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A survey of theatre organization as practiced by a selected group of community theatres in the Los Angeles area
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A survey of theatre organization as practiced by a selected group of community theatres in the Los Angeles area
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Content
A SURVEY OF THEATRE ORGANIZATION AS PRACTICED BY A
SELECTED GROUP OF COMMUNITY THEATRES IN THE
LOS ANGELES AREA
A Thesis
Presented to
the Faculty ot the Department or Drama
The University or Southern Cal rornia
In Partial Fulfillment
o t h Requirements ror the Degree
Master of Arts
by
Harold Edward Johnson
June 1951
This thesis, written by
--·----·--·-- -·Rar_ol.d_.Edward .. J.ollns.on ........... __ ... .
under the gttidance of h.1.s _.Fa ulty Co111111itt ,
and approved by all its 1ne111b rs, has b en
presented to and a epted by the Coun ii on
Graduate Study and Resear h in partial fulfill
nient of tlze reqttirem nts for the degr of
···-·--·····- ··········· Maat.ar .. .a:t .. Ar.t..s ........................ .
'
--------------------------------- ··--···········--···-···-----------------·-------
Dale ............. f ~~!? ... .J:_9..5.l .... - ......... .
Faculty Committ e
TABLE OF CONTENTS
CHAPTER
I. THE PROBLEM AND DEFINITIONS OF TERMS USED •
• • •
PAGE
1
1
1
2
2
3
3
4
II.
III.
The problem
• • • • • • • • •
Statement of the problem ••
Importance of the study ••
• • • • • • • • •
• • • • • • • • •
• • • • • • • • •
Definitions of terms used •••••
Little Theatre and Art Theatre ••
• •
• •
• • • •
• • • •
Civic Theatre • ••••••
Community Theatre • ••••
• •
• •
• • • • • • •
• • • • • • •
Theatre Organization.
• • • • • • • • • • • •
O rganization of remainder ot the thesis ••••
6
REVIEW OF THE LITERATURE AND PROCEDURE • • • • •
7
9
9
T
Review or the literature •••••••••
• • •
The groups studied and the procedure •••••• 13
election ot technique •••••••••••• 13
election of questions for the interview
gu de sheet ••••••••••
election of theatres for study.
• • • •
• • • •
Interview methods
• • • • • • • • • • • •
ITY THEATRE OVE NT.
• • • • • • •
• •
• •
• •
• •
Parentage of Community Theatre ••
Failure of the road show •••••
Origin of the Community Theatre .
• • • • • • •
• • • • • • •
• • • • • • •
15
16
16
18
18
20
21
CHAPTER
Community Theatre of today.
• • •
IV. ORGANIZATIONAL PRACTICES
• • • • • •
Centinela Theatre Guild.
• • • • •
Production
• • • • • • • • • • •
Facilities
• • • • • •
• • • • •
Audience and actor
• • • • • •
•
Theatre mericana.
• • • • • • • •
Production
• • • • • • •
• • • •
Facilities
• • • • • • • • • • •
Audience and actor
• • • • • • •
Little Theatre of Eagle Rock
• • •
Production
• • • • • • • •
• • •
Facilities
• • •
• • • • • • • •
udience and actor
• • • • • • •
untington Park Civic Theatre.
• •
Produc ion
• • • • • • • • • • •
Facilities
• • • • • • • • • • •
udience and actor
•
• • • • • •
estwood Village Players
• • • • •
Production
• • • • • • • • • • •
Facilities
• • • • • • • • • • •
Audience and actor
• • • • • • •
v. ORGANIZATIONAL DEF IC IENC IES.
• • • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
• • •
iv
PAGE
25
2?
27
2?
29
29
30
31
33
33
36
36
37
38
lf-0
1+o
42
lt-3
1+6
>+6
1t8
49
51
CHAPTER
VI.
National Theatre Conference recommendations
• •
Production ••••••••
Facilities ••••••••
• • •
• • •
Audience and actor •••••••
Centinela Theatre Guild •••••
• • • • • • •
• • • • • • •
• • • • • • •
• • • • • • •
Theatre Americana •••••••••••••••
Little Theatre of ~agle Rock ••••••••••
Huntington Park Civic Theatre •••••••••
' estwood Village Players ••••••• w
SUMMARY AND CONCLUSIONS • • • • • • • • •
• • • •
• • • •
Summary • • • • • • • • • • • • • • • • • • • •
Conclusions ••••••••••••••••••
uggestions for further study •••••••••
BIBLIOGRAPllY • • • • • • • • • • • • • • • • • • • • • •
p
IX • • •
• • • • • • • • • • • • • • • • • • • • •
V
PAGE
51
51
53
55
57
59
62
6lf.
65
68
68
69
79
82
86
CHAPTER I
THE PROBLEM AND DEFINITION OF TERMS USED
The non-commercial theatre in this country has been
gaining steadily in numbers and prestige, until today this
theatre represents one or the most powerful cultural and
recreational forces or the community. The success or
failure of these institutions can be attributed to only one
factor, the management and organization or the theatre. Yet,
as late as 1945, no practical information was available for
the establishing or bettering of the Community Theatre. The
necessity for organization and management has now been
recognized, but in no instance has a descriptive survey been
made to determine the extent or the methods being practiced
by any of the ind! !dual theatres.
I. THE PROBLEM
Statement~~ problem. It was the purpose ot this
study (1) to determine, by the means of personal interviews
the organizational ractices o a selected group or Commun
ity Theatres in the Los Ang es ar a· and (2) by comparison
with the organizational p actices sugges ed by the National
Theatre Conte ence to determin the organiza ional deti
ciencies of each of the theatres s udied.
2
Importance~ the study. No longer is it considered
treason to mention "Business" in the same breath with "non
commercial theatre." Still, only a few years ago, the
devotees of the amateur theatre considered their work as an
artistic success only if it was a failure at the box office.
A more realistic attitude has been developed with the actual
experience ot expenses, the wants of the audience, and the
loss or wealthy patronage. It has been realized that the
difficulty lie not in the production or the play, but in
getting the audience to see th production. Yet, a person
may receive specialized training in any phase of the
theatrical profession, e cept in that or theatr m nagement;
this the mos important function in the theat e, has been
taught only thro gh e per ence. ow that def nite mater 1
a e available
1
it ha become important to determine to
e ent they ar b 1ng used.
II. D F IT O S OF TERMS USED
Since the use o the term •community Theatre," a
well as 'Ar he tre" "Civic Theat e "an "Little Theat e
is airly vague an e ort w s made toe tabl1 ha world g
1 Samuel elden, editor, orgaaj,zing ~ Qolll!9UW,t~
Thea~re (Cleveland: tional Theatre Conference 194 ),
27 PP•
3
definition based upon replies to queries sent to some of the
authorities in the field, as well as using the definitions
found in printed works on the subject.
L!ttle Tne
9
tte a.ng Art Th~~tre . The basis for these
titles is as much historical as it is functional. When the
first amateur theatres were developed as institu ons where
serious work was done on serious plays the usual term was
"Little Theatre." This title was used because most of those
theatre groups and the theatres themselves were small. A
few overly-ambitious people called their organizations "Art
Th at es," but this term was generally u ed to denote a
group that was rimarily interested in th emphasis of art
?
r ther than commercial entertainment or recreation. - How-
ev r, both o th se are outtnoded term for any kind of non
commercial theat e.
Ciy;Lc Tbe;&~re. Theo igin of the term "Civic Theatre"
is ener lly credited to Percy cKaye as the title for an
idealist c type of non-comme cia theatre ich hews the
fir t to advoca e. The main q lific tions for this theatre
wee to include non-commercial, an in epen ence froo coC1JDer
cial competition through adequa e endowment· artistic, the
2
Personal Correspondence of the Author, le ter from
enneth Magowan, ovember 24, 1950.
4
highest technical standards compulsive of artistic competi-
tion under the leadership of experts; and democratic, the
policies dedicated to public service under such leadership.
3
There was considerable misuse or the title in the years to
follow which prompted Macgowan to write: "Civic is an
absurd title for any theatre that is not supported out of
l+
public funds--! prefer Local Theatre." lacKaye himself
realized this in later years and wished that he had named it
"Communal Theatre.
115
CommWUtY Theatre. The term
11
Co unity Theatre•
finally developed as the inst tutions escaped rom the
rather precious plays and round a substantial community-wide
audience. The common factor or all of these terms is the
non-commercial bass or the organization, but this does no
man there is not the financial aspect to consider in the
amateur heatr insdell clarified this when he wrote:
"It 1 no the purpose o the thea re to accumul te money,
but to put ts earn! s to b neficial c vie use by producing
3 Percy MacKaye e Q1Y1k Te tr
litchell ennerley 19i2, p. 21.
( ew York:
l+
lbert cCleery an Carl Glick, CurtaiM Qoing Y2
(New Yor: Pitman Publish! Company, 1939), p. 332.
5 Mac ye, J.oc. _c...._.
5
better plays, educating and entertaining its community.
116
The term "Community Theatre" is used today by the
National Theatre Conference to distinguish the non-commercial
theatre, which represents a community interest and activity;
from the commercial theatre engaged in "show business." The
important difference being the objective or the community
activity producing J12.t. 12,t nroti~.
7
Glenn Hughes defines
Community Theatre as a strictly amateur theat e which offers
opportunities to a large nwnber or citizens of the community
to participate in its productions, either as actors, tech-
8
ntcians, or in other capacities.
All the authorities contacted were of the same
opinion in regards to the status of the director, technical
director, and the actors. he director and technical direc-
tor should be profess onal men who are paid for their work.
The actors should be drawn from he community and receiv no
ompensation for their efforts other than car are or occa-
sional lunch money. s soon as the actors are paid a living
wage the organiza ion or the theatre become professional or
6
Oliver Hinsdell, p the L~ttle Theatre fi:£
( ew York: Samuel French, 192 , P• 2.
7 Personal Correspon ence of the uthor, letter from
John Dolman, ovember 14, 1950.
8
Personal Correspondence of the Autno letter from
Glenn Hughes ovember 20, 950.
semi-professional and places the theatre in the position or
operating for profit. Kenneth Mac owan writes:
Ideally, the words "Community Theatre" ought
to be used for an amateur theatre which provides
the only good dramatic entertainment in a commun
ity and which has the backing of a large sub
scription list and also of various civic organi
zations . ~
However, the definition submitted by Campton Bell
considers all of these points and will be used as the
study:
A Community Theatre is a non-professional pro
ducing organization engaged in the presentation
or plays for the loc 1 citizenry. Its sta f is
usually composed of a professional director an
a technical director~ and the actors are drawn
f om the community.iv
6
Tqeatre otganization. This te
was used rather than
11
hea re · nagement
11
to avoid the assumption that the
resea c deals only with the r nancial aspect of the t.eatr
Or aniza ion 11 include the production of the pla and th
facilities of the theatre as ell as he audience and the
actor; even though the main emphas swill be upon the
method used o s c e and re ain the udience. James used
9 Personal Correspondence of he Autho, letter from
K enneth c
0
owan, ovember 24, 1950.
lO Personal Correspon ence of the Author letter from
Campton Bell, ovember 11, 1950.
"Organization" to define theatre at its best when he wrote:
Theatre is simply the organization of a thou
sand and one details--audience, actors, publictty,
tickets, ushers, settings, lights
1
costumes, p1 ·ops-
everything, in fact, from the auditorium to the
stuffed birds under a glass case on the set. All
this must be collected, prepared, organized, and
brought to a focal point at precisely eight-thirty
o'clock some evening, any evening. Furthermore,
the organization that brought these things together
must be able to sustain and project its duties
until the final curtain at eleven o'clock. There
is only one word that spells t~iatre at its best,
and that word is organization.
III. 0 GAlIZATION OF THE IND R OF THE T SIS
The following chapter deals with the review of the
literature on the subject of organization and manage ent,
7
nd a discussion of the groups used in the study and the
proc dure. Ch per III is devoted to a brie sketch o the
influences and background or the Community Theatre movement.
The information contained in Chapter IV is that which was
ined as a direct r sult of the personal interviews and
de ls w1 h the fi part of the problem of the study.
Chapter V includes the recommenda ions of the ational
Theatre Conference an the organizational deficiencies of
th theatres studied co respond! to the se, cond part or the
problem. The summary and conclusions of the study as well
11
Selden, o. ci~., P• lR.
8
as suggestions for further study are found in Chapter VI.
'
A copy of the interview guide sheet is included in the
Appendix.
CHAPTER II
REVI~W OF TH.ti! LITERATURE AND PROCEDURES
As far as can be determined there have been no prac
tical studies made of the methods of Community Theatre
organization and management, even though these fac or are
completely responsible for the success or failure of thou
sands of non-commercial theatres throughout the country
today.
I. REV W OF T LIT~RATURE
From the time of the first writi gs by Pere c ye
on his Civic Theatre theor1es
1
almost forty years ago until
the present day, there has been a countless number f
authors engaged in the recording or the Community Theatr
movement. few of these writings are concern d h th
duties or the director in the theatre, and fewer still 1
the reader a concept on of the problems encountered in the
organization of a o unity Theatre.
The sub ect or theatre nage en 1 se has bee
avoided almost et re y. V rtual y no complete boos hav
1
Percy MacKaye, The~ Theatre ( ew York:
Mitchell Kennerley, 1912},3c5'lrpp
10
been written upon the subject except those which were
engaged in pleading special causes. Stanton was acutely
aware of this problem and wrote one of the first books deal
ing with theatre management only, in which he stated; "Oddly
enough theatre management is all t oo often considered of
minor importance. Yet, probably no oth r er ative art is
2
more dependent on management.
11
ven though wr tten in 1929
this is still an excellent work dealing with the duties of
the manager in all phases of theatre with advice to the
person who 1s contemplatine entering into the profession o r
theatre management.
A straightforward presentation of the r ocess wher by
any community may establish and satisfactorily operate its
own theatre was writ en about the same time by Hinsde 1. ven though this work 1s outdated today, some or the infor-
ation 1s sti
manageme t.
valid and he tu to the study ot theatre
O n o ere ce len refer nee wri en in the earl er
da., s of Community Theatre and sti or worth today s tha
2
anford • Stanton, Theatre aooge ent ( ew York:
D. ppleton-Centur Company, 1929), p. 3.
3 Oliver Hinsdell, ~ the itt e heatre aY
( ew York: Samuel French· 19251, 1 22 pp.
l+
of Alexander Dean, but again, this work is concerned more
with imparting information to the director rather than the
discussion of the field of management itself.
11
The results of a survey made in 1929 on the records
of past and present conditio~s of the theatre in th United
tates with an emphasis on the economic practices and stand
ards or the time was written b Bernheim for the ctors
Equity Association.5 However, this deal entirely wit th
onditions or the Professional Theatre rath r than the
Amateur or Community Theatre.
everal books were written based on th rs ts ot
tours of some or the leadi g Community Theatres of th time,
with attempts at es imating the extent natur and signifi-
c ce of th non- ocm rcial theatre of Amer ca. he mos
notab e or these nclude the works of
6
cgowan, Per
7
l+ le nder ean .---.....a;lw.Q Theatre Organization ~a ....
lanagemen~ ( ew York: D le on-Century Company 19 )
333 PP•
5 lfre L. Bernheim e usines~ o
( ew ork: ctors quity Associa ion, 1932
the Thea re
217 PP•
6
Kenn th Uac owan Footlights AcrosR ....., ____ ..,_c .... a
( e York: Harcour Brace and Company, 1929) pp.
( e
7 Clar nee
York: ussel
8 9
IcCleery and Glick, and Houghton.
Two excellent books were written in 1940; one by
Hallie Flanagan
10
which deals with a review and defense of
the Federal Theatre Project in America, the other written
12
11
by Gorelik, devotes a section to a discussion of the rise
and fall of dramatic techniques and the place of the the tre
in the i tellectual life of the community.
After the war there were very few books written on
Community Theatre itself, and only one of these was con-
12
cerned dir ctly with the organization of h t eatre.
,dited by elden for the National Theatre Confer nee this
book contains suggestions by some of the best autho !ties in
the field for the founding and operation of a Community
Th atre. ach unction of th theatr 1s discussed by a
specialist fro he ational Theatre Conference and 1 eludes
u
(
8
lbert cCleery ana Carl Glick, Curtains __ Go--a-:~
w York: Pim n Publishin Compa 1939), 412 pp.
9
orris Houghton, ( ew York:
Harcourt Brace and Company pp.
lO Hallie erguson Flanagan, AreJli ( e
loan, ad earce 940) 75 pp.
York: uell,
11
ordecai Gor lik ew heatres o O l d ( ew York:
amuel rench 19 0) 553 PP•
12
amuel elden editor, Or n1 i a Commun.it~
heatre (Cle eland: ational Theatre Conference 94 ),
127 PP•
13
such names as Frederic McConnell, Arch Lauterer, Talbot
Pearson, and Richard Gage. Because ot the specialized
approach and the recent writing ot the book, this stands out
as one of the foremost reference works on Community Theatre
and Management available today.
The Natio l Theatre Conference also sponsored a book
by Talbot Pearson written in 19~8
13
which deals with a dis
cussion ot the relationship which should exist be ween the
Community Theatre director and the people with whom he has
to work. This is an excellent guide to anyone engaged in
Community Theatre production.
The most closely related unpublished material to th s
piece of research is a Master's thesis from Th U ve sity
1
of outhern Califor a written in 1950 by essler. Th s
is an excellent report on the theor es of Percy cKa e
b sed on h s sev ra books on th subject, augmented by
material g ined from r cent interv ews with MacKaye.
I • T ROUP T
p QC
elect .echnigUE!•
u tote subjec mater to
13
Talbot Pearson, Encores o an tre t (Pit sburgh:
Carnegie Inst tute of Technology Press, 19 175 pp.
ll+ Jessica • essler, •• he Civic Thea re Theory of
Percy Mac,. ye,
11
(unpublished Master's thesis, The University
of outher Calirornia, Los ngeles 1 50) 129 pp.
14
be considered, the actual theatres to be studied, and the
lack of any printed material on these theatres the possible
technique for gathering this information was reduced to a
choice between the questionnaire and the interview method.
Phelps
15
encountered much the same problem 1n a survey he
made in the field of peech Education. His ultimate rejec
tion or the questionnaire method was based upon the response
failure and the lack of accuracy due to misunderstanding of
16
the written questions and answers.
As a control to determine the accuracy of the reason
ing of Phelps, as well as obtain additional information on
Community Theatres, several letters were sent to authorities
n the field as ing for a definition or the "Community
Theatre." ven though stamped self-addressed envelopes were
e close, answers were received from only 75 per cent of
those queried. O the rep ies returned 50 per cent ere
r ndered useless due to misinterpretation o r the question,
bi uous nswer or unintelligible handwr ting. It was
felt that ti ratio or useability was too low to justify
the questionnaire method .
1
5 aldo oodson helps,
11
urve of peech duca
tion in the Public Se or High chools of California,"
(unpublished actor's dissertation, The University or
ou hern California, Los eles, 19 9) , 129 pp.
16
PP • 29-31.
15
After deciding upon using the interview method it was
felt that some precaution should be taken to insure a con
sistency in the points to be covered. This was done by the
use of an interview guide sheet which contained a notation
of the questions to be asked and space for recording the
answers.
election .9L guestions for t he interview guide sheet.
Due to the various operating problems dictated b the indi
vidual community and the theatre itself, not a 1 of the
minor points of management and organization could have b en
cons dered. However, the Nat onal Theatre Conference
of ered several b sic su gestions for the improve ant of
1?
organization and management of any Community Theatre.
hese recommenda ions were separated into three categor e:
P oduction, which was concerned with the play selection and
production technical duties and arrangeme s and se o
the bu get· acilities inc uded the th atre build·ng itself•
udience and tor, whic included publicity, box offic
roce ure, n any other practices designed to a tract the
audience and ctor to the theatre. hin th se categories
the points t be con dered or he n ervie gu de heet
w re selected. In this wa it cou d be easil determined
1
7 ~elden 0 •
which of the practices recommended by the National Theatre
Con£erence were being used by each theatre.
16
Selection 2l. theatres for study. The number of
points to be considered in the intervi w were so numerous
and individually important it was felt that the material
gained from five theatres would be sufficient for the study.
Communitles were chosen at random from the area surroundine
Los Angeles proper; Los Angeles being omitted b cause o the
ten enc toward commercialized theatre in the larger m tro
politan areas. The communities selected includ d Inglewood,
lta ena, gle ock, Huntineton Park, and estwood.
Contact was then made with the Ch ber or Commerce in
e c1 or the communities to ascertain the exi tence of a
theatre, and to an the name an phone number of th p rson
best quali ied to give 1nf'ormat1on on the theatres act vi-
is and o ganiza on. These persons e e then r ached by
e ephone and a short d s ript on o th purpose of the
study was made known to them. ter permis, ion to use thei
thea re int e study wa g ine , an pointroent was made for
e interview
-tervtew __,.......,_.___ Home eparations for the inter
views cons sted mai y of a study of thee cellent section
in .L nse devo ed to the metho s o"' c nduct · ng an
17
18
interview. Also some information was obtained in advance
on each of the theatres studied to insure an informal note
upon which to initiate the discussion.
Of the five interviews, three were held in the homes
of the interviewees and two at the theatre being surveyed.
The home interview, usually conducted over a cup of coffee,
was by far the more satisfactory method. Ra port was
readily established through privac and informality, and
more time could be given to the di cussion o th atre in
eneral, as well as to the individual theatre in qu stion.
On the other hand, the meetlngs at the thea r gave he
·ntervlewer an opportunity to note the facilities of the
pl nt, but this was offset by the lack of privacy and h
horter interviews. The sinel di cus ion h ld at the
theatre ave done houri length while those condu ted ·n
the ho es 1st d at le s two hours.
The re lts o tn in e v·ews were tten immed -
atel after t
fresh in them n.
et wlile all he inform ton w. s
hi a so se v d o elimina e the po
b lit o confusion o on discussion 1 h another.
l8 • Kinsey, · om ro, an c. rtln, exuai
Behavior __.~e (Philadelp a: • B. aunders
Co nany, 3- 3.
-
CHAPTER III
THE COMMUNITY TH&A.TRE MOVEMENT
In order to more readily comprehend the problems and
functions or the non-comm rcial theatre in America today, it
is necessary to briefly trace the influences and back round
of the Community Theatre movement. This chapte is not
intended to be a complete historical examination, but rather
a discussion of the pertinent factors that have brought about
the rebirth or the local resident theatre.
The Communit Th atre, as it is own toda, is not
e sentially n American product, even tho gh it is in th
1
U ·ted tate th tit h s aclieved its greatest g owth.
11 of the activit es that have existed in this county
ich a e conside ed as part of the Community Theatre mo -
ment have com about sine the turn of he centur. o v
i s cl ssi ic tion doe no see o take nto ac ount any
o the so- 1 ed "Ho len hos" ha have be n in
existence in Amer ca o hundred o e rs . P obab y the
·rst of this type, as far a c n e de erm n d, took
1
( ew Yor
lfred L. Bernheim, The us1ness 2t the Theatre
tors qu ty ssoc1at1on, 1932), p. 102.
19
place at San Juan in the year 1598 hen Colonel Ornate's
soldiers gave some sort ot a dramatic performance for the
2
Indians. It ae Europe that pioneered the movement however,
with several countries taking up the idea at about the sam
time. The most important men in this new ventur onsisted
of Reinhardt i Germany, Antoin in France, nd t islavsky
3
in Russia, as well as a group or patriots in Dublin.
At the turn of the century the theatrical appetite or
the hinterland was satisfied by the road sho; th one-nigh
stands in th local opera houses ot current and rec nt
Broad ay productions or the ti
•
If a how ra s uch
a month in N w Yor it a a c rtainty that 1 would pla
the rest of th season on the road. But it the roducer
found th th had suoces on hi hand and as abl 0
play tor an ntir season on Broad ay, th next
finds r l compa ie on our 1th th 0 • o th r
OU d
really none d tor th small to s to es ablish ny local
theatrical
ere availabl
n r or th 1r
o them r th
s long s th se p oduct1o
ominal
t nty, and thirty c nts. heh ghe otivity or th road
sho s wa t
2
bet
( ew Yor : Pi
J Ibid.,
n h ye r or 905 nd 910, and th nth y
oCl e-ry and Carl Gl ck Curtains Going YR.
Publishing o any, 1939) p. 325.
p. 327.
20
came to an abrupt halt.
II. lt"AILUR~ OF THE ROAD SHOW
The rapid decline of the traveling companies has been
attributed to several factors, the moving pictures sharing
the greatest part of the blame with the birth of the labor
unions and increased railroad rates. However, a large part
of the reason for the decline rested upon the shows them-
>+
selves and the management of these shows. Bernheim lists
the results or a survey made by The ~illboafd in 1926 regard
ing the theatrical conditions in the United States in places
o twenty-five thousand population and over excluding the
metropolitan centers .
In this survey questionnaires were sent to the drama
critics of the ocal newspapers of each or these cit·es ask.
to stateme s of reasons for the failure or the road
sow . These res ts wee tabulated an listed as eithe
'xternal" or
11
Internal
11
cause of failure . "Interna "too
in o consideration any of the factors which the legitimate
heatre could its lf control in a substantial measure, while
"External" causes included only the conditions above and
beyond the control of the theatre itself'.
4
Bernheim, o . cit., P• 82.
21
Under the heading of "Internal" causes the critics
had placed as the main factors the high cost of admissions,
the practice of ticket speculation, a decided decline in
the quality of the plays that were presented, misrepresenta
tion by the producers, high costs in eneral, a decline in
the art of acting, poor casting, managerial inability,
inadequate publicity, and the fact that the theatres avail
able for legitimate pro uctions were not attractive to the
public.
Factors beyond the control or t e theatres themselv s
·ncluded ovies, radio, vaudeville , the high transportation
costs, ederal Amusement Ta , a change in the public amus -
ent taste, the hostility of the church and press and oth r
o a ·zations, unfavorable tate le islation or loc 1 ordi
nances, n the control of the suitable the tres b the
ovie and vaudevil e ·nterests.
5
III. 0 IGI O co£ ITY T
The decline of the road com anies an the o igin of
the Community Theatre w as almost simultaneous and in 1911
the pioneers began experiment ng in America. ome or the
more durable results of the year ·ncluded a heatre on the
5
Bernhe·m, loc. cit.
22
fourth floor of an office building in Chicago founded by
Maurice Brown, Mrs. Lyman W. Gale converted a Boston stable
into the Toy Theatre, Thomas H. Dickinson organized the
Wisconsin Players at Madison, and Laura Sherry was responsi
ble for the Little Theatre of Milwaukee.
6
These results however, were the exception rather than
the rule. The greatest number of loca theatres were estab-
11 hed by the dowagers for social reasons, and were primar
ily concerned with the production of foreign, or "arty•
plays. As the groups consisted mostly of women and a few
stranded actors, the technical aspects of the productions
were rather sketchy. The main concern became the casting
o the play lon the lines of social presti e with the
society matron n charge or her roup made up of the local
el ocution te cher, the literary lady or the community, an
e
II
rt
II
oung man, among others. It was this social set
h
ound
s mb ed in he drawing room and over tea cups
h L tt Theatr
II 7
In spite o this beg mun some of the aggregations
had a powe of survlval and by 117 there were over fifty
established roups that called themselv s "Little
6
7
cCleery and Glick ~• cit
P• 1 •
P• 10.
8
Theatr es . "
23
Probably because art in America has always been
regarded as a luxury, artists in all fields were the first
to experience the effects or the depression which overtook
the American industries between 1929 and 1935.
9
Prior to
the depression the drama had been left almost entirely to
the women; the men wanted no part of it. But the st e of
affairs during the early years of the depression aroused t e
interests of the men to the Little Theatr s , mainly because
it afforded them an economical hobby. s the me took over
the theatres their first move was to change the "arty"
soundine name of Little Theatre to Community or Civic
10
Th atre.
rom this point on the Community Theatr movement
swept the nation; Percy lacKaye, writ ng in 1912 , was the
first of a number of men to put the ideas of the loca
thea res before the public, and soon after several books
depicting Cotllilunity Theatre came on them rket.
11
8 Ibi ., P• 10.
Halie erguson Flanaga, rena ( w York: uell,
Sloan, an ~ Pearce, 1940), p. 12.
lO M cCleer and Glick, .Q.12 cit., P• l?.
ll Percy lacKaye, The Civic Theatre ( ew York:
i chell K enner ey, 112),308 pp.
24
realization was made of the importance of business manage-
ment, and professional directors were hired to lead the
organizations. The Drama League, which had been founded in
1910 and served as a clearing house for information on
Little Theatres, was forced to suspend operations in 1 31
due to a lack of funds. Then in Jwie of 31 , enn th
lac owan, aided by the merican Assoc at on for dult
~ducation, called together so e twent -~ix co unity and
university directors to discuss the formation of a national
or anization. From this meetin th ational Th atr Con-
ference was formed.
12
national charter was ranted to the
rican ational Theatre and Academy in 1 32, nd in 1935
th American du~ational Theatre ssoc ation was foundea.]
3
The anti e ovement continu d to grow until 194o fowid t t
p ople r o all o erica had tur ed roduc rs, actors,
·ghts. "Its been so e fifteen sta e hands nd pla
1 ion p ople--o e-eighth of the nation--T e Co unit
h
1
e ovement .
st
12
cC eery nd Glic, o. cit.,
P• 352- 53 .
1
3 Jessica l ler wessler, .,The Civic heatre heory
of Pere MacY\-8.ye," ( unpublished Master's thes s, The Uni var
st o south r Califor ia, Los rngel s, 1950), pp. 83- 5.
14
cCle ry and Glick o. cit., P• •
IV. COivIMUNITY THEATRE F TODAY
The years of the second world war made demands upon
the Community Theatres and several of the established ones
were forced to close their doors; but during the past five
years the movement has again been ai ing in fore, due in
a lar e part to the efforts of the ation 1 Theatre Con-
f rence. Today the top-ranking pl ywri hts and actors ar
25
a ain looking toward the Community T eatre as th answer to
the decentralization of the American Theatre.
Hinsdell realized this go 1 when he wrote the
uture of the Little Theatre in 1925;
If we can ever hope for the establishment of
an sort of enduring ational heatre, t sees
reasonable to ex act that the light wil cgme
rom the di ction of the Little Theatre.1,
nd only tent ears later Fredric cConnell flt e tie
d com or these local g oups to satisf the need or a
at·onal Th atre, and he stated:
By whatever name ·t ma be called , the non
commercial theatr has grown up an 1 read for
a better roe. new leaders, as well as the
old who haver ur ed from th was, w 11 assume
th·s lea ership, h y i 1 have helped o found a
ne erican Thea re.l
l5 Oliver ~ in dell, ~~ .... the Lit ___ ax
( e ork: amue rench, , p. x.
l6 amuel elden, ed·tor, r ~ Comm~tr
T~e~:re (Cleveland: at·ona eatre Conference, 1~,
.... .. ...
26
Today the Community Theatre maintains, both in this
country and abroad, one of the hi hest standards or non
commercial theatre the world has ever known. The point has
been reached where the membership demands the best ln leader
ship, and the audience demands sincere and competent pr duc
tion and performance. The Co unity Theatre can no longer
be regarded as a hobby, but as a strong and important art
of a c·ty's culture.
CHAPT&1 I:V
ORGANIZATIONAL PRACTICES
The inf'ormation contained in this chapter is that
which was gained through th per o 1 interviews with the
officers of the various theatres, w th the aid of the pre
pared interview guide sheet. Th sa lent fa tors of produc tion, the facilities at hand, and th m ethod f attaini g
the audience and actor ar cata ogued as the or anizational
practices of each theatre.
I. CENT rm;LA T GUILD
The Cent nela The t e Guil of Inglewood w or an
ized by Ton Ballinger and incorpo ated a a non-pr fi
or anizat on in 9. Th gro p was sponsored fo is f st
production by th Cent·n a ospital as a fun -ra 1 v n-
t e or th in ut o . his con iste o two ev
run o I,w! ~ ~ e 1Q -.....:.-....-. t the BoV'. rd
Auditorium o The Univers y of outhe n Ca 1 orni , in
h of 194.
froduct\Qll• The op r i o or t he g is contro led
by a board o directors made up of ive offices which are
elected b th act ve embers ro a er one year. The
duties of them mbers of th board are dictate b a
28
constitution and by-laws which were drawn up at the concep-
tion of the Theatre Guild.
The active members at this writing umber only fif
teen and the number of productions done yearly varies. To
date five shows have been presented w th a sixth now in
rehearsal.
No one has been paid or thei ork in this theatre;
an profit that ls made is used to inance th next produc tion. The budget, therefore, is not on a y arly b sis, but
made up for eacn production an based on the amount of
c pital on h nd.
Th director i of profess onal calibre and experi
enc even though sh is not pai for hr wor th this
the tre. The oth r produ tion resp ns bilit s ar han led
b m mbers o the 1 ho re appointed for each p y.
or the fir r·ve ro ction there w s no one ac as
si ss ge or the org zation, but one has be n
d 1 as ume h d ti h he show that s
n n r h ar 1.
These ec ion of p ys for performance is done b a
re •U61,a,1,_ttee hie chooses an bro po sible pl
and ents th 11s to the a ~ ve members o, n turn,
k t e ina s lectlon of th ply o b p esente . Of
th fir t r·v pro u tons one s an o igina, to ere
evenings of one-act plays, one a modern comedy, and one a
period comedy. The number of evenings of each production
varies from two to five depending upon the facilities . No
attempt is made to poll the audience reaction to the play
program.
29
FAcilities. The Guild does not have its own theatre,
nor does it have any con 1 tent place of p oduction. The
auditoriums of the grammar school and the high school are
used most frequently; the plays hav been given as open-ai
productions in the two parks in Inelewood, in the back y rd
of th Guild President in Westchester, at th recr tion
cen er in Inglewood, and at t e Bovard uditorium of The
Unive sity of oo thern California.
The theatre does not have any cos umes or furniture
o its own. The ostumes for the per od comed were made by
the members of th c st and retai ned b them. The f e
for the o c ions is l oane b local merchan s. The
theat e does o ones all unit set ich w s construe ed for
its rst p eduction.
ehears ls t k place at the ho es o the members, on
some occa ion in the class ooms o the high school, and
outdoors during hew rmer onth.
Audience and-------~ Publicity rea hes the audience
only through the use of posters and newspaper articles. On
one occasion a paid advertisement in the theatres etion or
a Los Angeles newspaper was used. No thought has been given
to the use or radio, throwaways, banners, or mail announce
ments.
Due to the t ct that the Guild has yet to ive a pro
duction for which an admission is charged, th re is not a
box ottice rocedure to be discu sed. Th spon ored produc
tion tickets were sold by the doctors and nurses of th
hospital and all proceeds ere taken by t hospital
directly. For the oth r product ons ah t as pas d trough
the audience or contributions w re taken
The casting cal is adv rtised hrou
he door.
h loc 1
papers and is open to anyone ho ish to try out or
p rt, r th r th n b n rs ricted to th activ mm rs ot
th associat on.
II. THEAT
The Thea r Am ion s org niz din 935 as a no -
profit California or oration hose obje 1 e are: top o
uc o iglnal plays or th Am ric n bac round and his ory,
top o id opportunit o exp sion in th field or h tr
1 All pr cedin mat ri 1 on his theatr is based on
a personal inter iew of the utho 1th h President or he
Centinel Theatr uild Charle C awtord, ebruary 22, 1951.
31
and associated arts, to encourage new talent, and to bring
entertainment and co-operative interest to the Community or
Altadena.
Production. The control of the theatre on matters of
policy is in the ha ds or a board of directors made up of
nine persons who are elected annually b them mbershi.
Thl board meets monthly and elects the usual corporate
o ·cers. The policies or the theatre are dictated by a
constitution an by-laws.
The paid active members of the organization numbers
one hundr d twenty-five. ince the foundin of th heat e
n 1935 five plays have been done e ch year w th the excep-
tion or hew year or 1943 to 1945.
or man power an ma erials the the tre
ue to the shorta e
s or ed tor ai
closed d ing his p riod.
runs un 11 une.
he season opens in October n
11 me bers of the the tre donate their time and
s rvice without receiving pay O t. ork they do.
The b d et o
s divide
h hea re is dr wn up on a yearly b si and
no hree parts; an o erat und for each pro-
uction, a reserve und ors cal e p nd ures, nd a
b ilding o tru t fun.
are laced in the bu ldi
ny po ts realized by the theat e
f nd and c nno e used for a
purpose wit ou the agree e of he entire membership.
32
This money is to be used for the eventual construction of a
permanent theatre building for the group .
The organization has one person serving as a director.
This function is delegated to a new individual for each pro
duction on an invitational basis. The heads or the produc
tion crews are elected each year, and they appoint their
assistants for each show.
A play-reading committee, consisting of six persons,
is responsible for the selection of the scripts for produc tion subject to the approval of the board of directors.
This theatre roduces original scripts almost entirely,
which classifie it as one of the f w try-out theatres in
the country. The play must be or the Americ n sc ne or by
an erican author. o play is used wh ch has de ived ny
financial ben fit f om its playing, any prizes fo its pro
duction or ich has been 11 ted with an commercial or
se - pro essional heatre or play-b oker. The uthor st
also sin a c ntract 1th the theatr agreei to award the
th atre 5 er cen of hes le price r he script is sod
a a direct re ult of he production b he Theatre Ameri-
ca • Each ply runs fo ix eve n s, opening on Thursday
and closing on the following T esday.
The aud·ence reaction o the program s a·ned mostly
b verbal con ct and remarks made in the active meetings .
There ha been some attem pt o poll he audience by placing
33
a questionnaire in the play program.
Facilit!es . The organization does not own their own
theatre, but uses the William D. Davies Building at
Farnsworth Park in ltadena . This building is controlled by
the County Recreation Department and even though dequate
parking space is available, the location of the theatre and
the public transportation facilities are poor. The building
is a ballroom type of structure 1th no elevation for the
seating and only fair lighti control. The maximum seating
capacity is about four hun red, but three hundred per ons is
considered the ideal number for a full hou e.
The group owns its costumes nd properties ad they
a stored in the base ent of the theatre. The furnitur is
bro ed ro local merchants. 11 co tume construction 1
done b members of the theatre. The scenery is also b 1
b the memb rs d s sto ed 1 he basement or the he tre.
ehear as t ke ace at tha hea e hen it is vi -
ab e t the memb r home, and on some occasions at the
c urch n 1 adena. he heat e 1s ava abet he group
our d ys p ev ou o e c prod c ion.
udience .a-;._____ Publicit
mainl tr gh ar cles n he loc 1
ea he the audience
pe he radio
has bee use
placed in h
o some occasion , an paid ad er ·seme tsar
wspap rs on the o enine n1 t of produ on.
ome posters are also used.
The ticket booth is located in the lobby of the
theatre and is open only during the even·ncs of the run of
the show. ue to the temporar seating arraneement in the
theatre no reserved seats ar sold . Tickets may b pur
chased as single admissions or in books of six with no
r striction as to when t ey ma be us d .
sell for one dollar each, with a 20 per ce
book of six tickets. No special rates ar
in ea mis io s
saving on the
iven o serv·ce
en, but during the operation of the thea r in the early
war years, blocks of complimentary tickets wer sent to the
various service organizations ford stri u on to servic
m an wom
the local ho
th pro
•
lso some benefit performances wer give
tals d inc th wa. Advertising is use 1
to cover h c st of th print ne an som
r fi is r a ·zed b this practice.
t
It is o s or an r u to son or a e ni of
e prod ct o b h chas o any giv n numb r of s s
Com- f r a f
pl
•
..
n ws a er a
theat e.
r c and rs lling th kets he e v
•
ts a mai n dvance of th sow to the
he o al sho con r ut m ter als to e
0th r method of ublic i clud the use of a new -
le e o ro pc iv members, bumpe str am r for automo-
bi es o the me ers, and lobb ispla s aur· the un of
35
the show.
An award of one hundred dollars, nown as the
Frederick Warde prize, is made each year to th author of
the best original play produced during th season. A plaque
is also awarde to the best actor and actr ss of the season.
A worksho rogram is spon rd by the theatr w ich
allows the members to ain instru tion i make-up, playwrit
ing, dir ction, ac i g , scene construction, and other phases
of theatre arts. Provisions are also made for childre 's
memberships , which include the c asses in theatr arts and
all other privileges of the active members w th the excep
tion of the voting power in meetings, or a 1 -price rat .
T heatre Amer cana sponsors an annual 1 v tiona
Theatr rts 11 ich spar ated in b er senta i
o rtis 1, soc 1, and civic or an zations or th ar •
Te other social event of the ear same bership are -
tea ve r or t the o nin or th seaso .
core e missio is ·ve each evenine e c
ri a . r a as o ttend the production on
rida e e 1 e during w ch a re ept n s ive for the
st an mm ers o the rew a ter th per or ance. h·s
r ception is held in the Green oom 1 th ba ement of the
theat b 1 d g.
he theatr, ·n co ueti ion with rep esentative
Little and Communi y Theatres of the outh California
36
area, has entered the Annual Southern California Tournament
of One Act Plays at Santa Ana three times and won the first
award twice.
The casting call is advertised through the local news
papers, by postcard, and by telephone . The asting is not
restricted tom mbers of the theatre, nor to those of the
community; anyone who is interested in world in the
theatre, regardless of race or color, is given a opportun-
2
ity to aid in the production.
III. LITTLE THEAT ~ O GLE OC
ized b
he present Little Theatre of ~gle ock was organ
dward artu in September of 1 47. T s th atr was
th nineteenth to be om activated in agle Rock since 1 0.
The eighteen Communi Theatres preceding i, in 1 WO
ot ers orga zed b artu, aile in their attempts to
be ome ac ive pro ucing grou
•
Prod The ent re cot ol o the theatr is in
th hands
e star
u rat he than with board of directors.
em ers ass st him wi h he operation o the
various phases o t et ea re an th p oduction. 11 of
2 11 precedin mater al on his thea re is based on
a pers nal interview o e author with the res·dent of the
heatre erica , dmuna Es ey February 26, 1951.
these persons draw only a taken wage for the work done or
are paid nothing at all. Sartu himself, who serves as the
supervising director as well as manager of the theatre,
draws twenty dollars a week to cover his living expenses.
37
There is no group associated with the theatre that
could be classified as the bod of act ve members. ponsor
ship of the theatre is mainly n the hands o various social
and business groups of the area. The budget or operatio
of the organization is made up on a yearly b s1 with som
revisions made for an adjustment for each show. The selec
tion of material to be presented is in the hands of a five
mem p ay-rea in committee with heir choice subjec o
the final app oval of the manager. Of the t enty-seve
play r oduc d o date th e have been original sc ip s.
The heatre s a continuous producin orga za io c
presents eigh o ten plays earl on a basis of five eve-
n a ee , he house be dark o unday and onday .
The wants of th audience a e polled through insets placed
n the pl -pro am an th i quest are ov rwhelm ngl
in avor of comedies
Fac111 ie§. he g ou lea es s theatre and other
buildings. Th bui ding which houses the theatre was once a
gara e which was r e ode ad b the group, nd no forms a
all but workable sage and aud·ence area . h theatre
38
seats one hundred forty persons and is in an excellent loca-
tion with very good public transportation facilities and
available parking spac. The auditorium itself has very
good sightliness and an elevated seating arrangement.
Four buildings behind th theatre are used for the
stora e of scenery, costumes furniture, ad properties .
ome of the furniture ·s loaned to the group by local mer-
chants, but no ma erials are ever rented b he theatr.
The costumes are coll cted by donations from v Iious individ
u ls or are made by the group. The same 1 true o the
collection of prop rties and furniture. 11 see er is
b ilt and painted by the roup under the guidance o th
ch c director who serves as a staff member. Th
atre owns aver co plete sounds stem and flex bl 11 h
in ontro facilities . The off ces nd rehearsal spa e re
ocate i a buildin next to he theatre. The rehearsal
oom ·s s arge st es
ble t 11 t es .
of the the tre and is acces -
Au
a to[. Contac w h the potential aud -
ence is ade n sev r 1 was, m ainl throu h the use of
articles nd pad dve tise ens n al of e local news
paper s . Placards lace in sto e indows n he area, see
sheet posters, d rec ai nd ostcards ar al o used.
The box o
ce is located at the heatre and is open
39
only during the evenings of production. Reservations may be
made by phone at any time during the day. Only single
admissions are sold, rather than season subscriptions , at
ne dollar apiece . Host or the audie ce is uaranteed by
sponsor ed productions with onlw 1 een seats he out by
the mana
0
ement every evenin
0
for sale b the box offi e .
Com liment r tickets distributed to th new papers nd
om of th local m rchants . Th re s n
ect for serv ce men or w men.
duce rate in
ton time cla se e he hate rts, t
he e ave n w be n discontinued . Sever 1 ben fit p rform-
n
n
C O S
e been iven for th orph nae an the bo s' hom
at
h 1
u
'st tre pro u tions have bee atte pted
'is a y consis s inl of pictures o th
ion. If a r fres nts re se ve
th r on ty r the on or ng o a on
n r s e t lv 0 h spo sor. T e rog m
bo t 1 per ce 0 t b h in usion
o~ a
ve -
t
n •
as 1 ann ced b WO d o mou h nd b tele-
ph ne ont ct
·th
.
the s on ose s e on l. e
40
theatre.
3
IV. HUNTINC1I'ON PARK CIVIC THEATRE
A non-profit organization founded in 1946, the
Huntington Park Civic Theatre has ror its aim the development
or a civic interest in the drama and related arts as a
vehiole of education and reoreation for he ublic, besides
being a source ot experience and pleasure for those actively
participating in the work. The object of the Theatre is to
promote drama and to atford an opportunity for self
expression to those who desire it. The present the tre is
an out rowth of a local group which as en a din he pro
duction of plays tor benefit performances in the community.
As the potentiality or the grou was realiz d i t was re o ed
as a Community Theatr under the sponsorship of th
tion D partment ot Huntin ton Park.
C a-
Production. The governin body or the theatre is
made up of a board of direc or on !sting of twenty memb rs
hich are el ct d by he activ m mbership or at rm or
tour years. An attempt is made to se e an proximate
J All preceding material o this heatre is based on
a personal intervie of the au ho 1 h the director and
manager or h Little Theatre of Eagl Rock Edward Sartu,
February 27, 1951,
l+l
representative cross- section of the members of the community
by electing persons from the business , church, social , edu
cational, and civlc f ·elds . Th theatre operates under a
written c nstitution and by-laws.
The active membership is ade up of pe sons who hold
season tickets for the year; these m be sustaining , a ult ,
sponsor , or student memberships . e theatre tis y ar
boasts 756 paid memberships.
Five major productions are don
i ma e to present a like numb r o
earlv and an atte pt
no ore r· enta.l
po r s . The purpose of the experim nta t eatr is wo-
ol . th em h s1s u on acti an irec ng , thee
o uctlon offe n opportunity or a wide dr~ti r
w tho
e P
th
t
n ranc o technic 1 limita ions. lso
th tr prov d s av e o parts an
or th m mbers o t.e Civ c Theatre group who ar e ter
s ed n ore e tensiv work 1 act n an di c n . t
o u ed as a
The onl
rec or wore
ai g d fo n w ta ent .
aid mm r or th organiz on is the
ves o hun re do lars or each sho.
Th bu is st up on 1. basis 11th e c o he
odu c d as a separa e
•
he m ney
s
t en from the a va ce sale o subsc 1pt o s or he year s
d v de nto ive e ua a s o nan e n o the f · v
42
shows . The average operating budget of each presentation
runs between nine hundred and fourteen hundred dollars . o
profit is held out, but all proceeds are re-invested in the
theatre, productions, or pub icity.
All productio responsib lities are supervlsed by the
director and are performed by intere ted members on a volun
teer basis. The 1 y selection an editinu is done by a
committee of four members which choose t e plays subject to
the approval of th board and the director. n ef o tis
made to bala ce the yearly pro r w th an eye tot time
of year an the approval of COIIlrlunity churches other
or g zations. 'ome original plays are don hen poss 1.
The a dienc reac ion to the pro uction is olled thro gh an
nser pl ced n the ply progr with excellen r sults .
hr uh e p ri ntation t s found the best a tendance
es lted when the play opened du ing the l atter p to t. e
s
e nes
le the show rWl
.. ght .
0 evenings, openi on
he auditor um o the Hunt ngton Par
High v hool · use e clu iv 1 b the oup or presenta
tio or the majo ro ctions. Them nor production are
ven in cent al-s a ing st eat he ecre tion Center
Bu" d ng. The seati capa the hi~h school auditorium
s 1,170, bu he av r e au ien er s be ween four and
43
seven hundred, depending upon the evening.
Theatrical settings, costumes , and properties are in
the hands of a construction committee. Objects have also
b en gained by the theatre through donations by individuals .
The furniture is loaned by members or stores in the commun
ity for which program credits are giv n .
Rehearsals take place at the grade school, he park
recreation buil ing, in the local hospital staff-room, and
at some of the churches in the community.
AudiencQ aWl a~tor. The theatre is extremely pub
licity conscious and every e fort ism de to sell the the tre
to the public. Pie ur s of cast members alon with their
per onal histories are publi hed in the newspapers in a di
tion to art·c1e an advert semens in the the t e section
of the newsp pe s. bout f fty posters for each production
are prepared b a profes io 1 artist who is am mber of
the theatre . hese ar place at strategic points n he
o uni and on a to ob es r so e o the members . Info -
ation s p ssed o 11 at the schools and libraries .
news-letter is sent seve al times durin he year to the
me bers ad rospectlve members. ost e p rades are used
o s eci 1 o asions as are now demonstr tion at one of
t e lo al depar ent stores.
Admission to the plays 1s b singl a mission ticket
44
or membership in the theatre. Memberships are classed in
four gr oups : the sustaining , priced at twenty-five dollars
or more, available to business houses who ar interested in
developing the cultural activities of the community--two
season tic ets are iven with each membership in this class;
the sponsor, priced at ten dollars , available t o individuals
desiring to give whole-hearted sup ort to the Civic heatre;
the adult , priced at four dollars; and the student, priced
at one dollar, available to those of h·gh school a e r
under. The names of those carr 1ng sust ining or s pons o
membershi ps are listed in each program, and 11 membership
a e transfer able . pecial rates ar iven to d ama r o ps
nd pr ospec 1ve memb rs when accompanied b an a ive m ember.
ponsor d ro uctions a e also sol1c1 ed .
Each boar member is requ·red to sell ten a ult and
five junior s·ng e ad iss ons for every sho, and eac cs
m em b r mu t sa e nwnb r of tic ets f ore er· s ow
in w hic1 he hold a rt . he cast member is cons·de e as
a po ential for the distribution of th t to fift ticke s
or each show.
As the seats e no rese ved he e ·s no need for
telephone reservations . e box o ice at th theatre 1
open only durln the ights of prod ction, b tic ets ma
be obtained ·n advance thro gh the park recrea ion office,
at some of the shops in the community, and from cast and
board members.
An annual contest is held by the theatre to crown the
Queen of Drama for the year and additional tickets are sold
in this way as votes for the candidates . By the vote of the
audience throughout the year , awards are given to the best
actor and actress at a banquet held at the close of eac
season. Honorary awards are also iven to those who have
performed outstanding services to the theatre during the
year .
The lobby is decorated by the use of posters and
cast pictures . Press-books or all the revious productions
are on display fo the audience, and coffee is served d i ng
e inte iss on. reception co __ ttee, made up of d f e -
ent members each evenin, welcome the audience as the
ar ve at the the t e. Th s comrnitt e would nclude such
r es as th mayor, the c ief of police , and membe so
he C ... .._ ..... ber o o erca, o z- e tion a few.
childr n s roduction was given l ast summer and
plans re n w bein made to cont ·nue the
ben it perfo mance have been given for
hospitals of the community.
ractice . ome
he churches and
Announcement of try- outs for coming productions 1s
made in the play pro ram, in the local papers, and by mail
46
to members and prospective members.
In addition to the award affair at the close of the
season, four membership parties are held during the year,
which combines a socia fwiction with an informal business
meeting. ome type o lecture or dem nstration in the field
4
of theatr arts 1s generally included in the program.
The Westwood Village Players was ounded 1 193 b
a group interested in the dev opm of co u ty drama ,
an ncorporated a a no -pr fit organization. lnc th s
time the s c ess of the group has ver d be we e
resen, under the second r -organiz i o of the
board of dir cos 1 its 11 1m, t e pla ouse 1
s u lin tor ai a so d lac n he comm y .
board o direc ors, made up of sev
o 1 r e e ed th
c n r 1
1b rs 1 fo
eat
•
ter of on
The uti sand
ea ,
•
'
spo s
an b -la
of he
1 so th s boa ar d e ted b a on 1 ti
•
1f.
All precedi aerial on this t eatre s based on
a arson 1 i terv ew of the aut h the resid t of he
Hunt gton Pak vi eat e, c ona Februar 27
1 51.
47
Member hip in the theatre is open to anyone and con-
sists o the purchase of a season subscription priced at
ten dollar s . The number of paid memberships for the present
year total 14o.
No one connect d with the th atre draws any salary
for their work. All the r ceipts from the produ tion ar
used to finance the followine show , and each show ls budge
1it~ r ar to the actua ca ital on hand . Th average
e p nse fr each production is in then ighbor o
un red dollars .
of four
On ers n serves as the staff dire tor an does the
work on all of he rodu tion with the a ·d of a sup rv·s1
i ctor w o i a o a me ber of the board . Te me bers of
e o uction sta a appointed for each sow e
st er th se ve doin the grea es amount o the
WO k. veral of th bers serve 1 mo than on C c-
or eac pr o uc ion.
Th th atr is o on tant o era i sch due d r-
. gal
on hs of t e a ne S 0 being resent d
e h onth . w V r anc s r g ven of ver pla on
the basis of three eve ·nes a eek rwmi e f om Thurs a to
aura . Te e o pl ·s to be presen~ed is in the
h nds of he super sin di ec or h the board of directors
h ld n a veto power . lt ou h the tendency is to produce
well-101 wn 1 s , some original scripts have been res nted
from time to time . No attempts are made to pol the audi
ence wants or reactions to the play program.
48
Facilities . The players have a perman nt theatre
building which they hold through r enta . The building was
originally a bicycle repair shop w ch was conv rted b the
members into a small, but \-tell arranged, theatr wl ich seats
120 persons . The avera eat endance pr ev ning has b en
raised from eigh to twenty-five over a riod of six months
and is steadily increasing. The location of th theatre in
r gard t o available parking and public transportation aci 1-
ties is exce let, but is too far r mov d fro h oca
traf ·c to catch t e attention of any potential ta ent
tra e.
Te tea r nts gara e behind t eir buil in or
th storage of scener an little furniture and roper-
ties that ha e been ccumulat d . o t oft e f tur d
set-piec s ar bor owed from business ouses or members.
Th seen r i con tructed b the membe s of the cast
e ow s a t ac ors cost • Io costume wa
r
r obe
s being gar er db the theatr.
Unt 1 as ort tie ago a r h r al
r nted by the Pla ers, but at the present
s being
me the las ar
e ng rehearsed· th homes of he members o the cas.
49
Audience and actor. One of the members of the theatre
is associated with a local radio station and some or the pub
licity is handled through him. 0th r methods of contacting
the audience include the use of newspaper articles and adver
tising and by the use of some posters .
Reservations may be made b tele hon at an time, but
the box office itsel ·s onl open on nights of production.
dmission is by the purchase of either am mb ship or a
s ngle t cket. The price o single se s s r centl r ised
rom one dollar to a dollar twenty, including tax, to over
incr asing expenses. The memberships allow the hold r to see
1 t elve productions for ten dolla s, and som e ex ri n -
·n · bin done with mult ple admission car s old at a
d ced rat. Co imentary tickets are honored by he pay
m en o the ederal t • ome success has been had rec 1
1 h e resent t·o ors on or d reductions. Ben fit
p ormanc shave e offe ed o occas on.
The lob 1ndo d splay co sis entirel of
p C es o th cast me es and as
la house •
•
ton tim co fee w s
produc ions of the
erve during intermi -
sion but the ract e as been a·scontinu d due tot
financia statu o the o g nization
The rogram s pr pa ed b p rt no connected with
the group a n os o the theatre, but all profits from
50
the sale of advertising in the play-bill go to this private
party. No classes are offered in theatre arts and there
have been no efforts directed toward a children ' s theatre
outlet .
The nam so prospective members and actors are kept
on file and are notifie of the castin call by mean of
postcards . o public no ce s made of the tr outs, but any
person is eligible for a part . o awa s ar made or out
tanding acting or other contributio s .
5
5 All preceding material on tis theatre is based on
personal interview of the author w·th the Pres·dent o the
est ood Village Pla ers, im perl, March 1, 1 51.
CHAPTER V
ORGANIZATIONAL DEFICIENCIES
The fullest extent or the orga zational practices
and deficiencies are limited and dictated to some degree by
the circumstances o the individual theatre. However, the
recommendations given by the National Theatre Confer nee
whic follow, are t ose of the most basic natur
be adaptable to any theatre used n this study.
d should
I. NATIONAL THEAT CONFERE CE TIO
Productiog. The op ration of the th atre shou d be
controlled b a board of d·rectors or advisors
stit tion and by-laws. In the for ulatin oft e
d r a con
ns i u-
ton an by- aws, cares ould be taken not to est 1 sh a
pattern so ri id as not to al ow for change in structure
d operation whe ro th, en ironm nt, d t e usher in
new conditio
•
Th f s board should be temporary· time
will sift OU the apable rom the ncapable. As soo as
the embersh p has been educated o wha s needed an e ec-
tion should be he d· so e of he te para bo rd will remain
•
o r·ce, he o h rs w·11 b r pla ed •
he active embership will po ide the o suppor
for the thea e, nd the only wa ha
entire commun y can be gained is b
h su ort of he
a ng e heatre
52
their project .
The number or productions to be done yearly will vary
with the individual situation, but the total for the year
should be predetermined and be at least enough to keep the
theatre in the mind of the cor:ununity at all times.
The most successful non-commercial theatres have
professional, full-time directors and some sort of profes
sional staff. Naturally, this 1s not always possible in the
beginning group, but should be one of their f·rst objectlves.
The job of the Community Theatre director is that of execu
tlve, artlst, and minister. The great direc ors of the
theatre are those with a deep understanding of theat e and
ust be the kind or men people will follow with conr·aence
and devotion. These qualities are seldom found in anyone
except the experienced director.
rom all those people who are interested in produc
tion responsibilities, a sta o the most skilled sho ld be
set up and char ed with th collect ve respons b111ty of
running the show and theatre in all of its man and varied
phases. This staff should be consistent o the ent·re year
with new members appointed as their as stants for each pro
duction.
t least once a year, something original in the way
of writing should be roduce. In selecting the plays to be
53
presented the director should bear in mind the general
appeal as well as the casting possibilities. It is far
better to do a simple show well than to undertake a diffi
cult production and only half do it. One must build and
please the audience by giving them what they want in the way
of production, still -eeping an eye on the maintenance o a
balanced season.
On selecting a play for production the reaction of
the community should be polled to discover whether or not
they will support the projected play. Prog am inserts, tele
phone c paigns, audience-reaction tabulations, and the
respon at t e box office will supoly the readin committee
an director wi h enough d ta to influence play choice.
F§c111~1e~. The ommunity Theatre needs the en r y
nd enthusiasm o the d rector and an adequate theatre· since
both o thee di iculties are not easily surmounted, he
. ort it rate the Community Theatres in the initial
rio is higl. !!;Ver e o '- should be made to obtain a
ous n fo the theatre t the earlies pos ble oment .
ven thou h onl a very limited amount o money to spend on
ab ildi is ava able a or o arc itec ure should be
obtained that wi serve he needs of the roup exactly.
~ven if the nancia set-up per ts the spending of only
enou h fWl s to adap so e existi g buildin into a theatre,
51+
greater freedom will be had for real creative ability if the
plant is planned to fit the work, rather than adapting the
practice to an out-o~-date building. The space should be
available on the floor level; a garage or armory with its
lateral spaces is better than a perpendicular type of struc
ture.
The fourfold problem of the auditorium--size, sightli
ness, comfort for the audience and beauty--must be solved
separately by each group with conside ation ot the factors
peculiar to the situation. One question pertainin to the
capacity of the auditoriwn should be fully considered; is it
better, in the interest of the production, to give sever 1
performances rather than only one or two? If so, provision
should be made for a smal audito iwn. The stadium type o
sea ·ng supplies the best view of the actor and the actin.
If, due to the re o elin scheme the elevated seatin is
limited, an e fo ts ould be made to obtain elevation enough
n the auditoriwn to insu tha the eye level or the audi-
ence in the dle o the house is at least three feet above
~h~ floor of the stage.
Plans should include an area fo the stora e and con
struction of costumes somewhere near the dressing rooms.
pace for property and furniture storage should be loca ed
near the stage. The scene construction and storage area
must be easily accessible to the stage, b t still far enough
55
away so the noise of construction will not interfere with
the acting.
A good rehearsal room is one which has a floor-area
equal to that of the stage and is high enough not to restrict
the speaking voice.
Audiencg anq actor. Methods of publicity are limited
only by the imagination of the publicit chai man, but a few
of the more basic procedures will be given. If the theatre
is doing fine productions in a democratic marmer, word-of
mouth advertising will be one of the most powerful factors ,
but there are definite techniques for hastening the process.
P. epare a series of articles for the local news apers
au ented with pictures. nything pie oria or colorful
with an "a le" will provide grist for the pub icity mill.
lso make use of p id advertising in the theatre sections of
the newspapers. nterest the local radio stations in the
theatre.
et u membe sh p booths on busy downtown street
corners and in the department store and have the mayo
proclaim a Community Theatre eek w th p enty of fanfare.
dit an infor 1 on hl pub 1c tion with news of the
theatre and distribute it to ever p ospective member in the
community. Use poste sand display boards to attract tran
s·ent trade.
56
ecorate the lobby with displays, model sets, pic
tures, and other attractions. erve coffee or tea during
the intermission, and establish the custom of the theatre
playing host at a Green oom Club party following every pro
duction.
Arrange several benefit performances during the year,
interest civic groups in joint productions and local clubs
in theatre parties at cut-rate prices for groups of twen y
five or more. ark every possible anniversar or oteworthy
event by a well-publicized celebration. rra e to have two
impressive cup donors make a yearly award to th ost out
stand·ng actress and actor o the season.
Launch classes for adults n speech and dr a, and
for children n creative draJ1atics. lan a east one major
vhildre 's Theatre Production each season and ·nterest t e
schools and teachers in the project.
Plan an ef ect ve- oo n progr and ay for he
printing b selling adverti emen s. espond o all calls
or speeches at or anizational meetings.
or ·a1 nv te all loca a ent through the ne s-
papers, to ans er a eneral casting c 1. G ve ever one a
fair chance to read or a role, an let those who do not win
down easily so that no friends will be ost.
To further the organizatio of the actor and au ience
ev r effor sho ld be made to em loy the services of as
57
many people as possible. Creating an attitude of good
fellowship will build strength, not only backstage, but also
1
among the playgoers.
II. C~NTINELA T T GUILD
The controlling force of the Centinela Theatre Guild
are organized sufficiently with the board of directors and a
constitution and by-laws, but the roup seems to be a l ittle
vague as to the philosophy or purpose of the organization.
The first major weakness ot the Guild is in the very
apparent lac of a sizeable active membership to support the
roductions. Very little attempt has been made to sell the
th tre to the audience througn the commu.n.tty. The main
nswer to this r ble lies in the number of productions
presented early· five plays duri two seasons snot
h to eep the theatre in the eyes oft e co unit. o
prede er ined pro
1 et od
ber
ue t o te
sional sta
or t he season and lneff cent budge -
t o r r an e ors to incr ase the
er .
nanc a pro le s of the uild a profes-
o t e questio but so e of the
1
All suggestions of the la ional Theatre onference
contain din this section were based upon: amuel elden,
ed·tor, Or nizin Co t heatre (Cleve an: ational
Theatre Conference 19 ), pp. 1 - •
58
receipts from each show should be put away with the idea of
obtaining a professional director i the near future. The
hand-to-mouth operation of the theatr along with the lack
of a business manager place the Guild in a very precarious
position financially. The theatre has been fortunate in
obtaining the servlces of a director of professional calibre
without payment, but it should not be ta en for granted that
this situation will continue to exist. The number of active
members is not large enough to insure the obtaining of a
co petent production staff for each presentation.
The selection of plays 1s done in an organiz d manner
and one original play has been presented however, th
balancing of the choice of fare leaves quite a bi to be
des·red. o e atte pt ould be made to poll the audi ce
to deter 1 e the reaction to the lay program and learn theu-
ants .
The uil ·s seriously handicapped by not having a
tea re or build! that can be used as a consistent place
o production. s 1 o creates a problem 1 the storage
o wh t se n sand roperties the grou does own. The
rehe rsal a ilities are also i adequate.
Publicity is the factor ost overlooked by the group
and is one of the explanations of the failure of the theatre
to build an audience. ve the most basic methods of pub-
licity have bee overloo ed· the only practices being used
are some posters and an occasional newspaper article. All
the other suggestions of the National Theatre Conference
have been ignored; no attempts have been made to interest
the audience or the community in the theatre.
59
The practice of taking contributions at the door in
lieu of standard admissions and box office procedures is not
at all satisfactory, nor 1s it conducive to building an
audience.
The methods of securing actors is acceptable, but
the principal concern should be directed toward the attain
ing of the aud ence if the theatre is to survive at all.
Instead of explaining the a parent failure oft e group by
sa ing the community is n t ready fort eir own theatre, one
would be more at to believe that the theatre is o et
rad for the co unity. This group serves as an excellent
ex ple oft e roduct obtained through the lack of organiza-
t·on and mana e ent·
the uild imme ia el
ess someon is able tor organize
to shake it out of its seemi letmrgy
the t eatre ·s apt to rea ize a very sudden death.
III. CA A
The basis for o eration and the philosophy and poli ces of the Theatre ericana are set forth very clearly and
conc·sely. Te group has in ind several definite objectives
or their theatre and laces them before he public . The
60
board consisting or nine elected members is a good working
number and they are controlled by the constitution and by
laws as recommended by the National Theatre Conference.
For a theatre group that has been in operation on a
succe; s·srul ·basi!· for fifteen years, the number or members,
125, seems ver small; especially so when considering the
theatre being used seats between three and four hundred per
sons. The answer to this lies not in the publicity methods,
but due to the fact that the group presents only original
scripts . This would tend to eli inate that portion of th
potential audience which is interested in viewing only tried
d true shows of the profess onal theatre. Since one or
he main ob ectives of the Theatre Americana is the roduc
tion of new plays, this has taken preference over bending to
he desir of that potential audience. The group would
ra her win their patron than merely entice them, still the
members of the aud ence on occasion have bee asked for
t er react on to he play resented. It would seem the~,
th t this nformation is collected for the use or the play
wright rather than e e ding commi tee.
The polic o using everal directors during the
season is o ractice by a grea number of Community
Theatres . The objection w ould be immediate! raised as to
the lack of co sis ency of roduc ion especially since no
supervising d·rector sin charge.
61
The profits of the group are being placed in a build-
ing fund wtich means the choice has been made to erect a
theatre before obtaining the services of a professional
director . While both are important, the ational Theatre
Conference 1s in favor of the ftll-time director over tre
purchase of a theatre building. This would be even more
true in the case of the Theatre ericana because the facil
ities, while not of the best, are at hand . ctually, the
only hindering factors of the building now being used are
the non-existent seating elevation, poor location in 11 ht
o available public transportation, and restr·cted use of
the buildin due to other functions. The ma·or problem of
he stora e of material is not encountered in the present
rran e • Te facilities used for rehe rsals are not
entirely satisfactory.
Pract cal ever
b the ational heat e
su ges ion for ublicit offered
nference is being used b the
ro even to the con ucting of classes in theatre arts .
e only improvemen could b in the proclaiming of a
Co unit Theatre ee b the township in connection with
the members i p drive . The practice of decentralizing the
box office rom the theatre building to the downtown area
iould serve to com ensate for the poor loca ion of the
theatre itself'.
Even though some organizational deficiencies exist in
62
the operation of the Theatre Americana, they have succeeded
in surmounting most of their problems; if the audience can
be further educated in the acceptance of new plays to the
extent of swelling the membership, the theatres ould encoun
ter no worries and enjoy a continued success.
IV. LI TLE THEATRE OF · G ROCK
ather than placing the control of the theat e in the
hands of a board of directors; the supervising director and
owner of the theatre, along with his staff, ictate t e
olicies of the Little Theatre of ,agle Rock. For this work
all the members of the staff draw at least a token wa e.
The ational heatre Conference is quite s pecif c in their
s~ e tions for the use or a board of irectors rather than
one-part on ro of the theatre. The choice of las to be
presented is also in the hands of this group based u on the
res onse of the aud·ence to he play rogr •
he theatr e joys no active membership as such, but
places the a 1ence problem in the hands of various sponsor-
n brou s. It cannot bet uthfully said that the theatre
is a wholehear e community unction, but rather an enter
tainment caterer for private roups Tis ·so e of he
met ods suggested for attainin an audience, but if used
exclusively the theatre is apt to become a pr vate organi
zation rather than a orce of the community.
63
The facilities of the theatre buildin are adequate
in all respects except in the size of the auditorium. The
limited seating capacity also tends to restrict the audi
ence. If the potential audience space was too lar c to
enable the sponsoring groups to fill the ouse at any time,
the doors could be opened to the memb rs of the community
or more of the theatre's support.
The extensive amount of pub1·c1ty be·
only to advertise the heatre for the sponsorin
used serves
roups, and
is used appare tly, to attract more spon orig ou s ratl r
than boost individual ticket sales b the theatre ·tself.
o parties or celebrations are given b the heatre,
no a ards made for outstanding acting and the classes in
theatre rts have been discontinued.
ven the cast·ng of the shows is conducted on a
private basis by the use of mail and teleohone contact with
the arsons ose names and abilities are o file 1th the
theatre office.
1th the increasing trend toward a private producing
com any the ~agle ock Theat e ·s rapidl joining the ra s
of the semi-professional and commercial estricted type of
organization. he box office ·s he baro eter which meas
ures the soundness ana health of the theatre . Only by open-
1 the box o fice for s les to the general public, extending
the run and the size of the auditorium, and changing the
philosophy to that of a truly Community Theatre will this
institution be able to escape the pitfall of becoming a pri
vate organization.
V. HUNTI GTON P K CIVIC THEATRE
The objectives and ideals of the Huntington Park
Civic Theatre are clearly outlined to all of the prospective
embers, and the structure of the gove ning body is flawless.
The number of members serv·ng as the board of directors is
larger than recommended b the ational Theatre Conf ~ rence,
but thy are needed when the size of the membershi and the
o rating polici s or the theatre are ta en nto cons der
a ion.
Th gro p mad their first objective the ecurlne o
a profes ional full - 1 e director and strive to pay him as
uch as the bud et ·11 pe ra1. This was done i re erence
o obta1n1n ape manent thea re building for the roup.
e 1 c, o t e
own th tre is now the mot hinder n
f tor of the or aniz tion. The stora e problems are
encoun ered as we 1 as a re tit on upon th evenings and
length o pres ntat on of e ch sow. hen xt goal of the
oup slould be th attaining of a bu lding or their own
exclusive uses. h·s 10 d al o allev ate the dif iculty
o rehearsal acilities w ch are not en rely satisfactory
at the oresent tlme •
.
65
Every conceivable effort has been made by the theatre
to sell itself to the community, and the size of the active
membership is evidence that the task has been well done.
The group, correctly, does not consider publicity as an
expense, but as an investment. one of the sug estions by
the ~ational Theatre Conference have been overlooked, and
ost of them have be n improved upon. Te Civic Theatre
has definitely become one or the foremost powers in the
community because of its desire to serve the comm nit~
rather than realize a monetary gain. With the eventual
acquisition of their own plant the Huntington Park c·v1c
Theat e should attain the zenith of Commun ty Th atre or an
izatlon.
VI. T\OOD VILLA E P Y
The oper ting policies of the ·estwood Village Players
are ade ua e un r the r 1 s reorga za ion or the boa d of
irectors an cons tutlon n b -1 owev r, the ro p
is a ttle va u a to its philosoph an objectives. he
number of active me bers is sma 1 but con der·ng t t t e
l ers a es u
0
1 n bac toe s e ce f om the br· 0
fa·1ure, ·t ·s a ast a r in mem ers1~p .
The theatre h s no po essional u11-t·me · actor
due to the r·nanc·a1 s atus of the g oup a hep esent time.
The prac ·ce of the actors bein respons~b e for the
66
technical aspects of the productiou ls not a merltorious one.
Methods of play choice of the group are just the
reverse of most organizations; the dire tor choosing the
play while the committee retains the veto power . o attempt
has been made to determine the desires of the audience .
The facilitie oft e Villa e Players are adequate in
m ost respects and as yet tre seatin capacit o the theatre
has not roved too s all for the audiences the group is able
to command .
t th atr
The rehearsal facilities were excellent W1tll
lost the lease on the hall hat was bein use.
ehearsals in the homes of the c st me ber, w ich ·snow
b · practice is not satisfactory.
ot too any of the s ested publicity pr c~lces
r e bein explo ted. o use is made o the informal news-
1 te, publicize parties or ce eb· ations, classe in
hate ar sad Child en' Thea e, o act·ng awar s. re
arin of e pro r b an outside ndividual rathe tha
enablin he th ate to realize the pro its is a poor pra -
le. ecentra iz tion o he box o ice wold aid in the
b ildin o t.e a dience u t o the poor loc tion of the
.eat e to attra tan ran ient t ade. he castin call
snould be a vertised in a ore ene 1 manner rather han by
the use o personal m 11 contact.
The p inc oal rievance o the estwood 1 a e
67
Players is the lack of community support of the theatre.
This could be remedied in a great part by extended publicity
ethods. However, if the reluctance of the community to aid
the group stems from some injustices committed by the
Players prio to its re-organization, the best publicity o
the theatre would lie in its continued operation. People
are
6
enerally wary of backin an or anizat·on that has been
close to failure twice durin its lifetime. If the theatre
can demonstrate to the community through c nt nued o ration
th tit now has its feet on th ground and has foun the
formula for success, the pat me bers will a an be
t o te fold . The 200 per cent increase of the aver
ence over the past six month tends to show that t s
·sh vin results.
thered
a d -
. od
CH! PTER VI
Y ND CONCLUSIONS
I. UMMARY
The first chapter was devoted to the purpose of the
study which was divided into two main subsidiar problems .
These dealt with t.e or anizational practices o each of
the theatres in the study, and the or anizational deficien
cies of these theatres as compared to the pra tlces sug
gested by the National Theatre Conference. An attempt was
also made to justify the importance of the stud i the
11 ht of then glected emphasis upon the or anizational pro
ca ures o the non-commercial theat e . The de initions of
t.e ter s use n the st dy were also discussed in his
h pter.
rev ew o the printed iterature on the subject ad
the lack o re a ed stu e n he field of Community Th at
was treated n the s cond cl ter. The p ocedure fo owed in
gt er d ta or t. ·s study was also explained in this
c apter. The reasons forte use of the guided interview
technique in prefe n e to the questionnaire were d·scussed,
to ther with the spec fie methodology util zed.
Chapter three as devoted t o the ex ination o the
rtinent fact or of the Community Theatre movement by
b iefly tracing its back round and direct ·n.r1uences.
69
The organizational practices of each of the theatres
in the study as gained through the personal intervlews were
treated in chapter four. These practices have been sub
divided into the phases of productlon, facllities, and
attraction of the audience and actor.
The second part of the proble , the or anizational
deficiencies of each of the theatres, alon with the eco -
ended practices of the ational Theatre Confer nee were
covered in chanter five •
.
II. CO CLUSIONS
Te following conclusions ere rawn from the dat in
answer to the two questions w ich ormed the state ent of
the roblem.
A. tare the or anizational practice o eacn r
the t eatres covered in the study?
1. Controlled b a board of directors w ose duties
are ictated by canst tution and by-las.
2. Uo p yment is received b an one work1n
0
in the
theatre.
3. embe s are anpointed or the p eduction respon
sibilities for each show.
4. elect·on of ply is ·n the hands of a
70
play-reading committee with the final choice sub ject to
approval of the membership .
5. Rehearsals take place at the homes of the members,
school classrooms , and out- of-door s .
6. Publicity reaches the audience throu
0
h posters
and newspaper articles.
7. Casti call is made throu h he newspaper and
s open to anyone desiring a part.
Theatre Amet1C§®•
1. Contr olled by a boar of d rectors and constitu tion and by-law s .
2. ive plays re performe during the s a on runni
ro October to June .
3. Al mbers do te t eir time an services t o he
t e tre.
4. ud et 1s dra u on a yearly bass with so e
on set as·ae each year towar a building und.
5. 0 ori ina sc pts or he er1can scene are
roduced with the select on t e han sofa play-readin
committee subject to he approval of the bo of directors .
6. C pla rW1s fo six evening, opening on
Thursd and clo in on esday.
7.
ud ence eaction is de ermined by ve bal cont c~
an a questionnaire· the pla r ogram.
8. The theatre building is rented from the County
R creation Department along with the storage space for all
materials.
9. Costumes and scenery are constructed by members
of the theatre.
10. Reh arsals are held at the theatre, homes of
m mbers, and at local churches.
11. Publicity reaches the audience through the use
of newspapers, osters, and radio.
12. The box office is located at th t eatre and
ad ission is b membership or single ticket.
13. Benefit and sponsored roductions are iven.
14. Cos of the rogram is covered b adverti 1ng.
15. Lobb d plays, auto bile bumper streamers,
co fee ntermi sions, and news-letters are used or addi
tion 1 ublicit.
16.
'
ds are given to the outstandin ac or,
a ,tress n utho e ch seaso.
71
17.
The theatres nsors a Invitational heatre rts
11 and a membership a en-tea part e ch season.
18. C ildre s e berships d classes
.
n theat e
arts are maintaine b he theatre.
19.
The theatre co ... etas in the nnual 'outhern
California Tournament of One ct Plays at anta Ana.
20. Casting call is adv rtised through the mail,
newspapers, and by telephone.
hittle Theatre of Eagle Rock.
1. Control of the theatre ls in the hands of the
supervisin director and his staff members or which all
ain at leas a token wa e.
72
2. Play selection ·s accomnlished by a five member
committee subject tote approval of the supervl in direc
tor.
3. Continuous operating schedule of five evenin s a
eek and eight to ten plays yearly is acticed.
4. u ience re t 0 is po 1 b th use of a
0 ins t.
5.
OU leases the t eatr an s ora e
1 -
n s.
6. cen r .. s b t b t e r oup· cost s, furni-
ture, and ro erties a obtai ed thr ugh onation .
7.
The r ou leases an ouate
...
rehearsal roo ic
1 acce ible a all es .
8. P blicit methods include new pa er adve t·s1ne
an art·c1es, placards posers, n ail anno ce ents.
rac c 1 .. a 1 o he aud nee s insur d every
evenine b th use of o ed roductions.
att
10.
ted.
e e an c ildren' performances ave been
11. Lobby display consists of pictures of the cast
embers and past pr oductions .
12. Casting no ification is made by telephone with
persons w1ose names are on file at the theatr o flee .
Huntineton ark Civic Theatr .
73
1. The theatre is under the control of a boar of
director s with their dutie dictated by a consti ution and
by-laws . The entire grou is under the spon orship of the
Recr ation apartment of Huntington Park.
2. Member ship is obtained by the purchas of a
tr n ferable season ticket classif ed as sustainin, sos r,
•
, or student .
3. F ve ajor reductions and f v mi or ~ od -
o s ar .resented ach s ason.
4. he heatre h s the erv·ces of a paid full-t·
ro d r ctor.
5. he bu get is e up on a ear l basis 1th all
r i ts bein r ·nvested i the tea re •
6. Productio espon 1 ilit es ar on a vo unteer
asi su ervised b the dir ctor .
7. Te pla se ectio and e
co it ee subject t o the a pro al o
t 1s done b a
the boarc o a·rector
a
the director hi self .
8. Aud ence reactio to the pr ogr is determined
by an insert in the play-bill.
9. The auditorium of the untington Park High School
is used for the major productions; the R creation Center
Bui lding i s used for the minor r oductions.
10. The construction of the costumes, settin s, and
properties is in the hands of various committees .
11. Rehearsals take lace at th grade school, the
park ecr ation Buildin, the local hospital staff-room , and
at some of the communit churches .
12. Publicity reaches the audience through newspaper
art·c es and advertising, posters, news-letters, department
stor dis las, parades, and oral ·ntorma ion assed at the
sc ools and librar es .
13 . dmis ion to plays ·s b mem ership or si le
ticket . pecial rates re iven to dr a r ou sad prospec tive mem ers .
4. c es are sold a dece tralized box of 1 es,
b c st mm ers and by memb rs of the boar of direct r.
15. Th t atre s onsors a annual contest forte
cr ownin oft e cue n of r a of the communit .
16. nnual awards ar given for outstana· ng acting
and services to the t eatre .
17. rece tion committee of various co unity
fi ur s reet the aua·ence at the theatre. Decoration of
the lobby includes press-books, posters, and pictures .
Coffee is served during intermission.
18. Children's productions as well as benefit pro
grams are offered by the theatre.
Four membership parties ar given durir1g the
theatre.
75
19.
year b th
20. nnouncement of try-outs is made in the pla pro-
gram, newspapers, and by mail .
Westwood Village Plaxers.
1. Operation of the t eatre ·s by a board of a·rec
tor controlled by a constitution an by-laws.
2. emb rship in the rou ·s atta·ned byte pur e ase of a season ticket .
3. The sows are budgeted on an 1 divi ual bass
ro ro uction to roduction.
4. 1 ersons donate t.e r time and servic s to
the theatr.
5. he theat ·son a constant operating schedu e
ving t elv erfor ances of eac eduction and twelve
r oductions e rl.
6. Co ce of pla s in heh nds of the suer-
vising dire tor wi ht e inal ch ice subject to the approval
of the board o re tors .
7. he theatre buildin and storage space ·s ented
76
by the group.
8. Scenery and costumes are constructed by the cast
members for each show. Properties and fur iture are
obtained through loan to the theatre.
9. Rehearsaln are held in the hom s of the members
of the cast.
10. Publicity reac es the audience b mans of radio,
newspaper articles, newspaper advertisi , and posters.
11. dmission to the plays ls by membership or single
ticket. Multiple admission cards are sold at a reduced rte.
12. Sponsored nd benefit .erformances ar iven.
13. Lobby and window dis las consist of pictures of
the staff
14.
e bers a a past reductions of the group .
Persons ar otified of try-outs by mail.
B. ·Jhat are the organizational deficiencies o each
of the theatres studied as co par d t o te or anizational
ractices su gested b the tional heatre Confer nee
Centinela heatre uild.
1. o prede er ind program of numb r of .lays for
the season.
2. Inef ·cie t bud etin metho s .
3. o rofessional fu11-t· e director .
4. o attempt to determine aua·e ce re ction to the
play selection.
tion.
77
5. No permanent theatre building or place of produc-
6. No storage space for materials owned by the
theatre.
7. Inadequate rehearsal facilities .
8. Poor concentration upon pu,licit met ods .
9. No standard admission price or box of ice .ro-
cedure.
10. o awards for actors and ctresses.
11. o classes in theatre arts.
12. o atte pts toward c ildren s product ons .
1 . o benefit or sponsorea pro uctions .
14. o attempt to interest the co uni 1 t he
theat e .
heatr~ Ame icana.
1. o aid f 1-time professional director.
2. Unsatis actory e e rsal facilities.
3. o decentralized box of ce.
4. o use of a proclaimed Co unit Theatre eek n
co ectio 1it he embersh drive
Lit le Theatre Q.f. =~:.-~ __
1. One perso control oft et eatre w·th no use of
a board of directors.
2. el entirel upon s onsored productions.
78
3. No decentralized box office.
4. No classes in theatre arts.
5. No parties or celebrations are offer d by the
theatre and no awards i en for outstanding serv·ces or per
formances.
6. o news-letter is circulated to the rospect·ve
u ience.
7. o use s made of a Commu it Theatre ee proc lamation or membership drive.
8. The castin call is not made publ c.
Hunt ngton Par{ Civic T eatre.
1. eed the r own theatre b ild·n to facilitate a
ore f exible ope at· g rocedure ad to eliminate t e
stor ge problem.
2. I dequate rehearsal facilities.
3. o class o fered in theatre arts.
4. o use s ma of a Co unit heatre eek roc-
1 ation 1 connect on with them mbers ip rive.
estwood Vi Payers.
1. o full- e profe s·onal ·rector .
2. ne ficient bu geting ethods.
oat empt made to ol he au ience reaction to
t e nla pr o ram.
4. Inadequate rehearsal facilities .
79
5. No costume wardrobe is being collected by the
theatre.
6. o decentralized box office .
7. No classes are being held in theatre arts .
8. Exploitation of publicity is only fair .
9. o children's theatre roductions.
10. o use made o t~ e ·nror al news-letter, Co unity
Theat e /eek procla ation , or publicized parties ad eve ts.
11. efreshm nts are not served to the public .
12. Poor practice of not preparing their own pla
bill.
13 . o r sentation of a tin awards .
14. eed a more open method of advert sin the cast
in call .
c. The contention de e~r11 r in the tud re ard
ng he im o t nee of orga1 zation and mana em nt t t e
th atre is so subs an iated b the data . It was noted
at the success o t e ndivi ual theatre varied directly
Mit the amount of concen rat·o on the princi les r good
or a zation and mana e ent.
I
•
T ~,R TUDY
An m ortant nee of tne non- co ercial theatre c uld
be e e ie i a std would be unaertaken which would
result in an up-to-date textbook and course outline for the
teaching of theatre management.
Valuable information in organization and mana ement
could also be gained if a study was made of the reasons for
failure of the eighteen theatres in Ea le ock to deter ine
what practices were overlooked in their operation.
80
IBLIOGRAPHY
BIBLIOGRAPHY
A. BOOKS
Anderson, John, Box Office. New York:
Harrison Smith, 1929. 121 PP~
Archer, William, and Granville Barker,
for~ National Theatre. New York:
1908. 177 PP•
Jonathan Cape and
chemes and Estimates
Duffield and Company,
Bernheim, Alfred L., The Business of the Theatre. ~w York:
Actors Equity Association, 1932. 217 pp.
Burleigh, Louise, The Community peatre.
Brown and Company, 1917. 18 PP•
Boston: Little,
Dean, Alexander, Little Theatre Organization~ Manage ent.
New York: D. Appleton-Century Company, 1926. 333 pp.
rv ne, t. John, The Qrg~~zeq Theatre.
l1acmillan Company, 192 • 213 PP•
New York: ne
lanagan, Hallie Fergusoni Arem.
and Pearce, 19l+o. 47, PP•
aw York: Duell, loan,
•rohman, Daniel, lemor~e_§ Qf. ~ kanager. Garden City,
ew York: Doubleday Page and Company, 1911. 235 p.
Goreli, ordecai, ~ Theitres for .Qlq.
French, 194o. 553 PP•
ew Yor~: Samuel
insdell, Oliver,~ the ~ittle TheAtr~ ~.
Samuel ren h,--1925. 122 pp.
e I or :
·oughton, 1orris, Advance from B roe4waY. ew Yor:
Harcourt race and Company, 1 1. 416 pp.
·ughes, Glenn
1
The ~ .QL the Uieatre.
rrench, 1~28. l+22pp.
Kinsey, A., w. Pomero, and c. Hartin ,
the liYmWl al~• Philadelphia:
19'1+8-;-~363 PP•
ew ork: amuel
BehsV.\OJ: in
ers Com an,
Krows, Arthur Edwin, Plax Proquction in America. New York:
n. n. 1916. 399 pp.
Macgowan, Kenneth, E,_o~tlights cross Amer ca. New ork:
Harcourt Brace and Company, 1929. 39g pp.
___ , The Theatre .Q! Tomorrow.
ew York: Boni and
Liveright, 1921. 302 pp.
Mackay, Constance D' rcy, The Lit ].e Tle
91
t.re in the United
tates. iew York: Henry Holt, 1917. 277 pp .
MacKaye, Percy, The Civ·c Theatre.
Kennerley, 1912. 308 pp.
ew Yor . : ~itclell
Boston: oughto ~i lin Co ny ,
___ , The Playhouse and the Play. l ew York: Th
Company, 1909. 210 PP•
cmill n
ycClee y, lbert, an Carl lick, Ql.!t n~ Goin
ew or: Pitoan Publishing omp , 193
PP•
Pea son , ~albot, ncores .Qll _W treet. Pit sb r h :
Carnegie Institute of echnolo y Pr ss 48. 175 P•
Perry, c.
ussell
t ,
a e,
yler, Oliver 1 . Ou
ren ano's, 1 23 .
hegtre .
PP•
ew York:
el en, uel, editor, ing s. ~ c~~~--
Clev nd: a ional e Conference , 1
tanton , a o d E., Theatre
D . ppleton- entur Co pany
B.
e 0
tre.
127 pp.
Phelps, aldo oodson, "A u ve of peech ~ducation in the
Pu lie Senio i~h clool s o Cali ornia.' Unpublished
Doctor ' s dissertation , he University of 'o thern
Califo nia Lo An~eles , 194 . 139 P•
•
•
essler, Jessica Miller, "The Civic Theatre Theory of
Percy MacKaye." Unoublished Master's thesis, The
University of Southern California, Los Angeles, 1950.
129 pp.
C. OTHER SOURCES
Personal Correspon ence of the Author, letter fro
Campton Bell, ovember 11, 1950.
Personal Correspondence of t.e uthor, letter from
John olman, ovember 14, 1950.
Personal Correspondence of the Author, letter rom
A •• rummond, ovembe 29 , 1950.
ersonal Correspondence ot the Author, letter rom
Glenn Hughes, ovember 20, 1950.
Personal Correspondence of the utho, letter from
nneth Macgowan, ov mber 24, l 50.
Personal Interview o the Author with Charles Cr wford,
Pre ·aent o the Centinela Theat~e uild, ebrua 2,
1951.
Per onal Interv e o th uthor th ~dun ste
Pr sident of the Theatre Americana of ltadena,
ebruar 26, l 5 .
e so 1 nterv.iew o the uthor
Pre ident o th unt n ton Par
Febru ry 27, 1951.
th obert c onald,
Civic Theatre,
84
er onal nterview o t.e uthor w h dward Sartu, Manager
o the 11 tle T eatre o a le oc , eb uary 27, 1 51.
P rsonal Interview oft e uthor with Tim e 1 Pre ldent
of the estwood Villa e Pla ers, arch 1, 1 5.
APP NDIX
INTERVIEW GUIDE SHEET
Name of Group
Year Organized
By Whom
Nwnber of Members
umber of Plays Done Yearly
Total Productions to Date
.Q.ENERAL
Boar of Directors or Organization Committee
How Chosen
Term of Office
Constitution and By-Laws
Profe sional Full-tlme irector
ther Paid taff embers
Use of ud et
Production Responsibilities
How andled
Pe~son in harge
New Assignments for ach how
Play Selection
How andled
umber o Origina Plays Given
Play Selection (continued)
Nwnber of ~venings of Production
Audience Reaction to the Play Program
Polls
Telephone Surveys
Program Inserts
Other l-1ethods
Building
Own Theatre
ow Was It Built
FACILITIES
lhat Was It Originally
eating Capacity
Transportation Facilities
Location of the Theatre
Costumes
Construction
ental or Borrow
t ora e rea
Propert an Furniture
Own .daterials
ental or Bo row
Propert and urniture Stora e Space
87
Scene Construction
Own Construction Work
Storage Space
Accessible to the tage
Rehearsal Space
What Is Used
Adequate Size
AUDIENC~ A.ill! ACTO
Publicity Methods
adio
ewspa er rticles
ewspaper Advertising
Posters
Mail ethods
Throwaways
Communit Theatre eek Proclamation
ews-letter to Prospective e bes and lembers
Other ethods
omplimentary eason le ts or
ewspapers
adio Stations
tores and hops
Acting wards
le Tickets
88
Lobby Displays
Benefit Performances
Sponsored Performances
Classes in Theatre Arts
Children's Theatre Productions
Program Advertising
Refreshments Served
Parties and ~vents
Other Practices
Box Office
Telephone eservations
eason ubscriptions
·ngle ' dmissions
Rates for ervlce Men
Price cale of eats
Tic_et Booth Location
Other Co:nments on t e Organization and Manage ent or the
Theatre:
89
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Asset Metadata
Creator
Johnson, Harold Edward
(author)
Core Title
A survey of theatre organization as practiced by a selected group of community theatres in the Los Angeles area
School
School of Theater
Degree
Master of Arts
Degree Program
Drama
Degree Conferral Date
1951-06
Publication Date
06/01/1951
Defense Date
06/01/1951
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
OAI-PMH Harvest,Theater -- Los Angeles,Theater -- Production and direction
Format
theses
(aat)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Butler, James H. (
committee chair
), Fuller, Marcus H. (
committee member
)
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-oUC112724850
Unique identifier
UC112724850
Identifier
A no.30 (Film) (call number),etd-JohnsonHarold-1951.pdf (filename)
Legacy Identifier
etd-JohnsonHarold-1951
Document Type
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theses (aat)
Rights
Johnson, Harold Edward
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application/pdf
Type
texts
Source
20230207-usctheses-microfilm-box7
(batch),
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright. The original signature page accompanying the original submission of the work to the USC Libraries is retained by the USC Libraries and a copy of it may be obtained by authorized requesters contacting the repository e-mail address given.
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Repository Email
cisadmin@lib.usc.edu
Tags
Theater -- Los Angeles
Theater -- Production and direction