This is very sad news!
It is such a shame that other clubs couldn't rally together to assist a club in need.
I will have fond memories of my trips down to see shows at the theatre.
RIP KTW

While I am not a WA resident I am sorry to hear that another company is closing down. The writing seems to be on the wall for all of us.

Is that all there is? Well if that's all there is my friend, then let's keep dancing.
www.tonymoore.id.au
www.moorebooks.net.au

It is indeed sad news about Kwinana, and as Tony suggests, there could be more to follow. We're all aware that bookshops, CD / DVD shops are closing at an accelerated rate, and our business, and indeed pleasure, is visibly under the microscope.

Is it time, our community got together (as a whole) to discuss the topic of 'Survival' for all? I know there are some who may say their own theatre is in a healthy state, and if that's true, what are you doing that's different to the rest? Is it just a matter of the location / catchment area?

I see it as important that in future, the plight of any theatre placed in the position Kwinana found themselves in, is highlighted well in advance, and perhaps the ITA need some contingency plan in place to assist. Before I'm asked exactly what that help would entail, I suggest it would need to be determined by the theatre community as a whole, or at least the ITA body. We can't let our theatre's drop off the perch at the same rate our patrons are. I'd be most interested in finding out how each theatre is doing, (without mentioning names,)and perhaps a survey from the ITA body would reveal some telling statistics? It's a given fact that our various theatre's work in isolation due to the simple reason being that small numbers of can-do people are required to perform a multitude of tasks. Surely this raises the question as to why people don't flock to our doors, when they're flocking to organisations such as 'Men and their sheds', or whatever it's called. We know there's much reward gained from joining our theatre groups.

One problem I see, is that there's often a lack of continuity, a season ends, and often there's a necessary break between shows. People drift off, never to beee again (sometimes thankfully.) Perhaps the secret is keep the place BUZZING all the time, perhaps by partnering up with some of the independent theatre groups in town (hint hint). As a (selfish) independent, I find it forever frustrating that a number of theatre's are unavalable for hire, even when seemingly lying dormant between seasons. Some of these theatre's could at least be offered for rehearsals ,at least that keeps the lights on... I'd certainly be interested in hearing the views of the other'independent' groups Anyway, me thinks, there's enough there to get me in strife again...

cheers

Johnny Grim

Speaking for my own home theatre, Melville, we are in a pretty good place at the moment, at least from a financial point of view. This comes from having a good mix of shows over the last few years - some real crowd pullers, and some not so much.
It also comes from having a very supportive council, who through their support, allow us to keep ticket prices down, and to have a place to call home. However, this can change, and may well, in the near future. There are stirrings at the council, and talk of redevelopment of the site we occupy. Our tenure there is secure only in the short term.
We are also suffering from the same disease that killed KTW - a dwindling membership base, and an ever shrinking number of people who are willing to put their hand up and work to keep the club alive. It is always the same people doing the work.

What to do? Well, it's up to those who want to be involved in theatre to step up and help out. If all you are prepared to do is pick and chose which shows you want to be involved with, and flit from club to club without giving anything back, then don't be surprised when there is nowhere left for you to stand and receive a round of applause.
When the same people have to do the behind the scenes work because no one else will, it can become a chore. Then we will walk away, and find a hobby that is fun again. If there is no one to run the lights, make the tea, attend committee meetings and sweep the floor, then clubs close.

So, fellow actors, give something back. Go to a club that you've performed at in the last year and ask them if you can do a night on front-of-house. If you have an RSA, ask if you can serve behind the bar. Not doing a show at the moment? Put your hand up to stage manage, or sit in the bio box.

Melville is currently calling for directors for 2013, and the response has been underwhelming. As yet, we haven't had enough submissions to fill our calender for next year.

So what do we do?
You tell me.

Jeff Hansen
President
Melville Theatre.

www.meltheco.org.au

I keep telling committees to form an association with their local high school drama department. Put on plays that are on their watch list. Run training courses for backstage roles. If necessary look at getting someone accredited to run training courses that need it. Then the drama teachers will send their students as it reduces their workload. Most new drama teachers know little about backstage roles as their focus is on acting roles.

This is a long term investment as the youth may not come back until after they are married and have children, but if you start training and forging interests now, you will get some back later. Do nothing now and you won't get anyone back later as there will be no interset to them to be involved in something they do not know exists.

A few thoughts, we need to connect with youth, I started amdram at 13, very many schools have good standard drama courses, see Dramawest, http://www.facebook.com/groups/46170690627/
Facebook is your friend,I use it constantly, youth use it constantly. Get a working Facebook page for your clubs, get a few hundred or thousand friends, this will influence the councils you need for support.
I was with Effie Crump for years, a mix of popular works and local writers kept it operating for years.
The secret of success is success, if crowds enjoy a show the vibes are contagious and cast and crew are on a high, it's fine to have an "artistic success" but if no-one sees it then it is wasted, { and yes some of my favourite shows were commercial disasters}
I spent most of my life in commercial theatre but the rules are the same, put on product people want to see, get the best talent you can find, encourage young performers, for example try to schedule your show fit ups in school holidays.
Do gimmicky stunts to promote your shows and make the locals aware you exist.
Try to avoid cliques of older members limiting the vitality of the group, a lack of young people may, on occassions be due to a lack of welcome.
These are a few random thoughts which may be of interest.

For every complex problem, there is a solution that is simple, neat, and wrong.

Greetings One and All

Well, having been in KTW for many years and various other committees it isnt any 1 factor which led to the demise of this club.

In no particular order......

Personality clashes
Transient membership and performers (who do mulitple shows at once)- Hey horses for course though!
The sheer number of professionals now adorning the amateur stages to the deteriment of amateurs (i.e. limiting opportunities and snuffing volunteer interest)
Cost of performing rights
Theatre goers (and people generally) are now spoilt with choice
Increased expectation (quality)of a show as compared to some 20 or 40 years ago.
Dedication of the "the few" who did all the hard "behind the scenes" yards and work
The general loss in volunteers due to family and increased work committments.
Local Govt and Councils now required to be cost effective and efficient with a "payer use" strategy
Compliance with all legislation and duty of care provisions.

And that my friends is only a few things off the top of my head.

Glenn R

I might not have the answers but I do have a couple of questions to at least get people thinking.

Before I go further I am talking about members, the people actively (in whatever capacity) put on there shows in a club. This is not to be confused with subscribers or patrons, the people who regularly, show up, hand over some money, and see a show.

I will also underline that I am talking about community productions and community companies.

From what is reported (see above), the downfall in the end of KTW was lack of the members, not patrons.

It's one thing to complain about 'transient membership', which I think is a contradiction is terms but what is meant is reasonably clear.

If a performer and a club member wants to be in a production that have to line up like everyone else (members and otherwise) at the next 'cattle-call'.

Technical roles and crew tend to be the whim of the director (who may be from outside the company) concerned so the entire performing ensemble and crew could be from could be from outside the company. I think where we have all seen programs where every person with biography lists their last show as being at another company (and/or their next as well!).

It has got to the point where there have been productions that a better description would be that they are being put on by the director concerned rather than by the company concerned. Looking at the the What's On list on this web-stie, this could be for some that are on even as we speak.

I'll get in with the most obvious answer to why this happens: That companies don't want to encroach on directors. I see this attitude as self-defeating as it undermines the resident company.

We have got to the point where being a member has become irrelevant.

This leads me to the question: What are the clubs doing to RETAIN members?

I'll also pick up on Anothertech's comments (Hello Don!) and ask: What are clubs doing to DEVELOP members? (both performers and technical).

In a lot of cases is not courses (although they are useful), but more of an apprenticeship model that is needed. This costs the company nothing. This could be, and I argue should be, in the DNA of companies if they want to move forward.

Members don't loose clubs. Clubs loose members.

Regards to all,

David.