I’ve done other pieces on the Extemporaneous Theatre Company (here, here, here, and here) and it’s obvious I think they’re a national treasure.  Well, maybe not that good, but they’re worth seeing, if you haven’t already.  If you’re cool enough to be reading this, but haven’t seen and supported ETC, well…  I mean welllllll.

The latest show was Santa’s Underpants on December 25.  It was for all of us losers that had nowhere better to be on Christmas night.  As you’d expect, it attracted pretty much the whole gang of ETC performers.  Nick Crawford, Mike Cunliffe, Christopher Davis, Callie Mauldin, Martin Morrow, Kathryn Myrick, Douglas O’Neil Jr., Debbie Smith, and Arik Sokol.  If you forced me to pick a “top three” of improvisors at ETC, it might include a black man, a white guy, and a woman.  If you forced me.

My pieces almost always digress, but I’m going to avoid it this time.  I want to say a serious thank you to ETC for making sure they have actual comedy and improvisation on their website.  If you visit the Extemporaneous Theatre Company website and scroll down a little, they’ve got a real, actual clip of the performers doing comedy and improvisation.  In fact, if you want to get an idea of what they’re doing before you go, they’ve got almost 70 clips on YouTube.  Since they’re a comedy and improvisation troupe, it makes sense that they would have comedy and improvisation on the website.  Especially in an age where video cameras are fairly easy to come by.

Let’s compare this excellent marketing by ETC with other groups in Birmingham whose websites currently don’t seem to offer (or at least not obviously) the very thing that they want you to come see:

• The Alabama Symphony Orchestra (no music)
• Opera Birmingham (no opera)
• Red Mountain Theatre Company (no performances)
• Birmingham Ballet (no ballet)
• Magic City Actors Theatre (no performances)
• Birmingham Festival Theatre (no performances)
• Theatre Downtown (no performances)
• Sanspointe Dance Company (no dance)
• Southern Danceworks (no dance)
• Park Players (no performances)

Compare to these:

• Birmingham Children’s Theatre (show and behind-the-scenes clips)
• Skybucket Records (song jukebox)
• Arova Contemporary Ballet (dance clips)
• Theatre UAB (but you have to search a little)
• Alabama Ballet (but only 1 of 3 are working)

I’ve groused about this before.  In my opinion, your organization earns an F if you don’t have accessible pictures.  At least designate someone to take some backstage/frontstage snaps.  Then, in an era of iPhones and Youtube, you may be missing out on some key marketing tools if you don’t have video or mp3 audio files of the very thing that you’re trying to get people to buy tickets to.  If these guys can make five second films, you can too.

In that same vein, if someone could program a “What’s Going On in Birmingham This Weekend” app, or a Thursday morning email service maybe, I’d pledge to do the research to keep it updated.  And I’d make sure ETC was on there.

ETC’s next shows are February 4 & 5.  Thanks very much to Douglas O’Neil, Jr., and the rest of the Extemporaneous Theatre Company for giving me a much funner family to spend Christmas with.

I just don’t know why more fashionistas, style-seekers, sartorialists, and exhibitionists don’t attend theatre performances.  The entire audience is there to people-watch.

That’s.  The.  Whole.  Point.

I mean, a theatre performance is essentially one big eyeball-grab.  If the show doesn’t hold your attention, they’re doing something wrong.  And the actors might as well be involved in kind-of a free-for-all MMA fight.  It’s a battle for who earns the most attention.  Any show really just has two types of roles: 1) the eyeball grabbers and 2) the support roles who manipulate you into making sure your eyeballs stay focused on the eyeball grabbers.  Both roles are valid, but require different talents.

The whole time, I’m watching the characters I like.  I’m deciding which actors grab my eyeballs and whether I can catch someone doing the underappreciated job of supporting a colleague.  That’s your job!  It’s a competition!  Grab me!  Be a spectacle!  Be likable!  I’ve also spent my life paying attention – through a piece – to any eye-catching efforts of a writer.  But I admit to also being there to people-watch the rest of the audience.

There’s no shame in admitting that, is there?  Let’s just go ahead and acknowledge that most everyone else does it too.  Especially in the Odess Theatre, where it’s usually set up in the round so whole sections of the audience are sitting directly across from other sections.  Shoot, some people have to walk across the stage even to get to their seats.  It’s fun to see people confidently strut right across the floor or slink around the edge.

Theatre is built for fashionistas.  At this completely sold-out performance (UAB Theatre’s version of Venus by Suzan-Lori Parks, in case I’m overly digressive), there were plenty of interesting people, both in the play and in the audience.  And I notice pretty much everyone.  At some shows there might be someone more interesting than even the onstage actors.  At Venus, for example, there must have been at least one deaf theatregoer because there was a sign language interpreter in the back corner.  It was hard not to be distracted.  Sign language is likely the most beautiful of all.

So, the entire audience is there for a show.  If you’re the kind of person who can spend six hours looking for the perfect shoes and the perfect funky tights, then the theatre is the right place for you.  It’s a whole room of people who understand seeing and being seen in a way that you’re not going to find at the Tau Kappa Epsilon keg party, Young Lawyers social, or almost any charity event.  Put on your coolest dress or something offbeat and go see a show.  You’ll be with people who will notice and will appreciate it.  Better than wearing your perfect thrift store discovery for yet another meathead.  Half of being spectacular is finding someone to properly appreciate you.  And you might even outshine the actors – how fun is that?

“Some audience is better than none at all.”

Regarding the play itself, I sometimes feel like a smarter or better person after experiencing some kinds of art.  This was one of those.  I’m not sure I could highly recommend it, but I felt like this play was an experience and that I might have learned something.  In the aggregate, UAB still produces plays that are comparable to anything else happening in town.  The production elements were top notch and, frankly, everyone involved deserves extra applause just for being gutsy enough to push these envelopes.  Finally, Joshua Butler is worth mentioning, again, for his role as The Baron Docteur.

Once more, thanks to Mel Christian and Theatre UAB for having me out.  I apologize for my holiday/flu delay.  *sniffle, cough*  Merry Christmas!

The Extemporaneous Theatre Company just did a show at the excellent Red Cat Coffee House.  I’m glad Birmingham has an improv troupe, they’re quite good, and I’ve done other pieces on them (here, here, and here).  ETC has an ever-changing cast and this show featured Nick Crawford, Mike Cunliffe, Christopher Davis, “Juice Box” Martin Morrow, Jacob Simmons, and Debbie Smith.

Improv is at its best when 1) there are lots of audience questions and interaction, 2) the individual pieces move fast – get in and get out, and 3) the sketches give the performers opportunities to make lots of left turns.  If something doesn’t go well, it’s probably because 1) they should’ve included the audience more, 2) the sketch stretched out too long, or 3) the performers got boxed in by the narrative or their characters.  Fast, loose, and highly interactive – just how I like my women.

I’d like to give kudos to the Extemporaneous Theatre Company for joining other Birmingham organizations in scheduling some shows at inexpensive prices.  Thanks for the eco-comic or econocomic stimulus!  This ETC show was “Pay What You Can” with a $5 minimum (cash & checks only!).  I’ve got lots of friends – and I know lots of students or recent graduates – who would love to support local arts, but who can’t or won’t afford $15-20 for a show.  You’ve already got the material, got the performers, and done the rehearsals – or “rehearsals” – so why not put on an extra show or two at bargain basement prices?

I just watched the excellent 1948 movie The Red Shoes.  Its first scene ought to be a must-see for modern arts organizations.  The scene is opening night for a ballet and the side doors of the theatre open to a crush of young people, racing and falling all over each other to claim seats in a small balcony.  I’m sure the theatre released a very limited number of cheap seats, so the young and passionate could gain admission.  Not for everyone, just for those who want to come so badly that they’re willing to risk not getting a seat at all.  The well-dressed and well-to-do all purchased reserved and well-afforded seats on the floor.

I think all arts organizations should do this.  Instead of cheap seating on one night, the back row(s) should be reserved every night at ultra-low prices – first come, first serve.  Announce it, market it, let people know, and then let people stand in line for an opportunity to get a $2 ticket.  You guarantee some passion in your audience, which is a good thing for the organization and the performers.  It’s also exciting for the rest of the audience to have ruffians in back.  You’re encouraging arts patronage for life.  And you know they’ll brag all year about seeing a play or the ballet or the symphony for $2.

It’s just good marketing and, let’s admit it, no one gets into the arts for the money anyway.  At the end of the night, remind the audience, “We’re glad you came out!  Especially you ruffians in the back!  Did you have a good time?  If so, please tell your friends, co-workers, and family to come out and see our next shows on December X, December Y, and January Z!!!  Thank you very much!”

I think the good PR is worth the investment.  Some folks just need a little nudge in the right direction.