This article was first published in the April Issue of Scene4 Magazine
The American theatrical blogosphere has been awash these past few months with responses to Rocco Landesman’s recent speech in which he asserted that the supply of arts in America has outpaced demand. If, as Mr. Landesman believes, attendance at American theater is decreasing while simultaneously the number of theaters is increasing, than clearly we have created an unsustainable business model. There has been both outrage at Mr. Landesman’s comments, and some agreement. Are there too many theaters? Are there too few theatergoers? Is this the wrong time to start a theater company? Whose work is worthy of support in such a competitive atmosphere? Has the American theater community nurtured a business model that is destined to fail?
But perhaps the heart of the issue isn’t that American theater audiences are declining, but rather that American theater isn’t finding its audience. Perhaps the most important question is where are today’s audiences – and how do we reach them?
In a recent article for American Theater Magazine, Susan Miller wrote of the joy she has found as a theater artist discovering that she can write, produce, distribute and have full creative ownership of her projects when she works in online video. Susan writes that working online harnesses all the energy of our younger years when “Lets put on a show!” was a thrilling call to action, be it in a high school auditorium, an out of the way black box, or even a barn – Mickey Rooney style. The key difference? This show has the capacity to be seen by thousands and thousands of people and continues to be seen long past the final curtain.
I love Susan’s notion that online video is the next great frontier for theater artists. And I think there is a specific facet of web video that holds the most promise to those of us who have spent our careers on stage. The natural pairing of theater and online video …live-streaming.
As theater artists who thrive on the spontaneity, danger and electricity of live performance [click to continue…]
This post was originally published on the 2AMt blog. It summarizes the history, the reasons behind, metrics, the technical and aesthetic requirements of and the successes of our production of Better Left Unsaid TV, the first of it’s kind interactive live streamed play. To skip to the section that most interests you click the appropriate word in the previous sentence.
Miguel Govea and Jessica Arinella in Better Left Unsaid by Joey Brenneman
On January 21st of this year, my producing partners and I began previews of the first of its kind, interactive live streamed play. This was a full length production of Joey Brenneman’s Better Left Unsaid, cast with professional New York actors, staged in a small off-off broadway house in front of a live audience for a three week run. AND…simultaneously Better Left Unsaid was shot with four cameras, mixed in real time and streamed live to the internet so that anyone, anywhere in the world could see the show. The bonus for online viewers was that they could interact with the live streamed theater experience via Facebook, Twitter and chat rooms.
Producing a play is complicated. Producing a live streamed play incorporates everything it takes to produce a play and adds to that everything you need to do to produce a live television shown- with the always wavering unknowns of live streaming technology thrown in to the mix. We climbed a lot of hurdles to reach opening night, almost as many to arrive at our final performance and ended our nine month journey on the highest of notes. We had over 50,000 unique viewers join us for the final three performances of Better Left Unsaid. We received virtual standing ovations from people all over the world. We proved that people will in fact pay for online video, at least if it is positioned as theater. Finally, we had the great honor, joy and sometimes nervous breakdown of launching a brand new theatrical paradigm, born of today’s technology.
Why live stream a play? Honestly there are a million reasons- the most obvious are… click to read post…
…actually 648% according to Andres Palmiter in his recent article for Comscore. To further gild the lily, live streamed videos are holding on to their audiences 7% longer than traditional on demand video.
Why are live online broadcasts attracting and keeping an audience?
In a world with hundreds of thousands of videos on demand, live makes the viewer feel special. Today’s audience wants to feel a sense of ownership with the content they consume, and nothing creates a stronger sense of ownership than actually being there during a live webcast while your show is created.
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The sign for our sesson on Women in New Media at Podcamp Boston 4
Last year at Podcamp Boston my friends Whitney, Selena, Gina and I held a session meant to be entitled “Women- are we holding ourselves back in New Media” but instead was entitled “Puma’s Cougars and Cocks-who wins?”
It was a very well attended and vibrant session-but I felt like I had sold out. It seems the only way to get women to attend an important discussion focused on their own prosperity was to couch it in male centric terms.
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Today is a momentous day.
Today I launched our Kickstarter campaign to raise the funds for my next online video project Better Left Unsaid.
A first of its kind, live streamed theatrical event, Better Left Unsaid combines all my passions, theater, technology, community and online video.
My love of the theater is almost as old as I am. Every decision I have ever made in my life has in some way been Read Post
