Theater Musings
Shattered Hope
by
Gary Beck
353 E 83st, 6L
New York, NY 10028
212 481-8220\
garycbeck@yahoo.com
www.garycbeck.com
www.facebook.com/AuthorGaryBeck
Sidewalks Theater
did a performance cycle of Moliere plays and received support and other
assistance from the French government, including an invitation to perform at
the Embassy. They were cultured and gracious. We did a cycle of Aristophanes plays
and the Greek government was polite, but disinterested in supporting us. Either
they were too poor, too stingy, or we weren’t Greek enough. Fortunately we
never depended on the kindness of outsiders to fund our productions, both a
great strength and a glaring weakness.
When I first
started Sidewalks Theater with the intention of revitalizing the classics with
dynamic ensemble performances, I did so with a ten year plan. I had directed in
other companies, but I never had a theater. I used other peoples’ spaces, frequently
frustrated by my lack of control of the production process. I had read and
heard experienced opinions that a new company needed a ten year plan, which I
agreed with completely. This at a time when the average life span of a new
theater start-up was two to three months.
The plan called
for our first hit show in the seventh year. Despite agonizing downs and
ecstatic ups in our seventh year we had our first hit show, Aristophanes’
Lysistrata. Our theater was on Beaver Street, around the corner from Wall
Street and at that time a non-residential neighborhood. Despite all the
disadvantages, we sold out every show in our 125 seat theater, sold standing
room only tickets on the weekends, and had to refuse between 150 and 200
requests for seats at almost every performance.
Lysistrata was a
great show that fulfilled one of my director ambitions, for the audience to
fall off their seats with laughter. One amusing incident. A racy PSA (Public
Service Announcement) for the show was aired on Channel Nine during a Rangers hockey
game and we were besieged with phone calls from avid fans urgent to know what
Lysistrata was. The house manager told some of the more vulgar callers that
Lysistrata used to skate for the Pittsburgh Penguins. The show cost a small
fortune proportionate to our limited means, but it made the money back at the
box office. The audience demand for seats was high enough to move the show to a
299 seat Off- Broadway theater. We were negotiating with a theater for an open
run, when disaster struck.
We had a large
competitive grant from the U.S. Department of Education for our arts and
education program for underserved and neglected communities. It paid the
salaries of our staff and some of the actors who taught workshops in public
housing developments, prisons and other culturally isolated areas. I received a
phone call from a government official informing me the Department of Education
was closed and our grant ended immediately. We began a desperate effort to
raise temporary funds until we could transfer the show and earn enough to pay
expenses. A few days later, the Department of Environmental Protection notified
us they were taking over our building and we had thirty days to vacate the
premises.
Without money and
a theater, once again we were vagabonds, forced to work at other people’s
theaters. This was a distasteful necessity to me, because of the lack of respect
for the physical premises in most Off- Broadway theaters that always caused conflict
with my requirement that a theater must be clean and safe. The only consolation
was that a number of our actors went with us. A few had been with us for five
or more years, others for the last two years. This enabled us to continue to
work at a high level that was maintained by the skills and talents of the core
group.