SOCIAL CONVENER: A PLUM
POSITION!
Mary B. Wood, Coalition member and dramatic arts
teacher at Branksome Hall, provides a few helpful hints
on how to increase arts accessibility in your own social
circle.
When I returned to the classroom after working
in theatre for several years, I realized that fellow
instructors across all disciplines weren’t experiencing
Toronto arts as often as they would like. Theatre,
especially, was regarded an event too time consuming
to coordinate and was consequently scheduled off the
social calendar. With many shows closing after brief
two- to four-week runs, there is little time for the
buzz to spread; the primary audience becomes those
who are quick on the arts press beat or those in the
(arts community) know. Having watched colleagues and
fellow art lovers yearn for greater exposure to the
rich Toronto art scene, I became determined to bridge
the disconnect.
One Monday morning over coffee I invited a handful
of receptive teachers to a group theatre outing. I
then sent an email to all faculty and staff and was
overwhelmed by the healthy response of a dozen theatre
enthusiasts. In the thrall of everyone’s enthusiasm,
I booked us into an evening play—and suddenly
I was social convener for regular ventures out to
Toronto theatre. Encouraged, my main goal has become
to increase arts accessibility. I’ve developed
the following guidelines as a foundation for grassroots
planning: |
Mary B. Wood, Social Convener |
First, I research. I talk to my friends
in the theatre about which plays they are developing. I
read pre-press and scour the coming season’s brochures,
looking for plays that will not only entertain the group
but connect them lastingly with the Toronto arts community.
At times, I find it also important to demystify an artistic
outing. Many still consider the traditional three-act three-hour
play the regular format, where in fact, today, many shows
often run under two hours. These make for quick, intense
experiences, with plenty of time go out for dinner or a
coffee to talk about the play.
When organizing theatre outings, it is important to make
friends with the group bookers at various theatres.
Typically you need a minimum of ten for a group rate (15%
to 20% savings on a ticket). I always entice colleagues
with savings as it prevents them from saying, “I’ll
catch it on my own.” They come to know they can get
a better rate with me. Taking on the initiative also creates
an incentive for the group booker because, depending on
the theatre, your ticket is free. Theatres understand the
time invested into organizing such events and appreciate
both the immediate and follow-up business. At least two
fellow colleagues have since acquired season subscriptions
as a direct result of the outings.
Invitations should encourage interested theatre-goers
to bring partners, spouses, or even adult children.
When a group of 16 attended an adaptation of “No Great
Mischief” at Tarragon Theatre, it seemed only appropriate
that Kathleen bring her Uncle Tom, originally from Cape
Breton. Afterwards, I asked where the post-show drinks would
be held and watched in delight as Uncle Tom talked with
Nancy Palk about the contagious nature of Acadian music.
After such experiences, these budding theatre-goers will
read about an art event with an engaged and knowledgeable
connection, hopefully giving rise to the impetus to attend
theatre on their own accord.
It only took one outing (now four years ago) to create
a buzz around the coffee machine and for my role to be sealed
as “social convener.” My role also extends to
making artists aware of their appreciative audiences:
I always make sure to pass on enthusiastic thanks to the
artists whose work we’ve shared. Such accolades are
always welcome well beyond opening nights and press reviews.
|
