Seussical Schmoozical

by Bob McClain

ENDINGS

This is part three of the Suessical story. I finished the Meet-N-Greet story with the statement that no one wants to be remembered for being the person who screwed up the show. I used this as an explanation why singers, dancers, and actors were willing to sacrifice weeks of their evenings to rehearse a musical.

But of course, there’s more to it than that. Lots more. Most of the people in the arts have a fanatical dedication to their craft that borders on insanity. In most cases, it is because there’s no place to hide in art. An artist must give 110% before they are willing to let others into their world. They are exposing the deepest part of who they are when they create something. And when the whole world can see their art, they risk ridicule, insults, merciless critique, and sometimes, violence.

Working on the stage has a magic all its own. I know the word magic is a tired cliché in reference to the stage. And yet, anyone that has ever been on a stage or deeply involved in the production of a stage performance, understands there is no other word that fits.

However, the magic almost came to an end for the Heritage Theatre Company, the producers of Suessical. They were barely getting by, producing four shows a year, and hardly meeting expenses. In fact, they eliminated their summer production in an attempt to cut their losses. It didn’t work. After a season in which they produced Oliver, Steel Magnolias, and Camelot, they realized they were $6,000 dollars in the hole.

It turned out that an increase in rent for the theater created the loss they were experiencing. Linda Christensen, the President of the Heritage Theatre Company, called a “brainstorming session” last summer in hopes of coming up with a solution to the financial problems. They emailed everyone that had ever acted, worked for, or volunteered with, the Heritage Theatre Company.

Linda was scared. Several members of the theater board believed that the only solution was to permanently close down the theater company and hold some fund raisers to try to come up with the money they owed. Linda and a few others were convinced that the theater “family”, those who committed their time and hard work to the theater, could come up with a solution.

And solve the problem they did. The night of the brainstorming session at the Maplewood Community Center’s theater, the seats were filled. Linda broke the bad news. People began walking up the aisles, tossing checks and cash up on the stage. Others volunteered to devote more time and work to the theater to help allay costs. By the end of the night, there was enough money on the stage to not only pay off the debt, but to also help finance the next show.

When the next show turned out to be a money-loser, Heritage was again in trouble. That’s where Joseph Burch and Christopher Teipner come into the story. They proposed Suessical to the board, believing that it would be successful. Suessical had one thing going for it that none of the other shows had. Joseph Burch has a marketing background. (He is Assistant Marketing Director at the Saint Paul Chamber Orchestra.) With his guidance, the theater members began learning how to really market a show. How to generate interest and excitement outside of the theater regulars. And it worked. Suessical was their most successful show to date; selling 90% of all seats available during the run. And hopefully, for those of us who never tire of the wonders of a live stage performance, it is just the beginning of a new era for the Heritage Theatre Company.

Bob McClain is a local writer with ARTSNATION, The WaZoo! Show and Twin Cities Dining Guide. You can find out more about Bob at www.wordsmithbob.com and he can be reached at info@wordsmithbob.com or 612-226-7667.