Tom Minter's Off The Stoop Blog

a playwright's journey, creating, connecting, and conversing.

Archive for March 2010

marketing the platform

with one comment

..while reading a blog on the BBC News site the other day [Gomp/Arts – Is Britain Best For New Playwrights?], I found myself distracted by several observations missing from the thought..


In general, there is so much visual noise pasted to subjects of sale these days, attempting to catch our eye and turn our heads, determined, to alert us, as purchasers, to buy in a particular arena of exclusive opportunity.

Marketing is platform; the product gets a shot, for the right pitch.

The language of selling is now so endemic that it has denuded originality, made truth a lowest common denominator, and branded the individual into herds, to be collared and coerced into a chute, and in the case of theater, a seat, where product is often a flavor, rather than menu.

…or is that its own hyperbole?

Playwrights must certainly participate in the selling of themselves, and their work; to be platformed, they need to be storytellers who engage –however it’s managed. They also must find a company that has a constituency, especially if the playwright has no base, or fan club at hand. Invariably, this turns into a particularly grueling kind of weeding for the playwright.

As for the production company -it has to feed its constituency; which is a dilemma of many heads. In these straitened times, the company must make a choice of which head it feeds well. Lite fare can be filling, and easily replenished, bulking a constituency into complacent gluttony with unchallenging chews, and cushy seats. Meatier dishes take mastication, strong digestive abilities and overlooking the occasional weary jaw, sagging neck and dowdy vision.

But let’s be honest: a constituency is both hard found, and hard to feed evenly. It is also lifeblood to any company who intend to remain vital.

In the light from the front office, playwrights are plentiful, the right playwrights are marketable, and, being driven by the market, they write ‘in-the-vein-of’… or at least write in a way that can be referred to as ‘in-the-vein-of’..

In this type of hothouse, playwrights are engineered, and production companies keep a golden clasp on its constituency, with a specific type of fodder.

When the sell steps back from marketing the platform with the noxious bray of the best, the only, the most fearless, the most different, the most ambitious, the most unique, the most contemporary, the most American, the most singular innovative experience – speaking of a greenhouse of many voices, many views, many visions.. feeding many different conversations.. the individual in our playwrights will truly bloom, and a culture of theatre will be enriched.


Written by tomminteroffthestoop

March 31, 2010 at 8:30 AM

starting conversation

with 3 comments

Being an artist means being able to pull together the means for paying rent, and balancing the imperative which daily drives my writing.

For keeping my roof, I’m teaching. I have been fortunate enough to turn a love for opera, and a desire to share that enthusiasm, into working for the Washington National Opera Company, in their WNO/DC Public Schools program, as a guest artist in elementary schools, working with students to create a libretto to their own opera. This is my second year.

I teach in 5 schools across the District this year, and am steadfastly impressed at the weight of learning school teachers must impress upon their charges –an agenda, in my eyes, constantly under threat of derailment in the chaos, conflict, expectations, thirst for learning, and unquenchable energy of a 4th grade class room. And as I move through the various Wards of the District’s schools, engaging with inner city students with challenges that compound the already challenging task of education, I often find, in the eyes which take me in, the most blatant curiosity that I’m going to engage them in opera, as well as the blatant excitement, that a black man is talking to them about an art form full of unexpected dimension which can be loosened, and structured around their own imaginations, and at their own use.

In the various presentations that students come up with by the end of the project, there is no definition of roles by race; any child of any race can be any character, whether in a take on Shakespeare’s knight, in a variation of Verdi’s Falstaff (which is this year’s opera upon which students base their interpretations), or as a new character, as in last year’s remodeling of Bizet’s Carmen, where an all new Act VI brought Don Jose’s evil twin brother under the ghostly demand of vengeance by Carmen’s ghost..!

In every way, working with these students brings perspectives of their own family of origin experiences. Black, Asian, Hispanic, White –children are entirely aware of the world around them, and navigate it in ways familiar to me, and by routes which move beyond identifying color as access.

At this age, imagination is a sandbox where everyone can play. Which is something I find I work to preserve. And though I know I’m one of the oldest in the sandbox, I’d never considered myself an “elder” until I was asked to participate in a project one of my schools was involved in.

A teacher asked me if I’d be willing to have a group of 4th grade students speak with me; they needed to exercise the tools of  “interviewing”, as the project was about “learning from our elders”. I was told they needed to get the history of someone [and this was the ingredient which was delicately inferred], over 50.

I am 53. And I have to admit I’d not actually stopped to consider my category of longevity. But I can now classify myself, officially, as an elder.