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As you may know, this blog started life as a resource aimed at the members and Alumni of Birmingham University's Guild Musical Theatre Group.















Since then, I have realised that a great many artists I know could use a serious resource for discussion and debate of the major issues.















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Sunday 31 March 2013

The Politics of A Show: How to Deal With Potential Conflict in Musical Theatre Productions


The politics of an amateur performance group are among the most intricate in the world. Here you will find a group of enthusiasts for many different arts, all working towards the same end: putting on a show. True to the meaning of ‘amateur,’ the cast and crew are there, mainly ‘for the love of it’. They have given up their spare time, on top of the day job, to devote several months to learn, rehearse and perform a large piece of material, (or materials), to the public. As it is their hobby, just like amateur rugby and football, they will hold nothing back, and throw their hearts into it, whether the outcomes are good or bad. The downside to this, is that it does not bode well if there are fallouts; and so, steps need to be taken, to deal with potential conflicts, before they arise.

Models of Society

Although there is a model constitutions for a society, as given by the National Operatic and Dramatic Association (or NODA), for societies within the UK; I would like to suggest that the rules and regulations be tailor made, according to the nature of that one society. Committee members should use their instinct when deciding which way to go.

When a society has a co-operative atmosphere, it can be run fairly informally, like a group of friends. A basic constitution of rules and processes should be agreed upon, but other than that, if the members are happy with informal gatherings, then the creative team can be left to decide which way things may go. After all, no-one likes a one way street, and there are many society members who have years of experience and training, not to mention hidden talents in new areas. Each person can take a hand doing something.

When the atmosphere becomes competitive, run it like a business. It may seem unusual for amateur societies to be thought of this way, but when members get serious about roles onstage and offstage, this mentality is right, to make sure that the casting and selection for crew is seen as business, and should not be made personal. This practise often happens in the larger societies, whose performance standard is very professional, but is equally true of some concentrated, smaller groups.

 In either case, the NODA model of constitution should be used, and roles made as labour intensive as possible. This will deal with most of the potential fallouts, by making clear from day one, who is doing what, and why. Dance captains, assistant MD’s, and vocal coaches, can be chosen among others; to delegate the workload of the creative team: and equally, to make sure that members of the cast and crew are given more chances to use their skills.

The ideal show should be a well oiled machine. Each production team member knows what they are expected to do, and when. The production seems to run like clockwork, as the chorus are lead from the MD to the choreographer, to the director for each scene.

Decision Making

The best way to ensure good relations is to make sure that you have a transparent decision-making process. Once a decision is made by the society’s committee, and/or the show’s productions team, it must be followed to the letter. While that may sound obvious, the normal flexibility people that have to deciding things, can’t be used here. When you decide something, stick to it.

It is also important that rules and decisions are made public. Minutes of committee meetings and production meetings should always be posted on the society’s notice board, so that decisions are clear, and that people can raise issues quickly.

Problems should not be left to fester. The biggest mistake any organisation can make is to leave an issue buried for a long period of time. Silence leads to rumours, then to gossip, then to serious misunderstandings, and breakdowns in trust. Therefore, it is important that all decisions and the reasons behind them be kept in public view at all times.

If a decision deals with a very sensitive issue, or would it would be damaging to reveal it, then it is best to bring in a Members’ Rep (elected by secret ballot among the members themselves) to the decision-making process. His/her vote and deliberations should at least help to raise any concerns that members have, and air the issues properly, so that they can be dealt with.

Auditions

This is by far the most important thing to get right. The auditions process must be transparent, consistent, and must be followed exactly. If it is found to be unfair, this will be the worst possible ammunition for anyone with a grudge. A lot of the roles, especially principal roles, are hard fought, and there is nothing worse to an unsuccessful auditionee, than seeing someone in their chosen role who isn’t as good, or seems to have had the right friends. This is probably the single biggest cause for conflict in any performing society.

For these reasons, there must be absolutely no bias. Members of the audition panel who are known close friends of autitionees should abstain from voting on their friends’ auditions; and should not be allowed to vote on their own audition, if they themselves wish to be in the show. There is only one exception to this rule and that comes in the form of concessions. While the audition panel must not be biased officially, it is an unwritten rule, that society members who have been loyal and put in much work behind the scenes, should be at least considered for principal roles. They cannot be guaranteed them, but a loyal, long serving member should be rewarded with a part if it is between them and an outsider. To ignore a long serving member in favour of a complete stranger can have dire consequences for morale, and can cause a lot of internal strife later on.

There must be clear leadership. Once a vote is cast on whether or not to allow someone in the cast, it should be adhered to. As in paid business, some members will not be happy with the roles they have been cast in. But if the decisions were made fairly, transparently, and are adhered to, they will accept them, if a little begrudgingly.
 
The panel should consist of the director, the musical director, the choreographer, and (if there are likely to be any conflicts of interest), a Members’ Rep, elected by them to the panel. Panel members may also decide to include an assistant director, chorus master, dance captain and/or vocal coaches if the director feels it necessary: but this should be the directors choice, according to how much detail he/she would like to go into.

It should be agreed well in advance what the auditions process will be, and which materials will be offered to those taking part: for example, if the auditions are to be open to the public, or are to be closed, for existing members only. The director and panel may decide to hold some auditions separately for some principals, for productions in which the leading characters play very big roles, like Scrooge, Tell Me On A Sunday, Hello Dolly, or Jekyll and Hyde.

If the show involves children, like Oliver, or Annie, they may decide to auditions the children’s’ and adults parts on separate dates. This of course is the director’s decision, but if cast members are to be auditioned separately, and/or on different dates, then the society should be made aware of the reasons behind this. The panel should also consider if the auditionees can bring their own choice of song, or if it is better that one is selected from the show itself for them to perform.

A scene from the show is best for auditionees to learn and perform, to demonstrate their acting skills. If the show involves much dance (like 42nd Street, or Anything Goes) then a separate dance audition can be held for all, but the principal performers should still be auditioned individually for their singing and acting skills. All persons coming to the room should be auditioned the same way, and given the same choice of materials (both acting, a song from the show and/or a dance sequence if required) to choose from.

Offstage is just as important. The producer, stage manager, wardrobe mistress/master, and front of house manager, should all agree on who they will want to work behind the scenes. The producer has the final say, and may agree on a process for this, with the offstage/backstage team.

During the course of the show, there may be changes to the cast and crew, as commitments clash, and some members may be forced to drop out or change role. Unexpected accidents or personal problems may pop up, so some people may have to be replaced. If and when this happens, it should be made clear to the society, why the role is being changed.

As long as the auditions process is followed consistently, and with the utmost care, a lot of conflicts can be prevented, and the respect earned for the performers, and creative team of the show.

Membership Money

Another potential cause for conflict is the issue of membership money. It is certainly true that if you are in the cast or crew of a show, you are able to play a more active role in the society’s affairs. If you’re not cast, or invited to volunteer backstage, it can seem unfair to be asked to pay the same membership fee as those taking part.

The answer to this is to have two membership rates: ‘acting’ and ‘non-acting’ members. Non-acting members, (who are neither in the cast, nor creative team, nor crew of a show), should always be able to pay less. They still get access to the newsletter, to social events, and to awards through affiliate organisations like the National Operatic and Dramatic Association (for UK performers); but theirs should be a basic flat rate of say £10 per year/bi-annually. This is something that the committee can decide.

 The ‘acting; members should be charged the full amount (around £20 per year/bi-annually, or something like this). In return for which, they get to be part of the show, and will inevitably take part in the social gatherings following rehearsal nights. They may also be given perks, such as free posters of the show, programmes, badges etc; which should more than justify any extra charges.

A Revue Performance

One way to neutralise disagreements effectively, is by performing a Revue (or 'variety show'). If there is a lot of disagreement within your society, as to which show to do, or society members seem to have many different interpretations as to how it should be done, then a Revue may be the best solution.

It allows society members who have ideas, to try sketches, songs, or dance routines from shows they like. The show can be divided into sections. Each section has its own director, producer, choreographer and even MD/accompanist, if there are the people to spare. The song, sketch, dance routine or instrumental will be one that has been agreed between them.

An executive production team oversees the show as a whole. Their job is only to supervise the other teams, and check that they have the resources, and the sections fit together correctly. Each section's team should be allowed the initiative to create the piece as they need to. To look after the musicians' and dancers' interests (as musicians and dancers may sometimes feel left out in musical theatre shows), a dance instrumental should be staged, to allow both to show their skills.

There would of course, need to be time constraints to the show: each section being allocated a given number of minutes, and budget. The time in each section should be under the 20 minutes to satisfy copyright restrictions for a show's dramatic setting: so actors should be able to perform in character, without fear of legal action by the show's rights holders. Certain selections may need to be edited for content appropriate for the audience. There would also be technical restriction on the amount of lighting and sound; and of course, musical arrangements may need to be simplified, to condense the performance piece.

But the benefits of putting on a Revue/variety show, far outweigh the burdens. Not only will a Revue satisfy a lot of society members' different tastes in musicals; it will also give them a chance to step up and use their skills: both onstage and behind the scenes. The resulting show will be an eclectic mix, from all genres of musical theatre, and should offer something for everyone. So if you're stuck for what show to choose next, a Revue as a show is certainly a very good idea.
 
More on this article to follow!

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