusto
Boal,companiesaroundthecountrypracticegrassrootstheatretechniques.JanCohenCruz,a
crucialplayerinthegrassrootsperformancecommunity,asserts,"Communitybasedartisa
fieldinwhichartistscollaboratingwithpeoplewhoselivesdirectlyinformthesubjectmatter,
express
collective
meaningit
spans
performances
committed
to
social
change
along
with
thosewhosepurposeistheconservationoflocalcultures,sometimesbothatonce.Itspractices
rangefromgrassrootsoralstorytellingtoformaltechniquescreatedbyprofessionalartists
(LocalActs1).CohenCruzdescribescommunitybasedtheatre,itsmaingoalsaretoconnect
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withtheaudiencesandartistsinacompletelyinnovativeway,thattheywontfindsittingata
Broadwayshow.
TheriseofcommunitybasedperformancewasdefinitelyinfluencedbyAugustoBoals
workin1970sBrazil. Boalarguedthatstructureddramatictragedies,whichAristotlebelieved
werethebuildingblocksofWesterntheatre,didnotappealtoawideaudience.Thiswas
becausetheatrecompaniescateredtothewealthy,andthoseoutsideofthatsocialclasswere
ignored.Ifonlythosewithprivilegehaveaccesstoart,theycannotusethismediumtomakean
impact.Cruzrecognizesthisgrowingissue:Whilegrassrootstheatersmaynotadvocate
changeperse,theircommitmenttoaudiencesofeveryclassandraceiscontraryto
mainstreamtheateraudiencecompositionofthewealthiest15%ofthepopulation(Ecology
14).Boalsworkandscholarshipsparkedcompaniesallaroundtheglobetostarttheirown
communityorientedensembles.Eachofthegroupsexploredinmyresearchhavevarious
missions;however,theyallsharethesamevision:thataccessibilityandconnectiontothe
audienceis
crucial.
These
companies
interact
directly
with
the
audience
they
are
speaking
to
andoftentheaudienceisinvolvedincreatingandimplementingthepieces.Thiskindof
connectiontotheartiscrucialforaudiencememberswhootherwisedonothavetheaccessto
theatre.Itgivesthemaplatformwheretheycanspeaktheirmindsandvoicepoliticalandsocial
concerns.Inaddition,thekindoftheatrethatgrassrootscompaniesoffergivesaudiencesthe
opportunity
to
relate
to
the
work
being
done
and
not
feel
disconnected
from
the
art.
Artistswhoworktofostercommunitythroughgrassrootsperformancesbelievethat
thistypeofworkcannotbedonewithinalargeinstitution.Doingtheimportantandeffective
workthatgrassrootsartistsdoinlargerinstitutionalcontextsisoftenfrustrating.Itcanbe
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difficulttofindabridgebetweenthekindsofintimatecommunityworkthatgrassroots
performanceentailsandbringthattoamoremainstreamaudience.Nevertheless,some
theatercompaniesstrivetodoso.Forexample,ThePublicTheater.Boalbeganformulatinghis
influentialideasaboutthetheateroftheoppressedin1971,butThePublicTheaterinNew
YorkCitybeganasagrassrootsinitiativein1954andstillcontinuestoday.Itsworkappealsto
mainstreamaudienceswhilealsobridgingthegapbetweenthosewhowouldnotthinktocome
tothetheatreandconnecttothework.Althoughthekindofcommunitybasedtheatrethat
Boalconceivedandsmallnicheorientedcommunitiesaroundthecountryareproducingare
vastlydifferentfromThePublic,ThePublicshistoryandworkchallengesCruzsassumption
thatonlysmallcommunitybasedtheatrecancultivateadiverseaudienceandexpandaccessto
art.
JosephPapp(thecreatorofTheNewYorkShakespeareFestivalandfounderofThe
PublicTheater)andAugustoBoalneverinteracted.Theybegantheirworkatdifferenttimes,on
differentcontinents,
and
created
different
forms
of
theatre.
However,
Boals
response
to
the
politicalandsocialclimateinBrazilandPappsresponsetotheculturalclimateinNewYorkCity
arerootedinthesamebeliefthatallpeopleshouldhaveaccesstoculture.AsDavidLowey,
AssistantDirectorofTheCapitalProjectCampaignatThePublicTheater,notes:
Therearedefinitelystrainsofthatsamenotion[Boals]inthehistoryofThe
Public
Theater,
although
there
is
a
murkier
sense
of
where
culture
came
from.
So
Boalthinksthatcultureexistswithinthepeoplealready,andJoePappsaysthat
cultureis[a]birthrightthateveryoneshouldbeabletoparticipatein.
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Loweyiscommentingonthetrickycomparisonbetweenthecommunitybasedtheatre
movementandtheprogrammingatThePublic.However,contrarytoCruzsassertions,The
PublicTheaterisacasestudyofamainstreamtheatreservingthecommunitythrough
grassrootsinitiatives.Inthisthesis,Iarguethatgrassrootstheatrecanbedoneinan
institutionalsettingandthatalargetheatrecompanycanmakeahugesocialimpactonits
communitybyincreasingaccessibilitytotheatre.AstudyofThePublicspast,presentand
futureactivitiesissignificantbecauseitpresentsanoteworthygapinresearchthathasntbeen
filledtodateaboutcommunitybasedtheatre.Myinterviewswithcurrentstaffmembers
contradictmanyscholarsofgrassrootstheatre,suchasCohenCruzandSonjaKuftinec. While
scholarssuchasCohenCruzandKuftinecassertthatcommunitybasedtheatrecannotthrive
withinlargeinstitutions(which,theyassert,arebuiltoncorporatemodels),ThePublicTheater
inNewYorkCitysuccessfullypursuesgrassrootsinitiativesthroughitsmissionandextensive
programming.ThePublicTheaterhasbeenverysuccessfulinfosteringindependent,
experimentaltheatre
while
also
providing
access
to
those
who
want
access
to
it.
The
Public
is
a
uniquecasestudyofamainstreamtheatrebringingarttoall.
ThewordaccessibilityiswhatIhaveandwilluseanumberoftimesthroughoutmy
thesis.Whatdoesitmeanforarttobeaccessibleforaudiencesandartists?Alotispackedinto
theterm,includingrace,classandprivilege.Alackofprivilegeresultsinalackofaccessto
resources,
and
this
is
the
reason
why
theatre
is
not
generally
viewed
as
an
accessible
art
form.InthisthesisIassessthecommunitytheatremovementanditsattemptstofindwaysto
connectwithaudiencesandartistswhoareoppressed.First,Iprovidesomebackgroundon
whatBoaltermedthetheatreoftheoppressed,whichisnecessarytounderstandthe
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philosophicalfoundationsofhowgrassrootstheatrecompaniesfunctiontoday.Ithendiscuss
threegrassrootscompanieswhoseworkiscrucialtothemovementintheircommunities;these
companiesareCornerstone,TeatroPregones,andWagonBurner.Furthermore,Icritique
scholarsofthecommunitytheatremovementwhobelievethateffectivegrassrootstheatre
cannothappenwithinlargeinstitutionsbyusingThePublicTheaterinNewYorkCityasacase
study.Drawingonfirsthandaccountsandhistoricaldocuments,IanalyzehowThePublicspast
andpresentinitiativesandprogrammingresemblesagrassrootstheatremovementwithina
largeinstitutionalsetting.Lastly,IevaluatehowsuccessfulThePublichasbeeningiving
audiencesandartistsaccesstotheatreandwhythisaccessiscrucialtoNewYorkCityandthe
world.
THETHEATREOFTHEOPPRESSED
InordertoconceptualizehisnotionoftheTheatreoftheOppressed,Boalanalyzes
whereAristotelian
concepts
of
drama
began
and
why
Aristotles
concepts
of
theatre
are
flawed.HebeginsbyfocusingonAristotlesPoetics.Aristotlewritesthattheaudienceshould
experiencecatharsisintragedyandachievethatcatharsisthroughseveralrealizationsofwhat
virtueis.BoalwritesthattheatreischangeandAristotlesconceptoftragedycompletely
contradictsthatethos:"Theatreischangeandnotsimplepresentationofwhatexists:itis
becoming
and
not
being"
(28).
Boal
finds
Aristotles
construction
problematic
because
it
does
notofferthespectatortheopportunitytoparticipateintheart. Inotherwords,inAristotelian
theatretheaudienceisdisconnectedfromwhatishappeningonstage:itisnotrelevantintheir
livesandexistsinaseparateworld.However,inBoalstheatretheaudiencemustconnectwhat
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ishappeningonstagetotheirownlives,andmanytimesactuallyparticipateincreatingthe
performancethemselves.
AfterdelineatinghisissueswithAristotlesPoetics,Boaladvanceshisthesisby
discussinghowBertoltBrechtchangedthetheatrewiththecreationofEpicTheatre.Epic
Theatre,amovementthatoriginatedintwentiethcenturyGermany,completelyrevolutionized
thetypicalAristoteliandrama. Brechtwantedtoalienatetheaudiencefromthecharacters
insteadofemotionallyconnectingthem.Thisgoalwasaccomplishedthroughtheuseof
unconventionaltheatricalelements,suchasbreakingthefourthwallandtheuseofnon
realisticdesigns.BrechtwascrucialininspiringBoalsworkandcontributingtotheimportance
andformationofsocialtheatre.Brechtstheatrewasdefinitelygroundinsocialchange,for
examplehiscontroversialpieceMotherCourageandHerChildren.AtthebrinkoftheSecond
WorldWarin1939,BrechtwroteMotherCourage,anantiwar,antifascistplayaboutamother
withthreechildren,duringthethirtyyearswarandherdeterminationtomakemoneyfromthe
war.The
play
spoke
out
directly
against
the
war,
while
incorporating
Brechts
style
of
epic
theatre.BoalsideaswereclearlyinspiredbyBrechtsstyleandwork,hesays"Brecht
contendsthatthepopularartistmustabandonthedowntownstagesandgotothe
neighborhoods,becauseonlytherewillbefindpeoplewhoaretrulyinterestedinchanging
society..."(Boal105).Boalassertsthenotionthatthosewhodonothaveaccesstotheatre,
people
who
are
in
the
neighborhoods
are
the
ones
who
need
it
the
most,
the
ones
who
need
wanttochangesociety.
Althoughheunderstoodthattheatreshouldbe,atitsheart,sociallyaware,Boalstill
struggledwiththeproblemofaccessibility;thatis,thematterofhowtomaketheatreavailable
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toallpeople,regardlessofclass.Heasserts,Theaimsoffeudalartwerethesameasthoseof
theclergyandnobility:toimmobilizesocietybyperpetuatingtheexistingsystem(55).Boal
usesBrechtspoem,OntheEverydayTheatre,toinformhisview,commenting,"Artis
immanenttoallmen,notonlytoaselectfew;artisnottobesold,nomorethanarebreathing,
thinking,loving"(109). InBoalsview,artshouldbeavailabletothepeople,notjustthosewho
canaffordtobuytickets.ItisthisbeliefthatdroveBoalswork.Inthe1950sand60s,whenhe
wasartisticdirectoroftheArenaTheaterinBrazil,Boalbeganworkingwiththecommunityto
stageperformancesinstreets,churchesandfactories.Hewantedtoinvolvethosewhowere
oppressed,andotherwisewithoutaccesstoart,inthecreativeprocess.Hestrivedtoshow
themthattheycouldhaveavoice.In1971,Boalwantedtodealwithlocalissuessuchas
povertyandoppressionresultingfromtheBraziliandictatorship.Boalsufferedgreatlyforhis
actions,ashewastorturedandexiledfromBrazil.
Inshort,theTheatreoftheOppressedfosterscooperativeanddemocraticformsof
interactionamong
its
participants.
The
audience
is
apart
of
the
theatre,
not
just
watching
it.
As
Boalwrites,Thepoeticsoftheoppressedisessentiallythepoeticsofliberation:thespectator
nolongerdelegatespowertothecharacterseithertothinkortoactinhisplace.Thespectator
freeshimself;hethinksandactsforhimself!Theatreisaction!Perhapsthetheatreisnot
revolutionaryinitself;buthavenodoubts,itisarehearsalofrevolution!(Boal155).Outofthis
emerged
the
word
spect
actor.
The
spect
actor
is
the
audience
and
the
audience
is
the
actor.
Thespectactormanifestsitselfonstageandintheaudience.Thismeansthattheaudience
takespartinthecreationofthepieceonstage.Theyarefreetocontributetothetheatrewith
theirthoughtsandopinions.
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AsBoalconceivesit,theTheatreoftheOppressedhasseveralsubgenres.Theseinclude
ForumTheatre,InvisibleTheatreandImageTheatre,NewspaperTheatre,andLegislative
Theatre.Eachhasitsownexercisesandmethodsofinvolvingtheaudienceintheaction.A
facilitator(orJoker)isresponsibleforguidingtheactionandexplainingtherulesofthe
games.InvisibleTheatreinvolveseventhosewhodonotknowtheyarecreatingtheatre.For
example,twopeopleonthestreetwillcreateasceneaboutasocialproblem.PersonAyellsat
PersonBandaccusesthemofstealingtheirwallet.ThenPersonC(whoisabystander)
becomesinvolved.Inthisexample,PersonChasnoideathatthisisnotinfactarealscene;
s/heisreactingtothecircumstancesbecauses/hebelievesitisactuallyhappeningandnot
somethingstagedbyPersonsAandB.InForumTheatre,thegroupdecidesonasocialproblem
orscenario.Thesceneisthenplayedoutwitharesolution;otherspectactorsmayintervene,
suggestanothersolutionorreplacetheactorandperformitthemselves.Everyonemustreact
truthfullyunderthecircumstances.InImageTheatre,animageiscreatedthatisinspiredbya
socialproblem;
spect
actors
may
alter
the
image
as
they
see
fit.
The
various
tactics
of
the
TheatreoftheOppressedcreateuniqueexperiencesforcommunitieswhoseopinionsareoften
invisible.Italsogivesthemaccesstothoughtprovokingtheatricalexperiencesthattheywould
nothavehadotherwise.
ItisimportanttonotethatTheatreoftheOppressedisnotaplayoraproduction.
It
is
a
rehearsal
for
revolution,
as
Boal
envisions
it,
to
show
people
they
can
fight
back
against
oppressionintheirlives.Boalwrites,"Ibelievethatallthetrulyrevolutionarytheatricalgroups
shouldtransfertothepeoplethemeansofproductioninthetheatresothatpeoplethemselves
mayutilizethem.Thetheatreisaweapon,anditispeoplewhoshouldwieldit"(122).Inspired
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byBoalswork,theatrecompaniesbegancreatingtheirowncommunitybasedtheatrethat
requireditsparticipantstobeinvolvedandopinionatedinordertobeginchangingtheir
circumstances(asIdiscussinthenextsection,someofthembeingCornerstone,Teatro
PregonesandWagonburner).Clearly,Boalsworkandresearchcontinuestohaveimportant,
longlastingeffectsonhowtheatermakersusetheatreasasocialtool.
COMMUNITYBASEDTHEATREENSEMBLES
CohenCruzassertsthatahugeproblemfacingcommunitybasedtheatreensemblesis
audiencecultivation:Problematicforthefield,thetermsgrassrootsandcommunitybased
oftenevokeinaccurateimages(Ecology16).Cruzexplainsthataudiencesareturnedofffrom
thiskindofworkmainlybecauseofignoranceandmisinformation.Mainstreamaudiencesfeel
likeensemblegrassrootscompaniesdonothavethestructurethatanonprofitcompanyhas
andthereforedonotconsiderthemprofessional.Somealsobelievethatitisrewardingfor
theparticipants,
but
not
for
the
audience.
A
large
component
of
what
these
ensembles
do
is
thecreationoforiginalplays.Thewritersatthecompanywillcreateacollaborativepiecewith
communitymembersinput.Whiletherearecurrentlyoverfiftygrassrootsensemblesinthe
UnitedStates,therearethreediversegroupswhoseworkincultivatingtheatrefortheir
communityhasbeenrathersuccessful.TheyareCornerstoneTheaterCompany,Teatro
Preones
and
WagonBurner
Theater
Troop.
Cornerstone,aLosAngelesbasedcompanywitha$1millionbudget,wasfoundedin
1986.Theeighteenmemberensemblewritesandperformsnewplaysandadaptationsof
classics.BillRuach,formerartisticdirectorandmember,explainsthatthecompanystrivesto
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involvethecommunitydirectlyincreatingtheplays.Thistypeofinitiativeemulatesthework
thatBoalbegan.Ruachsays,"Thecompany'saestheticistoincludethecommunity'sdialogue
withitselfinthescript,whichcallsforopposingvoicesandlayersofmeaningandavital
richness.Multiplicityofviewpoints:it'sessentialtoourmission"(Cornerstone74).Whilesome
believethatCornerstoneprovidesasocialservicetothecommunity,Ruachdisagrees:"The
socialserviceaspectisoftenoverstressed.Infactwehavedeliberatelystoppedemphasizing
that.Themajorityofcommunitiesthatweworkwitharelowerincomeanddon'thaveaccess
toprofessionaltheater,that'strue,buttheworkisjustasmuchaboutwhatwearelearningas
artists:It'samutualexchange"(Cornerstone75).WhatisdifferentaboutCornerstoneas
comparedtoothercompaniesthatdograssrootsworkisthattheyalsoadaptplaysforthe
communitytheydonotsolelyperformoriginalworks.Thisoffersadifferentkindof
communitybuilding,oneinwhichtheartistsandaudiencearediscoveringclassicalplaysand
writers.Thisisextremelyimportantwhencultivatinganaudiencethatotherwisewouldnot
havethe
ability
to
be
involved
in
theatre
at
all.
Since
Cornerstones
productions
feature
professionalartists,communitymembersandaudiencemembers,itoffersafacetof
communitybuildingthroughtheatre.
RuachbelievesthatwhatmakesCornerstonesospecialandeffectiveissomething
aestheticaboutthevarietyofagesandbodytypesandlifeexperience,adiversitythatispartof
the
fabric
of
the
work,
and
thats
what
makes
it
powerful
(Cornerstone
80).
Cornerstones
worktravelsaroundthecountryandoneofitsmaincommunityengagementinitiativesisthe
InstituteSummerResidency.Astheirofficialwebsitestates,thisprogramoffersanopportunity
toexperiencecreatingtheaterandexploringstrategiesforcommunityengagementforall
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artistswhowanttobeinvolved.Forexample,theopportunitytobecomeinvolvedinthe
companysInstituteSummerResidency(asummerlongworkshop)isnotbasedon
professionalismorexperience;communitymembers,regardlessoftheirbackgroundor
qualifications,arewelcome.
Cornerstoneoftenpartnerswithschoolsandcommunitycenterstocreatetheirwork.
Morerecently,playwrightPeterHowardworkedwithLosAngleshighschoolstudentsandfood
serviceworkerstocreateLunchLadyCourage."[We]wonderedabouttherelevanceandvalue
ofthisartformweloved,"Howardrecalls,"topeoplewhowerenotlivinginmajorurbanareas
andgoingtoelitecollegesandhadhabitualtheatergoingontheirminds.Sowesetoutonthis
adventuretotestandtoexploresomeofourfavoriteplaysincommunitiesthatweperceived
asperhapshavinglessaccesstolivetheater"(Raden).HowardexplainsthatLunchLady
CourageisaresponsetohungerandisverymuchinspiredbyBrechtsMotherCourageandHer
Children.SinceBrechtdefinitelystimulatedthistheater,itisfascinatingthatCornerstoneis
tyingtheir
work
back
to
him,
even
in
2013.
UnlikeCornerstone,TeatroPregonoesworkdoesnotstemfromtheatricalmaterial.
Oftenfrustratedbythesocialstructureoftheirsurroundings,theensemblemembersofTeatro
PregonesstrivetocreateatheatricalcommunityforLatinosintheBronx.RobertH.Leonard
writes,ForTeatroPregones,communityisagatheringofpeoplearoundsharedtraditions,
common
culture
and
a
commitment
to
theater
as
a
place
for
ideas,
growth
and
joining
of
forces(TeatroPregones147).TeatroPrenoesfocusesonLatinoaudiences,andthisisbecause
membersexpressfeelingignoredwithintheircommunity.ItsaestheticisinformedbyArtistic
DirectorRosalbaRolonsPuetroRicanroots,theirsourcematerialisnontheatrical,andplays
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areusuallyperformedinSpanish.
Companymembersareconstantlydiscussingtheideaofcommunity,especiallywhen
thatcommunityisbasedaroundasimilarmissionincreatingart.Rolonwantsartiststo
understandthedistinctionbetweencommunityandneighborhood:audienceand
communityarethesamethingforus.Ouraudiencecomesfromthecommunitythatweserve,
andforus,communityandneighborhoodarenotthesamething(TeatroPregones149).
Furthermore,ensemblememberJorgeMercedpointsoutthatcommunityisaspacewhere
dialogueamongartistsistakingplace(TeatroPregones151). TeatroPregonesdefinitely
providesaservicetotheircommunityoftheSouthBronx.Theirperformancespacesincludea
varietyofunions,schoolsandchurches.In2009,thecompanycelebratedtheirthirtieth
anniversarywithanewmusicalcalledAlohaBoricua.BasedonashortstorybyManuelRamos
Otero,AlohaBoricuafollowsthestoryofoverfivethousandPuetroRicanswhotraveledto
Hawaiiattheturnofthecenturytoworkinthesugarcanefields.Thestoryistoldthrough
differentstyles
of
song,
including
reggaetn,
rock
and
bomba.
Company
members
say
that
the
storyistoldinEnglishandSpanishtobetterservethecommunity.Whileitsmembers
understandthatthecompanystillhasalongwaytogo:Westillhavemuchtodo,saidRoln.
Insteadof25showingsofaplay,Iwouldliketodo60.Iwouldalsolikeanactingspacewhere
youngLatinoscouldtrainintechnicaltheater,indesign(GarcaGmez).Butthecompanyhas
definitely
contributed
to
the
arts
community
of
the
South
Bronx
in
a
way
that
no
mainstream
companycould.
WhencomparedtoCornerstoneandTeatroPregones,WagonBurnerTheaterTroops
versionofcommunitybasedtheatreisratherunconventional.IncontrasttoCornerstoneand
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TeatroPregones,ithasnotheatrespace,nospecificlocationanddefinitelynoadministrative
structure.Thistroop,agroupoftwentypeople,isntbasedanywhereanditfocuseson
workshopsandtouringtobringtheirworktopeoplearoundtheUnitedStates.Theirmaingoal
istoraiseawarenessaboutNativeAmericansoppressioninawhitemansworld.Their
approachtothecreativeprocessisuniqueandtheycreatetheirpiecesasanensemble.Itisa
smallcompanyservinganextremelyspecificaudience:NativeAmericansandothersconcerned
abouttheNativeAmericancommunity.Theirworkisofteninspiredbylettersand
conversationsaboutNativeAmericanhistory.WagonBurnerfeelsthatitsidentityasa
grassrootsinitiativeisextremelycomplicated,muchliketheidentityofNativepeople.Artistic
DirectorLeAnneHawemostrecentlyconductedaworkshopattheSinteGleskaUniversitywith
studentstocreateacommunitytheaterpiece.Topicsrangedfrompoliceharassmentto
healthcare.Thestudentsfeltextremelyinspiredandincludedbythiswork.LindaFryeBurnham
writes,WagonBurnerhasanintimateconnectionwithacommunitythathasbeenscattered
acrossthe
U.S.
In
asense,
the
whole
country
is
their
home
(5).
Leonard
comments,
The
questionsofeffectorimpactoftenassumesimpactingabroad,mainstream,whiteaudience
whosevalues,tastesandneedscanbepredicted(Wagonburner194).Here,heisreferringtoa
challengethatWagonBurnercomesacrossquiteoften:explaininghowthiscompanycanhave
animpacteventhoughitdoesnotattractmainstreamaudiences.
THEPUBLICTHEATER:APUBLICCOMMUNITY
Boalandscholarsofgrassrootstheatreagreethatinordertoliberatethespectator,the
audiencemustbecomeapartoftheart.Theymustrespondandcreateit;theymustforma
communitytosparkareaction.CohenCruzrecognizestheflawsinatypical,hierarchical
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administrativestructure:Incontrast,mainstreamtheaterasaninstitutioncarriesawhole
apparatusofhierarchy.Thoseabletoleveragethemostmoneyareontop,betheyproducers
orstarsCommunitybasedensemblesstriveforamoreegalitarianideal(Ecology6).Iargue
thatThePublicTheaterisuniquebecauseitisthemostrelevant,mostaccessiblemainstream
theatrecompanyinNewYorkCity.Indeed,IsuggestthatThePublicTheater'sprogramming
closelymirrorsacommunitybasedtheatreexperience. Obviously,thegoalofnicheoriented
grassrootscompaniesispreciselynottobemainstream;theyarenotalwaysinterestedin
reachingawideaudience.Theyexistinsmalltownsandcommunitiesthatareyearningfora
personalconnectiontotheatre.Similarly,theartscommunityofNewYorkCitydependsonThe
PublicTheater'sprogramming;thecompanyprovidesaservicetothecity.Inaddition,The
PublicTheater,whenitwasfounded,didnotaimtobecomeaninstitutionbutsimplywanted
toprovideaccesstoShakespeareanplaystoallthepeopleofNewYork,eventhosewhocould
otherwiseaffordtoattendthetheatre.Communitybasedtheatreensemblesaroundtheworld
justsimply
do
not
have
the
type
of
impact
that
alarge
institution
can.
ABRIEFHISTORYOFTHEPUBLICSROOTS
WhileacompletelookatThePublicshistoryisnotimportanttotheargumenthere,
therearemonumentalmomentsthatfurtherexplorethecontributionthatthiscompanyhas
made
to
diverse
communities
in
New
York
City.
These
include
crucial
productions
that
shaped
ThePublicTheatersinfluenceonAmericantheatre,includingHair,AChorusLineandThe
NormalHeart.ThePublicTheatercametobeinthe1950s,beforeBoalandsmallgrassroots
theatreensembleshadrisentoprominence,evenbeforeOffBroadwaywasinexistence.Joe
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PapprevolutionizedAmericantheatreandfewwhocameafterhimhavehadthesameimpact.
KennethTuranwrites,InhisyearswiththeShakespeareFestivalandtheparallelPublic
Theater,JoehadmadetheaterinAmericanbothaccessibleandessential(Papp,Turan1).
PappwasborninapovertystrickenNewYorkneighborhood(Williamsburg,Brooklyn)to
Yiddishspeakingimmigrantparents.Papprecalls,Icamefromacertainkindofpovertylevel,
whichwasreallybelowthatofmostofNewYorksJews.Ivealwaysfeltthatdistinction.Ive
alwaysfeltslightlyremovedfrom,forinstance,theworldofBroadwayandtheShuberts.Ican
talktothem.Illwalkwiththem,butasShylockwouldsay,Iwonteatwiththem(Papp,Turan
89).AlthoughPappdidnotconsiderhimselfanacademicperson,helovedreading.He
frequentedthepubliclibrary,andthere,hediscoveredShakespeare.
In1953,PappandafewofhisfriendscollaboratedonaproductionatTheEmmanuel
PresbyterianChurch.Pappsays,Ijustwantedtogetsomeactorstogetherandexperiment
withdoingShakespeare.WhyShakespeare?Intermsoftheater,heisamaster;thereisno
greaterwriter
for
the
stage
in
the
English
language,
and
that
happens
to
be
afact.
You
cant
be
aneducatedpersonunlessyouhavemorethanapassingfamiliaritywiththeworksofWilliam
Shakespeare(Papp,Turan61).AttheChurch,theydidfiveproductionsandsoonafter
expandedandmovedtheensembletotheEastRiverParkAmphitheater.Thefirstproductionin
thatspacewasJuliusCaesar. AfterTheEastRiverAmphitheater,Pappfeltthattheyshould
travel:
After
all,
Shakespeare
did
both,
he
had
his
own
theater,
and
he
also
toured
from
time
totimeIwantedtobringShakespearetothepeople,thatwasthewholeidea.Ihadtoreach
thethousandsofpeoplewholivedanddiedintheirneighborhoods(Papp,Turan99).Inmany
respects,Pappwantedtobringarevolutionarytheatretothepeople.However,Pappstheatre
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17
wasalsodifferentthanBoals.Pappbelievedinstagingclassicalandcontroversialproductions,
nothavingtheaudienceactuallyparticipateintheperformance.Whiletheydiddivergein
termsofstyle,theirgoalsweresimilar.
Pappbeganbybringingtheatretoneighborhoodparks,anactofcommunityservice
thatcloselyreflectsagrassrootsinitiative.However,asthecompanygrew,Pappwantedto
settledown.ThisledtohisdesiretobuildTheDelacorteinCentralPark.Theideaofbuildinga
theatreinthemiddleofthecitysmostfamouspark,letaloneonethatdidnotcharge
admission,wasunheardofatthetime.Aparkisacommunitygatheringspace,freeofcharge,
opentoallnotunlikethetheatrethatPappstrivedtoproduce.
Similarly,thebuildingPappchoseasThePublicsdowntown,yearroundhomeisalso
tiedtothetheatresrootsandmission.ThebuildingatAstorPlace(425LafayetteStreet)was
thefirstlibraryinNewYorkCity,theAstorPlaceLibrary.Whatcouldspeakmoretoaccessibility
thanaplacethatonceofferedfreebookstoall?WhenPappwalkedintothespaceandsaw
materialsleft
behind
by
the
Hebrew
Immigrant
Aid
Societya
place
where
Eastern
European
Jewishimmigrantscameforhelpaftertheylefttheirhomecountriesandemigratedto
Americahefeltahugeconnectiontothespaceandknewitwastheplacetobeginhistheater
company(Epstein).
DuringPappstimeasartisticdirector,ThePublicstagedthreegroundbreaking
productions
that
influenced
and
served
the
theatre
community:
Hair,
The
Normal
Heart
and
A
ChorusLine. Hair(1967)wasthefirstproductiontobemountedat425LafayetteStreet.Papp
tookahugeriskproducingthismusical,whichwasstillindevelopmentwhenitcametohim.
AccordingtoEpstein,Pappfelt,ItwastrulythemostlivingofalltheatersthatexistedinNew
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18
York.Ithadapointofview.Itwasalive.Ithadanattitudetowardsocietyandlife,andtomea
theatermeansnothingwithoutthat(201).Inaddition,whenhippieculturewasgrowingand
resistancetotheVietnamWarwasatitspinnacle,Pappwantedtofacilitatepoliticalandsocial
discussion. Pappcommented,Iamlookingforplaysthathavesomepassionatestatementto
makethatiscommensuratewiththetimewearelivingin(Epstein202).Hairwasthatpiece
forThePublic,ashowunlikeanythingthatNewYorkhadseenbefore;incorporatingwar
politicsandfreeculture,itwasariskyproductionforafirstshowpresentedbyanewtheatre.
ButPappknewthattheshowaddressedcrucialtopicsofconcernfortheaudiencesandartists
thathewantedtoreach.Althoughtheshowwasabouthippies,itstargetaudiencewasanyone
whoopposedtheVietnamWar.PappwantedtogiveNewYorkerssomethingtothinkabout
and,possibly,toseetheworldfromadifferentperspective.
Similarly,AChorusLine(1976)wasanextremelyuniqueproduction,onethatclosely
resemblescommunitydevisedperformance.PerformingartistMichaelBennettbegan
gatheringstories
about
dancers
for
this
piece.
The
dancers
were
crucial
to
creating
the
piece
andalsoperformedinit.ThePublicputasignificantamountofmoneyandeffortintoshaping
theproductionandwhenitwasanextremesuccessandplayedonBroadwayforsevenyears,it
helpedsustainthetheatreuntiltheproductionclosed.SinceThePublicisanonprofittheater
company,alloftheproceedswentbackintothecompany,andAChorusLineallowedthe
company
to
thrive
financially
and
continue
producing
risky
pieces;
it
brought
in
almost
$30
millionoverthecourseofitsrunonBroadway(Papp,Turan38892).
PlaywrightLarryKramerwroteTheNormalHeart(1985)asacalltoactionforthe
queercommunitytofighttheAIDSepidemic.Pappswifeandthenliterarymanager,GailPapp,
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advocatedforthepieceandbelievedthatitwasanextremelyimportantplaytoproduce.The
restofthecountryseemedtobeignoringtheepidemic,andKramerandPappwouldnotstand
forthat.In1985,theplayopenedandbecamethelongestrunningproductionatThePublic,
andeventhoughtheylostmoneyontheproduction,Pappkeptitrunningforalongtime
becausehefeltitwasimportantforaudiencestoseeit.Itwasarevolutionarypiecetobeput
onstageatthetimewhenAIDSwasnotawordthatmanykneworspokeabout,andwhenNew
YorkCityhadamayor(rumoredtobeahomosexualmanhimself)whodidnotacknowledgethe
existenceofsickgaymen.Pappcomments,Everynightaftercurtain,ten,twelve,orfifteen
youngmenwouldsitintheirchairsandbeunabletomove,absolutelystunned.Andseveral
otherpeopleintheaudience,mostlymen,wouldgooverandsitwiththatperson,putanarm
aroundhim(Papp,Turan531).Thispiecewasveryimportanttoseveralcommunitiesatthe
time:thetheaterscene,gaymenwhofeltignored,andthosewhoweregrapplingwithAIDSat
thetime.
ThePublics
impact
does
not
just
resonate
on
stage,
but
in
the
streets,
too.
The
first
interactionthatThePublichadwithpoliticalactivismmayalsobeitsmostfamousPapps
controversialconflictwithRobertMoses,theparkscommissionerin1958.WhenPappinitiated
theconstructionofTheDelacorte,heknewhewouldnotbechargingadmissionforhis
productions.Mosesdidnotagree.HepressuredPapptobeginchargingforperformances,
especially
since
he
feared
that
the
audiences
were
trampling
on
the
grass.
Papp
decided
to
fight
MosesdespitethefactthatthecommissionerwasextremelypowerfulandPappwasstillinthe
earlystagesofhiscareer.Pappdidnotbackdown,andeventuallywonhisfighttokeep
ShakespeareintheParkfreeforthepeople.
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POSTPAPP
EvenafterPappspassingin1991,ThePublicTheaterisstillcommittedtoupholding
Pappsoriginalmission.Onthecompanysofficialwebsite,ThePublicTheatersmissionreads
asfollows:
AstheonlytheaterinNewYorkthatproducesShakespeareandnewworkin
equalmeasure,ThePublicTheaterisdedicatedtoachievingartisticexcellence
whiledevelopinganAmericantheaterthatisaccessibleandrelevantthrough
productionsofchallengingnewplays,musicalsandinnovativestagingsofthe
classics.Conceivednearly60yearsagoasoneofthenationsfirstnonprofit
theaters,ThePublichasservedasanadvocateforthetheaterasanessential
culturalforceinleadingandframingdialogueonimportantissuesofourday.
ThesecoredemocraticvaluesinformallaspectsofThePublicsactivities.Toward
thiseffort,
The
Public
continues
to
be
guided
by
aphilosophy
of
inclusion,
which
takesonmanyformsnontraditionalcastingofproductions,educationand
developmentinitiativesforartistsfromdiversebackgrounds,outreachto
studentsandaudiencesthroughoutNewYorkCity'sfiveboroughs,humanities
endeavorsthatprovideasocialandculturalcontextfortheworkswepresent,
and
productions
that
reflect
and
speak
to
the
issues
and
interests
of
our
surroundingcommunity.Ticketpricesforperformancesarekeptloworfreeof
chargeinordertoattractabroadaudience,andeveryperformancespaceisADA
accessible,withfreesignlanguageinterpretedandopencaptioned
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21
performancesofferedduringsummerproductions.ThePublic'sprogramsalso
cultivateconnectionsamongitsmanyconstituenciesbetweenartistsand
audiencesandacrossethnicities,agesandexperiences.Theseconnectionsare
fundamentaltotheworkoftheinstitutionaswellastothedevelopmentof
futureartistsandaudiences,andthusthehealthofthetheatercommunityasa
whole.
ThreeartisticdirectorshaveservedatthehelmofThePublicsincePappsdeath:JoAnne
Akalaitis(199293),GeorgeC.Wolfe(19932004)and,currently,OskarEustis(2004present).
Eventhoughtheleadershiphaschangedovertheyears,CastingAssistantRebeccaFeldman
commentsthateventoday,theoriginalmissionisstillatthecoreoftheorganization.Feldman
says:
Idothink,though,thateachartisticdirectorandstaff[carries]thatmissionout
differently. Therearealotofwaystointerpretwhatitistorepresentthe
populationas
awhole
and
alot
of
ways
to
accomplish
hearing
important
voices
onstage. Someartisticdirectors'visionshaveresonatedwithmemorethan
others,butIbelievetheyallservethemissionequally. AndIknowthatIcan
trustallofmycoworkerseverysinglepersoninthebuildingtobedevotedto
themission.
Feldman
definitely
touches
on
an
important
point
within
the
organization.
While
artistic
directorschange,thereisdefinitelyasenseofcommunityamongthestaffmembersthere;
everyoneworkshardtosupportthemissionofthetheatre.Thestaffreallybelievesinthe
programmingthattheyarecreating.
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22
InaspeechdeliveredattheTheaterCommunicationsGroupconferencein2006,
OskarEustis(thecurrentartisticdirector)said:
Thevoicesthatneedtobereflectedonourstagesarenotthevoicesofthefew,
butthevoicesofthemany.Thegreatdemocratizingpowerofthetheatreneeds
tobeunleashedbythenonprofittheatre,notconstrained.Thatmeansthatthe
nonprofittheatreis,ofcourse,differentthanthecommercialtheatre.Not
opposed,butdifferent.ThegreatestartistoftheWesterncanon,Shakespeare,
wasnotthepropertyofpeoplewhohadmoneyorofpeoplewhohadeducation
orofpeoplewhowerebornhere.Shakespearewasthepropertyofeverybody.
(4)
PappsvisionlivesonthroughEustis,whoactivelycultivateswhatPappwouldwishtosee,were
hestillalive.
Currently,EustisisverymuchdevotedtosupportingPappsoriginalvisionforThePublic.
Ina2012
article
in
American
Theatre,
Eustis
expresses,
The
Public
is
here
to
make
theater
that
matters.ItsatheatrethatsallaboutdemocracyHe[Papp]didntjustturntheauditorium
overtothepeople heturnedthestageovertothepeople(Soloski26).Eustisismoredevoted
topoliticalandAmericanissuesthananyotherartisticdirectorinThePublicshistory,bringing
insuchworksasPassingStrange(2007)byHeidiRodewaldandStew,therevivalofHair
directed
by
Diane
Paulus
(2008),
In
The
Wake
(2010)
by
Lisa
Kron,
The
Agony
and
Ecstasy
of
SteveJobs(2011)byMikeDaisey,TheIntelligentHomosexual(2011)byTonyKushner,and
more.
Byutilizinganinhousecastingteam,ThePublicstrivestobringinarangeofstoriesby
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23
artistsfromdiversebackgrounds.Cruzpointsouttheimportanceofdiversityinthearts:
Communitybasedtheatersmanifestadeepbeliefinthepowerofthearttobringdifferent
peopletogether,andtheresultisthatstereotypesarecrackedopenintheunfoldingoftheart
(Ecology19).FeldmansaysthatsincecastingisoneofthefewdepartmentsatThePublic
whoseseniorstaffhasbeenaroundsincePappstime,itiscompletelycommittedtopreserving
Pappswishesaboutnontraditionalcasting.Thisisacrucialcomponentofprovidingaccessto
artistswhoareunderrepresentedinmainstreamandmonochromaticculture.Thecasting
departmentfullysubscribestotheideathataudiencememberswanttoseethemselves
representedonstage.Feldmanpointsoutthatshenoticedanincrediblyspecialexperience
duringthe201213seasonsWildWithHappy,writtenbyandstarringColemanDomingo.
Domingo,anAfricanAmericangayartist,wroteasemiautobiographicalstoryabouthismother
inthemidstofherpassing.Theproduction,stagedintheLuEstherspace,broughtinadifferent
audiencethanthedowntownspacehadseenallseason.AsanAfricanAmericanartist,
Domingobrought
in
amore
diverse
audience
for
The
Public.
WhenEustisacceptedthepositionofartisticdirectorofThePublicTheaterin2005,he
madeaconcertedefforttobringthetheaterbacktoitsroots.Oneofthewaysheachievedthis
goalwasthroughtherevitalizationoftheMobileShakespeareUnit.TheMobileShakespeare
Unit,nowenteringitsthirdseason,isdirectlytiedtoPappseffortsatcommunityoutreach.
Eustis
believes
that
the
Mobile
Unit
is
crucial
to
the
mission
of
The
Public;
as
he
once
told
Alexis
Soloski,therefoundingoftheMobilewasaboutrealizingthatShakespeareintheParkno
longerreachesthepeopleitwasoriginallyintendedto.Wehavetogobackouttothem.We
wenttoprisons,halfwayhouses,batteredwomensshelters(qtd.inSoloski28).Theatre
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24
professionalsrehearseandperformaShakespeareplaywithminimalset,propsandlighting.
Theytravelinavantoroughlytwentylocationsinallfiveboroughs.Theselocationsinclude
communitycenters,homesfortheelderly,andprisons.Loweysaysthatstaffandaudience
responseregardingthemobileunithasbeenincredibleandhewishestheycouldexpandthis
kindofwork.HewantsThePublictobringshowsbacktothecommunitiesandevenbackinto
theLowerEastAmphitheater,whereitstartedsomefiftyyearsago.Eustissaysthatareturn
couldbearoundthecorner:Iwillbeverysurprisedifwedontendupwithafullseasonof
Mobileworkwithinthenexttwoorthreeyears(qtd.inSoloski28).Papphimselfsawthe
importanceofbringingtheatretocommunitiesthatwouldnotbeexposedtoShakespeare
otherwise. Papponcesaid,CriticsoftenclaimIminconsistent,thatIhavenocentral
aesthetic.WhatisconsistentinmyworkisthatIhavealwayswantedtoprovideaccesstothe
besthumanendeavortothegreatestnumberofpeople.Ibelievethatgreatartisforeveryone
notjusttherichorthemiddleclass.WhenIgointoEachHarlemorBedfordStuyvesantandsee
thekids
who
come
to
our
shows,
Isee
nothing
so
clearly
as
myself
(qtd.
in
Epstein
18).
His
passionanddesiretobringtheatretoallnomatterofraceandclassisstillveryimportantto
ThePublicandcontinuestoliveonthroughhissuccessors.
Anothercurrentinitiativegearedtowardfosteringcommunity,theCapitalProject
Campaign,isa$40millionrenovationcampaignthatbeganovertwelveyearsago,whenThe
Public
was
still
under
the
direction
of
George
C.
Woolf.
While
the
campaign
has
several
stages
andisstillverymuchindevelopment,thefiftiethanniversaryofThePublicsawaclosetoa
hugeoperationtorevitalizethelobbyandoutdoorfaadeof425LafayetteStreet.Themain
goalofthepreviouscampaignwastorenovatethespace,andwhileaudienceslovedtheold
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25
space,itneededtoberenovatedbecauseofitsage.Previously,thewallsinthelobbyhadthe
titlesofShakespeareanplayswrittenonthem;thesewerereplacedwithwhitewallsandlarge
signsindicatingtheentrancestothesixperformancespaces.Inadditiontopractical
renovationsrequiredinthebuilding,suchasthefixtureoftheleakyroof,expansionofthe
bathrooms,andcreationofgreenroomareas,thecampaignhadagreaterpurpose:toserve
notonlyitsaudiencesandartistsbutthelargercommunity.Theadditionofarampinfrontof
thetheatrenotonlywaslegallyrequiredforAmericansforDisabilitiesActcodes,butalso
reflectedtheopenforallideaattheheartofthetheatresmission.TheideabehindPublic
Openisthatanyoneiswelcomethroughthedoors.Oneofthemaingoalsoftherenovationis
tomakethebuildingmoreaccessibleandprovideaspacethatnurturesthediverseaudiences
andartistswhoenter.LoweysaystheprogramisaboutReimaginingthewaythepeopleenter
thespaceandhowtheyaretreatedoncetheyareinthemainpartofthebuilding.Theporosity
andneedforgreaterspacewithinthelobby,butalsotheideathatthosefrontstepsbecome
thebeginning
of
the
lobby,
so
essentially
the
culture
of
The
Public
Theater
spills
out
into
the
sidewalkandinvitedtheaudienceinside.Loweyalsonotesthatwhenaudiencescomeinside,
thereisaplacetomixandminglewitheachother.Duetotherobustnessofprogramming,
audiencesfromUnderTheRadarandthosewhocometoJoesPubhavetheopportunityto
meetandtalkaboutthearttheyjustexperienced.Aslightlyunexpected(andslightlycriticized)
aspect
of
the
renovation
project
is
The
Library,
the
new
restaurant
located
on
the
second
floor
ofthebuilding.TheLibrary,whichderivesitsnamefromthefactthat425LafayetteStreetused
tobeapubliclibrary,isnotaveryfinanciallyaccessiblerestaurant:thepricesforcocktailsand
mealsarehigh.
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26
WhilesomemaysaythatnotallofThePublicsprogrammingisaccessibletoeveryone,
staffmembersadmitthatthecompanyisalwaysaworkinprogress.Mostoftheworkis
affordable,or,atleast,moreaffordableincomparisontootherNewYorktheatres.For
example,thePublicLabinitiativelowersthecostoftheatergoingbyproviding$15ticketsforall
audiences.Originallymeanttopresentworksindevelopmentwithscaleddownproductions,
PublicLabactuallypresentsfullscaleworkforafairprice.Inaddition,ticketstotheUnderthe
RadarFestivalareonly$20,andprovidetheaudiencewiththeuniqueopportunitytointeract
withinternationalartists.Andmostobviously,ShakespeareintheParkisstillatthecoreofthe
organizationsmission.In2012,ShakespeareintheParkcelebrateditsfiftiethanniversary,
whichattractedasignificantamountofattention.Forexample,aphotoshootbyAnnie
LeibovitzforVanityFairtookplaceatTheDelacortefeaturingMandyPatinkin,JesseL.Martin,
BlytheDanner,LilyRabe,JonathanGroff,JerryStiller,AnneMeara,DonnaMurphy,Audra
McDonald,JamesEarlJones,JesseTylerFerguson,MerylStreep,KevinKlineandOliverPlatt.
Thefeature
article
also
includes
ashort
commentary
by
playwright
Tony
Kushner.
Kushner
comments:
WhenJoePappcreatedtheDelacorteTheater,hestakedoutaborderland
betweenthenaturalworldandtheworldofdreams.For50summers,we
patronsofthePublicTheatersfreeShakespeareintheParkhavewaitedlong
hours
sitting
in
the
grass,
inhaling
dust
from
nearby
softball
or
soccer
gamesWealwayscomebackbecausethegoodnightsattheDelacortehavea
rare,peculiarmagic.Windstirsthetrees,theskiesdarken,thestagefillswitha
blendingofrealandartificialmoonlightthenoneofourcountrysgreatest
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28
togiveoutfreeticketstothateveningsshows.Thishelpsreachaudiencememberswho
otherwisewouldnothavetheopportunitytowaitinthegeneralparkline.VictoriaTeague,a
memberofthemarketingteamduringthefiftiethanniversaryseason,spokeabouther
experiencesduringboroughdistribution:Thepeopleinlineweregreat,too;theywerea
differentcrowdthanthelineattheparkbuttheywerejustasexcited.Wehadafewcranky
people,justlikeinthepark,butI'mgladtohavehadtheexperienceofmakingthedecisionof
howtohandlethemonthespot.Teaguesaidthatshehadtheopportunitytovisiteach
boroughandthattheticketswererandomlydistributed.Loweyagreesthatborough
distributiondoesagreatjobofprovidingaccessforcommunitiestoseeShakespeareinthe
Parkwhootherwisewouldnotbeabletowaitinline.However,Loweydreamsofatimewhen
ThePubliccanprovidetransportationfortheirshows,bothdowntownandinthepark.Hefeels
thatthiswouldreallybringpeopleoutoftheirneighborhoods,whichsomeneverdreamof
leaving,andbringthemtoplacestheywouldntnormallyfeelcomfortablein,neighborhoods
likethe
East
Village
or
the
Upper
West
Side.
Finally,thePublicForum,aninitiativechairedbyJeremyMcCarter,isaconversation
withartists.PreviouspanelshaveincludedconversationswithTonyKushner,Stephen
Sondheim,RachelMaddow,AlecBaldwinandSusanLoriParks.Whileitisticketed,arecent
changeisthattheforumsareuploadedtoYouTube.com.Thevideosarereallyimportantfor
the
community
to
be
able
to
access
on
YouTube,
since
the
tickets
arent
the
most
affordable.
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29
PUBLICWORKS
InApril2013,ThePublicTheaterannouncedtheirnewestinitiative,PublicWorks.
Accordingtotheirofficialsite,themaingoaloftheinitiativeistodeliberatelyblurtheline
betweenprofessionalartistsandcommunitymembers:itwillcreatetheaterthatisnotonlyfor
thepeople,butbyandofthepeopleaswell.Thedirectoroftheprogram,LeardeBessonet,
beganherworkatTheOldGlobeinSanDiegoonacommunitybasedproductionofThe
Odyssey.Thatprojectwascenteredontencommunitypartnershipsandstarredthreeunion
actorsand200SanDiegans,andservedasahugeinspirationforherworkwithThePublic.
deBessonetexplains,TheDNAofPublicWorkshasbeenpartofThePublicfromthebeginning,
Ithinkthemandatetofigureouthowtobridgethe,sortof,everwideninggapbetweenmany
NewYorkersandtheatreissomethingthatThePublichassetupforitselfanditwantstofinda
waytodo.Theinitiative,whichhasbeenbrewingintheinstitutionforsometimenow,has
beenintheplanningstagesforayear.deBessonetstatedthatthefirststepswereidentifying
whichorganizations
the
program
wanted
to
partner
with
and
that
those
partnerships
were
crucialincultivatingPublic Works.
Foritsdebut,theprogramistoproduceacommunitybasedproductionofTheTempest,
workinginpartnershipwithfivecommunityorganizationsfromaroundthecity.These
organizationsareChildrensAidSociety(Manhattan);DreamYard(Bronx);Fortune
Society
(Queens);
Brownsville
Recreation
Center
(Brooklyn);
and
Domestic
Workers
United
(all
boroughs,includingStatenIsland). InadditiontotheorganizationsparticipationintheproductionofTheTempest,whichwilltakespaceinearlySeptember,ThePublicisworkingwith
eachorganizationonworkshopsandclasses.Forexample,artistsareleadingdanceclasseswith
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30
theBrownsvilleRecreationCenter,achorusfortheChildrensAidSociety,andShakespeare
withDreamYard.deBessonetmentionsthateachpartnershipistailormade,basedonthat
companysneedsandmembers.TheDNAofPublicWorkshasbeenpartofThePublicfromthe
beginning,Ithinkthemandatetofigureouthowtobridgethe,sortof,everwideninggap
betweenmanyNewYorkersandtheatreissomethingthatThePublichassetupforitselfandit
wantstofindawaytodo.However,whyistheprogramspecial?Therearemanyprograms
aroundthecitythatbringtheartstounderservedareas.Butnooneisdoingitquitelikethis,
withinapowerfulandlargeorganization.deBessonetexpresses,WhatisdifferentaboutPublic
Worksisthatalotprogramsaroundthecityhavestuffforyouth,butthereisnothingfor
anyoneolderweretryingtocreateatrulyparticipatoryeventswherepeoplewhousuallydo
notfeelincludedintheartsfeelthisfullsenseofbeingtotallyathomeandwelcome.While
deBessonetunderstandsthatthisisahardgoaltomeasure,sherealizesthatthisiscrucialfor
theprogram.Shealsospeaksaboutadesiretosupporttheworkthatotherorganizationsare
alreadydoing,
whether
community
building
or
helping
members
rebuild
their
lives
after
incarceration.
PublicWorksistrulyarevolutionaryprogramhappeningatThePublic.Thisinitiativeis,
essentially,ThePublicsgrassrootstheatre.PublicWorksisanongoingprogramandwhile
thereisonemainstageshowayear,thepartnershipsareongoing,anddeBessonetisfocused
on
long
term
rather
than
project
based)
work.
Public
Works
is
a
grassroots
theatre
structure
withinamainstreaminstitution.
AUDIENCES
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31
Whilethetheatresaudienceshavedefinitelygrownandchanged,theconsensusis
thatThePublicsaudiencesareincrediblydiverse,especiallyincomparisontoanyother
theatricalinstitution.InthedocumentaryJoePappin5Acts,rarefootagefromthefirst
productionpresentedatTheDelacorterevealsanextraordinarydiversityintermsofage,race,
andclassintheaudience.Onespecific,powerfulimageisthatofasmallAfricanAmericanboy
enthralledbyJamesEarlJonessperformanceinTheMerchantofVenice.Thisimagesoclearly
demonstratesthepowerandimportanceofthegroundbreakingworkthatbeganatThe
Delacortein1962.Obviously,todaythetheaterneedstodrawinacertaincaliberofaudiences
tomaintainitsfundingandclout.Feldmannotes:
ThePublicholdsauniquepositionasatheatrethatoccupiesthemiddle
groundbetween,forinstance,LaMaMaandBroadway. It(hopefully)appealsto
multiplekindsoftheatergoersinthatwayandsometimesfunctionstobridgethe
gapbetweentwotypesoftheatreartthatareseenasvastlydifferent. AndI
thinkthat
is
awonderful
thing.
But
Ido
also
notice
that
our
audience
is
more
diverseandmoreareflectionofthecitywhenthewritersandactorsaremore
diverse,andIwishwecoulddoabetterjobofgettingallpeopleinthedoorfor
allprojects. IdoalsothinkthattheShakespeareintheParkaudiencehas
changedasthoseshowshavebecomeahotticketandhavebecomeharderto
get
into
for
those
who
it
was
first
aimed
at
people
who
don't
otherwise
have
opportunitiestoseeShakespeareactedbywonderfulactorsanddirectedby
wonderfuldirectors.
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ShakespeareintheParkdefinitelyprovidesauniqueopportunitythatcouldnotbereplicated
byanyothergroup.
UNDERTHERADAR
TheUndertheRadarfestivalworkstobringartistsfromaroundtheworld,whoare
otherwiselimitedintheirhomecountries.TheUndertheRadarFestivalhasproducedthe
worksofBelarusFreeTheatre,acompanyofartistswhofocusonthecontroversialpolitical
turmoilofpresentdayBelarus.Asanextremelypoliticallyturbulentcountry,Belarusdoesnot
haveartisticfreedom.WhenBelarusFreeTheatercametotheEastVillagetoperformtheir
pieceGenerationJeans,theyreceivedextremebacklashfromBelarussiangovernment.Ina
recentNewYorkTimesfeaturearticle,LarryRohterwritesthatthetroupehadtoescape
BelarusillegallyduetotheirpersecutionbytheK.G.B.ArtisticDirectorNataliaKolyadasays,
Wevehadtoleavethecountryinsmallgroups,andnotinanofficialfashion,letsputitthat
way(qtd.
in
Rohter).
Since
then,
Under
the
Radar
produced
three
of
their
pieces
in
total,
in
2011andonein2013.ThePublichasprovidedaforumfortheseartiststhattheydesperately
needandcannotgetintheirowncountry.Inaddition,itprovidesanincrediblyunique
experiencefortheaudiencesatThePublictolearnfirsthandaboutanextremelyoppressed
groupofartistsandwhattheyareexperiencingintheirpoliticallytumultuousnation.ThePublic
fully
supports
Belarus
Free
Theatre
and
its
artists,
so
much
so
as
to
take
it
to
the
streets.
Eustis
himselftookpartinaprotestforthefreedomofthosewhowerearrestedduetotheirart.Ata
rallythattookplaceonJanuary19,2011,Eustissaidtothecrowd,Weareherebecausethisis
oneoftheveryrareoccasionswhenatheatrecompanyisthemostprominentspokesperson
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33
fortheirpeople.TheFreeTheatreofBelarusarenotonlybrilliantartiststheyhave
courageouslytakenononeofthesacredandraretasksthatthetheatregetstotakeon;to
speakforthosewhocantspeak,todrawattentiontothosewhoneedattentiondrawntotheir
plight.WerehereinsolidaritywiththeFreeTheaterofBelarusandweareincrediblyproudto
beinsolidaritywiththem(Christopherson3:1547).
SUCCESSVS.ACCESS
ItisimportanttorecognizethatwhileThePublicisdefinitelyauniquecasestudyamong
theatrecompaniesinNewYorkCity,itisnotunflawed.Thereisnoabsolutelyaccuratewayto
measureitssuccessinprovidingaccessibilitytothecommunity,andthereisalwaysroomfor
improvement. Loweysuggestsonestepwouldbetophysicallybringingaudiencestothe
theatreforfree,actuallyprovidingtransportationtoandfromtheirhomes.Anotherwayin
whichThePubliccanworkoncultivatingitsaudiencesisthroughadigitalmarketingcampaign.
WhileThe
Public
is
indeed
active
on
social
media,
with
over
20,000
followers
on
and
20,000Facebookfans,theydonothavealargesocialfollowing(comparedtootherarts
organizations)orofferinteractivewaystoconnectwiththeiraudience.Inaddition,their
websiteisveryoutdatedandnoteasytounderstandandnavigate.Overall,whileThePublic
has,arguably,themostsuccessfulnonprofitcampaignincultivatingacommunityofdiverse
audiences
and
artists,
there
is
room
for
improvement.
CONCLUSION
Unfortunately,ThePublicisanexceptioninthetheatricalcommunityinNewYork,in
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34
termsofcreatinggrassrootstypework.Noothercompany'sworkcanrivalthecontributions
thatThePublicmakestothecommunityofNewYork.ThisismainlyduetoShakespeareinthe
ParkandthediversesettingofNewYork.Althoughgrassrootstheatrecompaniesareeffective
atengagingandfosteringcommunityamongaudiencesandartists,ThePublicdemonstrates
thatlargeinstitutionsarecapableofdoingthesame,andcanreachanevenwideraudience.
ThestructureatThePublicfacilitatesthetypeofworkthatgrassrootscompaniesareaimingto
do,butonalargerscale.Thesecompaniesarecounteractingthelargeinstitutionsthatonly
catertoprivilegedaudiences.Whiletheydothat,theirvoiceisnotloudenoughandtherefore
oftentheirworkdoesnotreachthemasses.However,themainstreamtheatrestructurestill
hasalongwaytogotofosterandserveadiversegroupofaudiencesandartists.
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Brantley,Ben."Mother,Courage,GriefandSong."TheNewYorkTimes.22Aug.2006.15Dec.
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CohenCruz,Jan.LocalActs:CommunitybasedPerformanceintheUnitedStates.New
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