Working at nonprofits in the 1980s and 1990s, nonprofits that produced live theatre, deeply affected me in terms of how I work in management, communications, customer service, team support and client data management in organizations that have nothing to do with the arts. The things accomplished in producing live theater that I had the privilege of being a part of – with few or no computers, and no Internet – seems astounding now. Back then, it was just business as usual.
How theatres approach
I started writing a blog about this long ago, but realized it’s really two blogs. This is part one of two on the subject of how working in nonprofit live theater back in the 1980s still affects how I work to this day, and how your nonprofit or company that is NOT focused on the arts can learn from such:
- Everyone at the organization, whether full-time employee or short-time contractor or volunteer, whether on stage or back stage or up in the administrative offices, was committed to the success of the stage production and would do just about anything within their role to make sure it was a success. The executive director, the marketing director, the actors, the designers, the
stagehands , the box office manager, the volunteer ushers, the intermission bartenders – EVERYONE wanted the production to be successful and cared deeply about it happening as close to the vision as possible. Everyone had each other’s backs – yes, I have jumped behind the bar to clean glasses when I realized intermission staff was overwhelmed, and I was the marketing manager.
- Deadlines are absolute when producing stage productions at a theater that sells season tickets. Dress rehearsal happened on the date on which it was announced to happen. Opening night happened on the date on which it was announced to happen. Delays were oh-so-rare and, on the rare occassion they happened, deeply shameful. To miss that date gave the impression that the team was a poor planner and, perhaps, lacking in basic competence. It’s because of my background in theater management that I have laughed at web designers or tech developers who feel deadlines should be fluid or that say that what is being asked for is impossible or too much. They wouldn’t last a day in most professional nonprofit theater companies I’ve worked in, where a deadline is real, it’s non-negotiable. In my 15 years in live theater, we made every opening night. There might not be working light cues, there might have been an understudy in a role, but the audience saw a show the night we said there would be a show to see.
- Meeting all the deadlines associated with dress rehearsal and opening night – for the play program to be printed, the volunteers recruited and scheduled, the press contacted and their seats booked, the costumes and props and sets fully constructed and operational, etc. – required frequent, continuous communication among various staff and departments, with all staff feeling empowered to communicate with absolutely anyone across hierarchies and departments. We didn’t have email – we still visited each other’s offices and still put things on paper. And at the weekly staff meeting, we were focused on exactly what needed to be done and WHO would be responsible. The house manager would a short report after EVERY performance noting ANY issues AT ALL, from a cell phone going off during the second act to late patrons not being seated until the first scene change. The stage manager wrote a short report EVERY performance noting ANY issues AT ALL during the performance. A senior staff member read that report EVERY morning and was not surprised when a patron called with a complaint about something they were angry about, or when an item showed up in the press noting a mistake in a performance, because they already knew about it. No one claimed they didn’t have time to write those reports or read them. I have stared dumbfounded at senior managers at non-arts-related nonprofits who want to focus on how they first heard about a
program problem – the messenger – rather than the problem itself.
- Hierarchies existed, but not when it came to communications about the quality of the “final product.” If the marketing assistant attended a rehearsal and sat in a seat and realized the staging would keep certain audience members from seeing a critical moment, that marketing assistant woud be welcomed to tell either the stage manager or even the director, directly – that assistant didn’t to have to go to the marketing director, who would then go to the executive director, who would then go to the artistic director, who will then go to the stage director.
- Absolutely, we were happy with full houses and sold-out shows, but we were just as thrilled looking out and seeing a half-filled but completely diverse audience, with people of ethnicities or ages we didn’t usually have in those seats. We also were thrilled when we put on a show that was challenging in terms of its theme or how it was presented, and it connected with the audience, even if we weren’t playing to full houses. I’ve never been able to relate to corporate folks that want nonprofits to focus exclusively on numbers instead of other factors, like the diversity of the audience and feedback from that audience, when judging marketing success.
- EVERYONE took part in celebrating the success: on opening night, the box office assistant manager was as delighted as the show’s director that the play – the project – was off and running successfully, and they were side-by-side celebrating at some point.
I miss that environment so, so much. I’ve kept those lessons in my work, much to the frustration of some managers. I still think it’s a great way to operate.
Next week, I’ll share blog number two on how working in nonprofit theater taught me so much about customer relations and data management.
If you feel that your work or volunteering at any arts-related nonprofit has positively affected your work at other nonprofits, or even in the corporate sector, please comment below!
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