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Summary: Discussion of AC term length, election
speeches & elections, Valparaiso and Literary Committee need staff,
discussion of Crime Scene is discussed, and more!
EMail links are provided
as a convenience when possible; however, there is no guarantee that everybody
will check their EMail regularly. Please check your phone list for
other contact info.
Proposal from Corey
Klemow: AC Term Length
I propose to extend the term length
of the Artistic Committee from one year to two.
This is an idea we've bandied about on and off for the last year or so, and I
believe that at least two of today's AC candidates (Meredith Patt and Joe
Jordan) have recently spoken in favor of it on the message board and
elsewhere. [Editor's note - I was wrong; it was actually Meredith Patt
and David LM Mcintyre.]
As I understand it, the pros are being able to do more long-term planning
(including making it easier to develop new works in conjunction with the
Literary Committee), and having a consistency of artistic vision. The cons
are that the job is very intensive, and people often burn out after a year on
the AC.
[John Sylvain calls for brief Pro and Con statements. We started out
alternating pro and con, but then it got muddled, and people stopped being
identified as one or the other. Your humble editor will assume that you
can figure out which is which...]
CON - Joe Jordan: Anyone who wants to be on the AC in the current structure has
the option to do so until they're sick of it of the company is sick of
them. Extending the term won't alleviate the problem of getting people to
WANT to do the job.
PRO - Meredith Patt: An extended term means more time to develop and work
towards artistic goals.
CON - Steve Tanner: Communication and continuity won't be solved by this.
Good luck finding people who will run for a 2-year term. We made it a year
for a reason.
John Wuchte: I'm torn. Steve has good points, but we need to expect more
from people. Yes, they can run again. But it takes time to learn the
job. We can't risk losing a successful flow by having a new learning curve
every year. It's a cop out to say that one year is all anybody can handle.
Gerald McClanahan: I've been on the AC for 2 non-consecutive terms. It's a
SERIOUS job. I don't know where I fall. It's not a walk in the park
-you need to be at the theatre weekly, even daily. It involves problem
solving and putting out fires. Not many people step up.
Jacob Sidney: It's the wrong time to make this decision. The best way to improve
continuity is to have a 6-month rotating AC (i.e. elect one new member every six
months while keeping an AC of three). There's too much upheaval now.
Tom Kiesche: You can always be re-elected. The only way to stop
re-starting every year is to have a staggered AC (as Jacob suggested).
David LM Mcintyre: It's currently hard to do anything that takes longer than a
year to develop. It hinders our artistic progress.
Joe Jordan: Re: staggering - it's not good for the AC - it would be a logistical
nightmare figuring out who is responsible for what, since each AC chooses shows
that will be done long after their tenure is over.
Paul Plunkett: I'm unsure. Two years is a lot to ask. Maybe in the
next few months, we should elect the NEXT AC in advance, to start work
early. We started the company with 6 month terms - eek! I was on the
first yearlong AC - and was exhausted at the end of the year.
Vote on whether to vote on this now or table it: Vote now.
Vote on proposal: Proposal does not pass (landslide against).
Membership List
John Sylvain reads the new list of
company members. The full list will be made available online soon.
The list read at the meeting was incomplete, as John accidentally only brought
in the page leading up to "M" (though Ruth filled him in with an older
- though incomplete - version of the list for N-Z).
John Wuchte: That's a large number of members. What's a quorum now?
John Sylvain: The company should figure that out at an upcoming meeting.
Brad Friedman: What were invites to membership based on?
John Sylvain: Perceived value to the company.
The current membership was invited by the inaugural Membership Committee,
currently consisting of Mary Hayes, Ruth Silveira and John Sylvain. The
Membership Committee will be discussed at the next company meeting.
ELECTION
SPEECHES / Q&A
ARTISTIC COMMITTEE
John Sylvain: David LM Mcintyre,
Jessie Marion and Zander Stephano have all dropped out of the race. Joe
Jordan, Meredith Patt and Paul Plunkett are now the ONLY candidates!
Anybody else wanna step up... ? [Sondra Mayer does so.]
90 seconds for speeches
JOE JORDAN: As you all know, I've been through a lot recently. I
learned a great deal about the job in the last year, including procedural
things, etc. The best reason to vote for me is 'cause I WANT to do this
job (until I'm lynched). Long term goals I want to work on - choosing
programming based on who is IN the company. I've always tried to, but the
proposal process hindered that. I want to MAKE the choice more about
playing to member strengths. Also - I want to institute deadlines for the
AC to make their choices.
SONDRA MAYER: I've been around the theatre for two years - mostly as a
techie and stage manager (but I'm a performer, honest!) Picking the season
is the smallest part of the job - the work that needs to happen needs to happen
now. We need the AC present at all levels of production. I'm
not a politician - I won't solve problems for other people (though I can always
be used as a sounding board). I just want to make sure that stuff gets
done well. I also want to keep people excited about performing here.
I will make sure that all shows get all the support they need.
MEREDITH PATT: I'm running 'cause I love theatre. When I began
studying theatre, I chose not to direct a play until I had stage
managed - I didn't want to take a leadership position until I understood all
aspects of creating theatre. I agree with Joe re: member
involvement. I want to find out what the company wants to do - I'll have
coffee with each of you if need be! Whatever it takes! I'd like to
have an Artistic Roundtable twice a year... if that doesn't work (or even if it
does) - anybody got ideas? Then talk to me! I would also have the AC
help people to get involved with other people's shows, and work with the
Literary Committee more heavily.
PAUL PLUNKETT: I'm a founding member. I spent a year as Literary
Manager, and a year on the AC. I've spent the last couple of years away
from the company in order to fill other commitments in my life (and would never
begrudge anybody else doing the same thing!) I'm back! When I
commit, I follow through! Three things the AC should do: pick shows,
supervise the execution of those shows, and provide leadership of the company's
culture. The sort of projects I like are those that are FUN - when actors
are having fun (whether in a comedy or a drama), the audience has fun as
well. Re: execution - I would love to gradually find a way to do
less. (Perhaps less Dark Nights, but more Friday night shows?) Re:
culture - talk to each other - don't gossip about others' opinions!
Hearsay tends to become a counter-productive snowball.
Q&A: 30 seconds for answers
JOHN WUCHTE: Joe - re: picking stuff "for the company" - last
year, there were over 100 roles - an INCREDIBLE variety of stuff. And
still only an average of five company members auditioned for each show.
Many I asked said they thought there was "nothing" for them in the
shows!
Joe: A li'l precasting (not all the time!) is not a bad thing. But
what's MOST important is to choose directors and/or producers who KNOW the
company and WANT to get us involved. We should also try to find scripts
with roles for specific company members.
Sondra: Agreed. Plus - check who is available.
Pre-casting is playing favorites. Getting new people in is good too - it's
a delicate balance. I understand people's frustration - I've had trouble
getting cast. But don't point fingers - it happens. More shows are
always coming.
Meredith: I'm not in favor of closed doors - and nobody's suggested it -
it's hard to choose from a closed group! (As I've discovered at another
company.) I'd encourage all (actors/directors/writers/techies, etc.) to
come to us with what you WANT - attach yourselves! Make suggestions to
directors of company members. Maybe have company auditions first, THEN go
outside for whatever roles can't be filled? Maybe.
Paul: Good shows start with a good script and a good director.
Don't shackle directors with policies. I'd rather go case by case than
have strict rules, since as soon as you implement a rule, some brilliant
proposal comes along that breaks it. Don't look at a show as having
"nothing for me" - take the challenge! (In Mechanical
Rabbit, Mauri is teaching people puppetry!) There's always more
to learn.
SHIRLEY ANDERSON: Give an example of a ball dropped and how you handled
the resolution of the conflict - in ANY aspect of your life.
Sondra: Two departments at my day job fight for my time - I had to lay
down the law and tell them they need to request me 24 hours in advance.
Joe: Re: Crime Scene - I've admitted to mistakes in the process -
more communication was needed.
Paul: On the last AC, we had one slot to fill, and two projects on the
table. Both of them had two AC members for vs. one against (in different
configurations). We couldn't agree. So we found a third show
instead, so that we could act in consensus.
Meredith: In general - if I make a mistake, I will rectify it. If
I'm spread too thin, I can rearrange things.
AARON FRANCIS: Borrowing a question from Rik Keller - what three Sacred
Fools shows best define your personal aesthetic, and what's your aesthetic's
MPAA rating?
Paul: The Adding Machine, Seagull and Dubya
Fatty. R or PG-13, depending.
Meredith: Peer Gynt, Crime Scene (I love late night wacky
gross-out humor) and the work of Kronis & Alger. PG-13 or R.
Sondra: I'm twisted! Backyard Fruit, Crime Scene
(opportunities to expand yourself) and Feet. R.
Joe: Peer Gynt, Uncle Tom's Cabin, Cirque Picnique and Dubya.
R.
PHILIP WOFFORD: Proposing your own shows during your tenure - would
you? Would it distract you from doing your job?
Joe: I think it's a GOOD thing. It's the best way for the AC to be
hands-on involved. Many company's Artistic Directors are expected
to direct a large percentage of the shows.
Sondra: It's a conflict of interest. I won't overrule people or the
will of the company.
Meredith: It's NOT a conflict of interest. I have a show I want to
propose. However, if I'm the only one fighting for it, I'll move on!
Paul: Agreed. Having three people on the AC safeguards against
conflicts of interest. I have two plays I want to do - I will do readings
of them to gauge the company's interest. I'm arrogant enough to think my
work will fit in here.
GERALD MCCLANAHAN: Do you feel that you're strong enough to make
unpopular decisions you feel are for the good of the company?
Meredith: Yes. I would hope folks would trust us to move the
company forward. Talk to me if you don't like our decisions.
Sondra: Yes.
Joe: Yes.
Paul: Yes. What they said.
HENRY DITTMAN: We're at a pivotal point. Things are going
great. What do you think we are doing great, and what should we change?
Joe: We make great art. Fix - we should be more friendly and
attractive to techies, designers, etc.
Sondra: We make fabulous art, and have great people and a wide
variety. We need to fix our inside image of each other - new folks are
sometimes frightened by how we behave towards each other. More united,
less drama.
Meredith: We put up great shows, pack the house, and work with each
other. Fix - communication. We should refer to our five-year goals
more often - or create new five-year goals and stick to them. Pick a
track.
Paul: Our strength is the energy going into each show. Weakness (I
hate negative terms!) - we should say "that could be better" instead
of "that's bad." We can improve our own critical viewpoint
without taking offense.
ALDRICH ALLEN: If you could produce any play you wanted here - what's
your favorite?
Sondra: Mark Wellman's Crowbar.
Meredith: Euripides Iphegenia at Aulis.
Paul: Havel's The Memorandum.
Joe: Hirson's La Bete.
CRYSTAL KEITH: What is the AC responsible for? (Besides picking
shows.)
Paul: Executive producers of each show. Social elements - putting
out fires.
Meredith: What he said, plus: a way for us to talk about artistic visions
BEFORE the next round of submissions.
Sondra: Supporting shows - especially those with directors from
outside. Make our choices represent what the company wants.
Joe: I second Paul - make sure all that goes up is the great show it's
intended to be; put out fires... and PREVENT fires!
DAVID LM MCINTYRE: Timewise - what are your conflicts?
Joe: Part time job three nights a week.
Meredith: I'm not working now. There's a film I'm submitting to
festivals, which is kind of time-intensive. And there's the show I want to
propose.
Sondra: I have a full time day job. But I'm VERY productive with my
time. I will find the time.
Paul: Full time job.
LITERARY MANAGER
DAVID LM MCINTYRE: I am not
running for AC because I feel that there are valid candidates for the job
already running. I want to continue in the Literary position - I'm more
suited there. [David foregoes a formal speech and goes right to
Q&A.]
DESI DOYEN: What do you want to accomplish?
David: Re: member participation - I want to use the Literary Committee as
a funnel to the AC. I also want to raise the company's profile.
TOM KIESCHE: Is developing writers the job of the Literary Committee or
the AC?
David: It's collaborative. Primarily, Lit - but you need the AC's
cooperation.
SAA
ANDY WOLF: This is an important job for
the company. You need to keep track of everyone. It's a facilitation
job - get committees to talk to each other. This job is not a burden for
me. I'm a good communicator, and I'm good with database and tracking.
JOHN SLYVAIN: I give good meeting. The meetings can and should be
fun AND productive. We should focus the meetings more on artistic
issues. I know it's an odd conflict to be on the Board AND to be the
SAA. But I can separate the two.
Ruth Silveira: Why don't you both run together?
Andy: I'm open to it! [John and Andy hug.]
John: Yeah! WE'RE RUNNING TOGETHER!
Tom Chalmers: When there's a hot topic, it's annoying when it's saved for
after the announcements, and you're getting to the last ten minutes of the
meeting, and people have to leave, and they still haven't heard a word about the
thing they CAME to the meeting to talk about! Can we put hot-button issues
at the TOP of the meeting?
John: Today's meeting is a template. Announcements can go faster,
but yes, we should have discussions first.
Andy: We should also try to get info out via EMail, etc. before
meetings.
Stan Freitag: I work on Sundays. I want to be at meetings,
but usually can't. Will I be penalized for that?
John: That's now an issue for the Membership Committee to handle.
We'll be talking more about that next week. But in general, our rules are
now guidelines.
Ballots are handed
out. Elections! Excitement! Five minute break!
THE MECHANICAL RABBIT - Paul
Plunkett
* Come opening weekend! Block out your calendar for March 20-22!
* Puppets, slides - it's gonna be kewl, man!
PEER
GYNT - Scott Rabinowitz
* Next weekend, in addition to company members Aldrich Allen, Joe Jordan and
Crystal Keith, we're adding three more: Babe Hack, Corey Klemow and Ruth
Silveira! Feb. 6-8!
* The passion on the message boards is great - but please, come and SEE the
SHOW!
HOUSE - Desi
Doyen
* There's been some confusion re: the Saturday night liquor licenses.
* We're applying for a full-time license, but we must follow all the rules and
be in full compliance with the law. The official rules will be posted at
the theatre soon.
CRIME
SCENE - Brad Friedman, Desi
Doyen & Paul
Byrne
* Brad: I had great fun last night after a bad week - thanks to all involved!
* Brad: This week - "Noche Negro 3" pt. 2, "NYPD Blue Too"
conclusion and "Maximum Goldie 2" pt. 1.
* Brad: I nominate Bob DeRosa, Ben Rock and Amir Talai for Sacred Fools
membership. They should not be overlooked.
* Paul: I can't thank all of you enough for your support.
* Paul: At this point in time - unless there is some significant change - we
don't feel the inclination to continue producing the show after March 1.
* Brad: We don't know where things are at. There's been on communication
with us since the announcement. The Managing Director and Artistic
Committee have been meeting - I don't know how that will affect us. We had
been planning to retire anyway, and wanted to train new producers if the company
wanted a Season 6. Now that may not happen.
* Paul: There's lost of behind-the-scenes stuff that goes into producing the
show that most people don't know about.
* John Wuchte: Nothing is decided, so no questions today, please. Nothing
on the message board is official.
* Henry Dittman: It's a shame you've been hurt. You all work as hard as
anyone else.
* Lou Burnstein: Are you all approachable? Desi: Yes - talk to us.
* Amir Talai: There are definitely people who would be part of the show if it
continues.
ELECTION
RESULTS
ARTISTIC COMMITTEE
Joe Jordan
Meredith Patt
Paul Plunkett
(Close race!)
LITERARY COMMITTEE
David LM Mcintyre (uncontested)
SAA
John Sylvain & Andy Wolf (uncontested)
GRANTS - Julie
Mullen
* Went to a grantwriting conference for arts organizations and spent 9am-3:30pm
talking about grants (mostly government) - plus structures that are attractive
to grantors.
* Executive Service Core - retired CEOs - they go to nonprofit arts orgs to help
w/strategic planning and fundraising.
* There is a charge on a sliding scale - no price quoted yet. They will
give us a free consultation first.
* Everybody at the conference said that you NEED an outside facilitator in order
to organize yourself in a way attractive to grantors!
VALPARAISO - David
LM Mcintyre
* Introducing the cast - Tom Elliot ("Michael Majeski"), Julie
Alexander ("Delfina"), Dee Nelson ("Livia"), John Wuchte
& Julie Lockhart ("The Interviewers"), Robert Tobin
("Teddy") and Liesel Kopp ("The Chorus"). A lotta
Chicago people!
* Have Sound & Costume Designers - they're cuddling right now in the second
row. (Jason Tuttle & Mary Hayes)
* We need a stage manager, Prop/Production design, and Video help. We will
also need light and sound ops come March.
* Stan Freitag: I'll help with props.
* Don DeLillo's new novel will be released in April, while the show is running!
* Great actors auditioned - I was very impressed!
LITERARY MANAGER - David
LM Mcintyre
* Lots of scripts are coming in - I need readers!
* Re: Festivals - I'm looking into "Inside the Ford."
* Wanna take your work to Festivals? Talk to me!
* THE LYSISTRATA PROJECT - March 3. A worldwide reading of the play Lysistrata,
as a statement of peace vs. the war in Iraq. Want to participate? We
can have a slot for a Sacred Fools element (with a director, etc.), or you can
just participate as a performer. CONTACT ME. (We need a director by
TOMORROW if we want an actual SF portion of the show.)
* Ruth Silveira: What do you mean by "slot"? David: The show is
being split into sections, and each company has a piece. Tracey Hudak is
the artistic director of the project.
* Please help us approach any celebrities involved with the company to
participate!
MANAGING DIRECTOR - John
Wuchte
* We need copy paper! Please donate some if you can.
* Opening weekend: Gynt: $1250, Crime Scene: $500.
* You can come to PLAY7 meetings if you
want! Let me know!
* The next PLAY7 fundraiser is a Pajama Party w/an undie-clad pillow
fight! Monday, Feb. 25 at the Moose Lodge - more details soon - come!
* 242 PLAY7 passes have been sold so far towards our first-year goal of 1000.
* If you're working box and get a PLAY7 pass at the door, you need to TAKE it
and put it in the box envelope with that night's money (not just look at it and
give it back!)
* If you hear gunshots, go inside immediately, close and lock the door, and call
911.
* Issues with the video store? Call ME.
* I'll teach how to use the new copy machine after the meeting.
* Andy Corren donated a new company and monitor! However, a virus has
infected the machine - so its setup is ongoing. In the meantime, I'm
checking online RSVPs at home and bringing them to the theatre each night.
* The copy machine will also be hooked to the computer and become our printer.
* Carla Jo: PLEEEEEEEEEEEEEASE do NOT make decisions that financially
affect the company without consulting ALL THREE OF US! (Wuchte, Carla Jo
& Ariadne - Managing Director & Business Managers) EVER! It
creates unnecessary chaos, and scrambling to solve problems.
* Carla Jo: An annual financial statement is coming, and will be passed out to
company members at a future meeting sometime soon.
ANNOUNCEMENTS
* John Sylvain: All new people at the meeting, please see the SAA (Andy
Wolf) and give him your info if you want to stay informed.
* John Sylvain: On Feb. 1 at 11:50pm, my brother gave birth to John Sylvain.
* John Sylvain: Go see The Big Shows! See Peer Gynt!
See Crime Scene! And THEN go see Haynes Brooke's "Progressive
Chain Bowling" at the Actor's Gang (which I directed).
* Carla Jo: Fridays after Peer Gynt - see Jake La Botz - an INCREDIBLE
blues musician. Just $5 to see a legend in an intimate setting.
You'll NEVER get to see him for just $5 again!
DISCUSSION: CRIME
SCENE
Gerald: We're working on a
solution - talking with the new AC, Wuchte, Sylvain, etc.
The AC must make tough decisions. Decisions you know
will hurt/disappoint people, but you believe is best for the
theatre. You can disagree. But there are lots of factors. This
has been a tough week.
Support your AC - realize that decisions are
difficult. People ran because they put their heart and soul into the
theatre - giving a year of their life.
TALK to people! You can talk to us one on one
now, after the meeting.
Being a leader means taking the slings &
arrows. You can't make everyone happy.
Joe: We are all working together to
make a decision ASAP. We can't say more right now.
David G: It's a matter of timing. We felt that waiting to announce
the decision at today's meeting would be disruptive and dishonest to the
election process. But releasing the info via the message board was NOT our
first choice - simply the most expedient given the situation.
Tom Chalmers: This decision is making a LOT of people unhappy.
What's best for the theatre vs. what's best for the company. My opinion
was not solicited.
David G: Factors made that difficult. It will take more than 5-10
minutes to explain - talk to me. I'll tell you in detail.
Joe: This is the first time in our history that we've made this sort of
decision re: an ongoing show. I agree - we should address problems, have
an artistic roundtable, etc. Right now I have to go to work (bartending) -
I'll be at Zen if anybody wants to talk!
[Brad Friedman begins talking, but is cut off by Gerald.]
Gerald: Please don't make this a he said/she said debate.
Brad: Agreed. But- I want to say - in light of restructuring
discussions - whatever process this decision is going through now - it'll
probably end up with what we suggested two weeks ago.
Gerald: No.
Brad: Structurally, it was clear that the Managing Director MUST be
consulted. I recommend that the incoming AC take note of this. If
you'd consulted the MD and the producers, this could have been avoided.
Instead, it's gone on two extra weeks and caused a lot of pain.
Andy Wolf: As SAA - I ask that somebody please move to adjourn. We
can take the discussion outside.
A movement is made to adjourn. The movement is seconded. Majority
in favor, the meeting adjourns.
Minutes taken and transcribed
to HTML by Corey Klemow. Contact
him with corrections and clarifications.
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