The ITA-run Men's Project was quite successful in introducing some fresh male blood to the theatre. I cast one of the "graduates" in Don's Party, earlier this year, and I was quite happy with the results.
I'm looking for 3 men for my next project - Albee's The Goat, so far with minimal interest. I don't know if the subject matter is off-putting for some, but these are some really great roles.
So, Jess, I don't know what the answer is. I just think that men of a certain age wander off and become involved with families and work, and don't have time for theatre - a very time-demanding pastime.
Should we tell them about how many single women there are in theatre, and the dearth of straight men..?

www.meltheco.org.au

Yes my own spouse has fallen victim to that age group of men. Having said that he still has time for lan parties... Again, I have a theory it must be in the marketing somehow. 'Flesh Wounds' Manstuff, ergh. Etc.

Beer got me started. Not sure why I hung around though? Might think about that over a beer. hmmm.

Flesh Wounds. Free Beer. (If you audition, and are cast, I'll buy you a beer)

Free beer with Jess. Woohoo!
I'd be there, but there's this other thing I need to do...

www.meltheco.org.au

Just to get myself into hot water, is it perhaps that (many) women are more willing to multitask than (some) men? Women generally have the same variety of responsibilities & interestes (including, increasingly, FIFO). Maybe more women consider theatre involvement a worthy investment of their valuable time than some men do. Which would be sad, in my opinion.

I am doing Cuckoos Nest next year and need 14 men that is why I have already posted that is coming. I think there are a few good men out there but they are in demand and plan well ahead. I also think, because they are in demand they can be choosy about what they do - I have introduced many guys to theatre over the last few years but it is always hard. Having said that, I have had trouble casting female roles and am still looking for a Joan for the Virgin Warrior - the lead and hardly anyone age appropriate (late teens)auditioned.Jane Sherwood

I've had a play where I've been inundated with boys for the role of a teenager, but had only a few woman audition to play his mum! Maybe the real answer is that the majority of the population of community theatre is either retired or uni/school leaver aged. Obviously it's not hard to deduce why that is... Still I feel like my question is yet unanswered. Forget the auditioning issue, how can we market theatre as a whole, as not boring, old fashioned and primarily for women? Theo has suggested more smoke machines and hot girls brandishing guns. (Odd from a pacifist)

I am currently looking into advertising in some local rags, as well as on gum tree and hopefully even Express. To be honest as I said at the start, I do actually have enough men auditioning,(although at least five times as many women) I just know it is the constant catch cry of theater, and for an ensemble play with such large and challenging roles, i don't want to be in the position of casting men who aren't nearly as talented as the women they are acting across.

(Also thank you for auditioning)

Seems to me that there is a bigger problem here. That is, there seems to be a discrepency in who the 'people of theatre' are and who we wan them to be.

An example being that out theatre going population is evidently aging, and whilst many talented and committed young people are getting involved, they're not replacing the blue rinse crowd who are exiting. Many companies have expressed this as a concern, but the same companies have a bottom line and in order to get 'bums on seats' they continue to cater to the crowd who they know are going to show up, the aging audience. They pitch their shows at the audience they have, not the one they want.

This behaviour obviously compounds the problem: the shows attract an older audience, an older audience attracts the shows that would suit them. I think the only way to break this mold is to take a risk and begin a new pattern. Work hard to attract a new audience, and that new audience will indeed attract more shows of their choosing. It's foolish to expect that our young and old audience/performers will be interested in the same kind of works. We need to empower those young people who are already involved to make their own way, and draw their peers to them.

I think the same is true of the men-in-theatre, as well as any other sub-group that's under-represented in the theatre. Ultimately, I think we must be the theatre community we want to see, not be the one we are and complain we're not the way we want.

In answer to your question Jess, I think a theatre that men will be interested in is one that represents them, is strong, is fun, is real, and says that what they have to contribute is worthwhile and supported both in the theatre and in the world.

That's my thoughts anyway.

Theo

'Only so many young guys are interested in donning Jane Austin Garb' in response to a photo of a young guy in Jane Austen garb, most notably famous in Perth theatre for directing a Jane Austen...(which ironically sold out, and attracted a huge percentage of #gasp# young men to both the auditions and the audience)

Far more women than guys? That should be incentive enough for any male to get involved in theatre!!

I first met my wife in a play, and we're still happily married 25 years later - now if that isn't a marketable fringe benefit of getting involved in community theatre, I don't know what is!!

I've also made far more long term friends being involved in acting than any other pursuit, and it's their company, not any specific theatre company, that keeps me coming back.

Absit invidia (and DFT )

Jeff Watkins

Looking for an Agent? Read this first!!

@Johnny: thanks for the support mate, I think that you have been doing a great job getting new people involved in Theatre for a long time.

@Bree: perhaps you caught me out, I was being a bit vague because I wasn't really sure of the right answer. I think it's perhaps easy to tell what wont work for men. An example being a recently established all female shake spear company, which I'm all for (because there's lots of talented women and barely any good parts for them), but the play itself was marketed for women (set in a fashion-house) who are the people who would come and see it anyway. Best off filling a play with women and marketing it for men. Traditionally plays written by women or staring women have been categorized as plays about 'women's issues' where as plays with male protagonists are seen as general, and almost never seen as 'male' plays. This is because plays with female protagonists often are solely aimed at women, when female writers want to write generally they write male protagonists. I believe that the opposite is also true. We can write and perform plays with women that are intended for male audiences. They'll have to be funny, but take men seriously; they need to contain strong and likeable male characters. They need to be active, not conversational; and they need to have relevant conflict, not conflict over who's hair looks better. Is that more specific?

@Jeff: Musicals may be written by the men (because female writers are horrendously under-represented) but they are aiming their plays at middle-aged women audiences. That's the kind of change that needs to happen.

@Lee: Very true, and a testament to the community that has been built here.

@Jess: With Northanger, we played up the horror, sideburns and empire waistlines. We just wanted the women who were coming to bring their men with them. It was more a play we aimed at young people than men, though it was on our mind.