News from Childsplay’s Third Sustainable Stagecraft Summit

At our third Sustainable Stagecraft Summit, the participating organizations gathered to review our first two meetings and discuss what can be done to begin to fill the gaps between our desired sustainability and the resources that are available to us now.

Overwhelmingly, the theatres agreed that improving communication during the design process can improve the sustainability of our scenery and the personnel who build it. Working through Midsummer illustrated the great benefit of involving the technical director from the start of the process. However, it will require an understanding on both the designer/director and TD of why they are all in a room together. Some artists may resist the presence of production person so early in the process, while some TD’s might feel like they are there to squash ideas before they’ve had the chance to fully evolve. The real benefit lies in the TD understanding the design on a much deeper level, which could inform the decision making process once the scenic design gets down to “value engineering.” For directors and designers, the TD’s presence early the in process could help to focus ideas on what’s possible given the theatre’s production time line and budget.

It was agreed that any thoughts of sustainability go out the window as opening night draws near. How could the energy that goes into these final weeks be re-directed to the front end of the process? Would it help keep your design process consistently on time? Would this yield a more productive working environment during technical rehearsals?

It was noted that production timelines are often determined by the needs of the box office. It’s difficult to change one process without looking at all processes necessary to produce theatre.

The idea of a centralized depot or co-op (as our colleagues in Austin are creating [Salavge Vanguard]) came up several times. The question of the financial feasibility of such an organization came up each time. Operations, fee structures, and space were ongoing concerns. Because of the disparate operating budgets of area theatres it’s likely such an operation would be highly attractive to the smaller companies, while the larger organizations would get less out of participating.

What gaps should we focus on now?

Materials – the thought that spurred this project: let’s stop using trees on stage. We have discovered that several potential alternatives (Kirei Wheatboard, PlyVeneer) are being developed, but as of yet, we have not found a product that meets most of the needs of scenic construction. We’re confident we will find the right manufacturer who will be interested in helping us realize our goal.

Funding – there’s no doubt that using a sustainable plywood alternative will be more expensive. We need to find ways to convince our funders that sustainability is important. In Childsplay’s case, the irony of a children’s theatre with a mission of “imagination and wonder” that is mortgaging children’s futures through unsustainable practices was not lost on the group. We need to tie our requests for support to causes, “asking for the right thing, the right way”.

Conciseness raising – as we learned at the first summit, recycling our scenery was a much more achievable goal than we had been led to believe in the past. The Think It grant allowed us to spend the time to find “the right person.” In our next blog post, we’ll be taking you though the process of the first two sets to have been recycled in Childsplay’s 33 –year history.

-- Jenny Millinger & Anthony Runfola, Childsplay

What Are the Qualitative Aspects of Establishing a Talent Agency?

As our [East West Players] coordinator Ming Lo concludes interviews with “qualitative” interviewees, he muses on the right-brain, left-brain divide:

In our modern culture, much has been made of the “right-brain” vs. “left-brain” differences – that is, the artistic and the intuitive (right brain) vs. the logical and rational (left brain). I happen to think that there’s no reason that we should all be capable of both, but sometimes, it seems that society doesn’t really agree. Many people adamantly declare themselves to be one or the other. Artists violently shy away from math and shudder at the thought of business. Meanwhile scientists, doctors and accountants would rather take the SATs again than stand in front of an audience and do a monologue.

Our goal is to figure out whether it makes sense to set up an Asian talent agency in Los Angeles – a question that mixes the artistic with bottom-line thinking. To come to a conclusion, you have to look at the qualitative side (Do actors want to be part of such an agency? Does it fill a market need?) as well as the nuts and bolts numbers (How much is office space for an agency? How much is the phone bill?).

The challenge is, sometimes, people are qualitative or quantitative, but rarely both.

There was the agent’s assistant. She’d worked in various agencies for many years, and so I asked her, “Any idea what the rent is for an agent’s office, or some of the other expenses?” Her reply: “You know, I hear these numbers all the time, but they just don’t register.”

Process has an impact on the outcome. So, I asked a casting executive at a network, “So, how does the casting process work at your studio?” I thought it was a very basic question, but the answer was another question: “What does that have to do with your question [about whether it makes sense to establish an Asian agency]?”

In the interviews, I say, “I’d like to ask about your background.” Twice, the reply was, “Why is that important?”

This thing always remind me, what’s obvious and makes sense to one person, often does not to another. A bit of a challenge, but makes the process interesting.

Ming’s next steps will include more “quantitative” side questions—researching successful 501c3 models that blend for-profit with non-profit and meeting with our finance/legal team for “nuts and bolts” of the proposed business plan.

--Lisa Tang, East West Players

How Important Are a Leader's Connections to the Success of a Talent Agency?

East West Players’ research addresses the value of ‘who you know’…

It’s a relationship business. (duh)

Coordinator/Consultant Ming Lo has now interviewed with a range of stakeholders: theatre managers, actors, agents, TV network executives, marketing firm CEO’s, lawyers. Reaction to the idea of an Asian Pacific American talent agency has been as varied as the interviewees, ranging from enthusiasm to curiosity to (very frank) disinterest. But, one glaring trend from nearly every interview was the acknowledgement that the success of the agency would hinge on the person recruited to take the lead as an agent. Or rather, it would hinge on the connections he/she has.

Case in point: One agent from a mid-sized respectably established agency (who asked to remain anonymous) described some of the fellow agents in the firm. “One agent has 10 connections. Another has 5. This other one has 5.” The implication: These agents are defined (if even only in part) by their connections- specifically to casting directors- enough for them to be numerically listed and categorized. These connections, as Arts Education Director Marilyn Tokuda, has noted, become the ‘lifeblood’ for the agency.

The logic is this: A casting director (often under pressure from the director and/or producers) will often turn to trusted agents who can send 5-10 strong actors with one phone call. Often under deadline tight deadline, he/she won’t bother making cold calls or contacting agents with ‘poor’ reputations. This streamlines the audition process; saves on scheduling and, ultimately, production costs. It’s a matter of efficiency. This is no big surprise in an industry defined by the bottom line. But this is confirmation that in the creation of an APA talent agency, we we’ll have to wrap this dose of ‘reality’ with our goals of creating a mission-driven prototype. To win the game, we may have to play by these rules—or at least bring on someone who does. We know: To support careers of APA actors, we must form a venture that is effective (at the least) and also financially viable (ideally!). Possible Future Blog Title: Hippie-spirited community activism dons HBO Entourage-style suit (and attitude) to meet our mission.

Individual interviews (by phone and in person) are ongoing. Arts Education Director Marilyn Tokuda and Coordinator/Consultant Ming Lo have begun to cull and analyze the data. (Did you know – according to one source – that the average base salary for a Hollywood agent ranges from $85-$120K? Not a lot of these kinds of salaries in nonprofit theatre!)

The next step: Draft 1 of a Business Plan. Stay tuned.



--Lisa Tang, East West Players