My nephew Adam, who (thanks to the Wiggles and frequent
encouragement and applause from his groupies) has the
performer bug something fierce.
Good grief, it's quiet in here.
After four days of hanging out with my family, I'm back to an empty place—and their feelings wouldn't be hurt to know it feels good, because I'm certain they felt the same way as soon as they got home. I don't have to work for another week and plan to take things verrrrrry easy, but there are two shows to promote (Exit 16/Fakers/alums) at the Corbin and Tantrum at the Coffeehouse.
The Corbin show is due for a revamp. Since we killed the idea of putting up two shows—On The Spot and the late show—last spring and brought in Exit 16 to play with the Fakers, audiences have been consistently better. But since we're playing for friends and family, we've let the shows get a little sloppy. We're not entirely sure who'll be in them, or what they'll do, or who will be sitting in the box office.
Not good. And against pretty much everything I believe about putting on a show. Five bucks a ticket or not, the audiences deserve better.
So I'm getting together with Fakers next week to figure out how to make the show better. I really want to look to them for ideas, but I've got some initial thoughts (besides staffing the stupid box office):
- Consistent framework—everything from the show and each act's opening/closing music to a regular host.
- An actual technical improviser—someone with an announcer's voice and an eye for beats. As long as I'm in there, we're in mom-n-pop land. (Though I'm stuck there for one more show.)
- More planning—troupes will know who's in the cast and what they're going to play in advance, so we can sell it and it runs more smoothly.
- Tighter focus—because we're not putting on a show in someone's living room.
- Branded marketing—a consistent look and feel for posters, fliers, web stuff, etc.
This is no-duh stuff.
And now, back to watching Independence Day, which is the best bad movie on my shame list. Bill Pullman rocks.