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A DESCRIPTIVE STUDY of COMMUNITY THEATRES in the METROPOLITAN AREAS of the UNITED STATES. the Ohio State University, Ph.D., 1966 Speech-Theater

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A DESCRIPTIVE STUDY of COMMUNITY THEATRES in the METROPOLITAN AREAS of the UNITED STATES. the Ohio State University, Ph.D., 1966 Speech-Theater This dissertation has been microfilmed exactly as received 6 7-6382 WARYE, Richard Jonathan, 1929- A DESCRIPTIVE STUDY OF COMMUNITY THEATRES IN THE METROPOLITAN AREAS OF THE UNITED STATES. The Ohio State University, Ph.D., 1966 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan ■ C' Copyright hy Richard Jonathan Warye 1967 A DESCRIPTIVE STUDY OP COMMUNITY THEATEES IN THE METROPOLITAN AREAS OP THE UNITED STATES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Richard Jonathan ffarye, B. S. Educ., M. A The Ohio State University 1966 Approved fcy Department of Speech A DESCRIPTIVE STUDY OF COM.UNITY THEATRES IN THE METROPOLITAN AREAS OF THE UNITED STATES by Richard Jonathan Warye, Ph. D. The Ohio State University, 1966 Professor Roy H. Bowen, Adviser Current indications are that the community theatre Is one of the strongest and most active of the arts on the American scene. Therefore, it should receive a more promi­ nent position in academic research than It has found in the past. This study attempts to remedy the paucity of research by providing an accurate description of the status of the community theatre movement at this time and supports the contention that the community theatre movement is strong and active. The report of this research also may serve as groundwork for future studies. For the purposes of this study, a community theatre was defined as any organization not primarily educational in Its purpose which regularly produces drama on a non-commer­ cial basis. Five hundred questionnaires were mailed to community theatre organizations in the one hundred largest metropoli­ tan areas of the United States. One hundred thirty-six use- able replies were received from the three hundred sixty-four questionnaires which were delivered. Tabulation and consideration of the data received has been divided into five general categories: general in­ formation about the groups (year of establishment, committee structure, membership, productions, and policies on direct­ ing and casting), finances, staff, play selection (policies, problems, and productions presented in the I962-I963 season), and the facilities utilized by the organizations responding. Thirty-two tables were included to present the information as clearly and concisely as possible. Comparisons with pre­ vious reports were presented so that trends in the community theatre movement are readily observable. Among the results of the survey were indications of substantial increases from previous reports in the number of performances given major productions, the production of mu­ sicals (now occurring in two-thirds of the groups responding), the size of the annual budgets, and the number of paid staff positions. The average budget of a community theatre, the survey disclosed, is now over five times greater than it was in 1948. The average theatre group now has between three and four employees, most frequently including a managing director, play director, technical director-designer, and a Janitor. Little change was detected In the number of major productions, percentage of membership participation, average total audience size, or sources of income. The survey showed a continued concern with entertainment rather than artistic aspects of theatre, although the proportion of com­ edies being produced is decreasing in favor of drama. In addition to the customary summary, the means or modes of the various items surveyed were combined in a pres­ entation of a profile of a composite community theatre, which provides an example of the characteristics of the average community theatre organization. A CRNOWLEDGMENTS There is little remaining in today's world which can be done alone. Any practitioner of the theatre, the most collaborative of the arts, certainly is well aware of that fact. The writer was completely dependent upon and is especially grateful to the many workers in the community theatre who responded to the questionnaires mailed them. Their names, with their organizations, are given in Appen­ dix II. Permission to quote from his book Advance from Broadway was granted most graciously by Norris Houghton. Dr. William Work, Execuutive Secretary of the Speech Asso­ ciation of America, was equally gracious in allowing quo­ tation from reports of his studies in The Quarterly Journal of Speech. My thanks also go to the editors of Holiday maga­ zine for permission to cite material from their March, 1966, Issue, "In Pursuit of culture: A Critical View of America's Flourishing Arts," and to The Ridge Press for the quotation from John B. Kennedy's essay, "The Arts in America." The writer also wishes to thank Dr. Wallace A. Fotheringham of the Department of Speech of The Ohio State 11 University for assistance In the preparation of items for the questionnaire, and his own former students at Bates College, Mrs. John Dolan (nee Fredette Torrey) and the Reverend Robert L. Livingston for assistance in mailing it. Dr. Marston Balch of Tufts University and the Na­ tional Theatre Conference provided valuable assistance, as did Mr. Robinson I. Whitney of the Auburn Maine School of Commerce. A special note of thanks is due to Dr. Roy H. Bowen, not merely for’his praiseworthy service as my adviser, but especially for his continued stimulation, encouragement, and development of my interest in community theatre in particu­ lar which began while he was managing director of the Players Club of Columbus, Ohio, and I was still an undergraduate. And a final word of gratitude to my wife, Verna, and daughter, Pamela, whose assistance and encouragement for the completion of this work, each In her own way, are immensely appreciated. H i VITA March. 4, 1929 Born - Columbus, Ohio 1 9 3 1 ........... B. S. in education, The Ohio State Uni­ versity, Columbus, Ohio 1951-1952 . Graduate Assistant, Department of Speech, The Ohio State University, Columbus, Ohio 1951-1952 . President and Charter Member, The Ohio State University Chapter 62 of National Collegiate Players 1952 ........ M. A., The Ohio State University, Columbus 1953 ........ Instructor, Claridon Local School, Claridon (Marion County), Ohio 1953-1956 . Communications Natch Officer, United States Naval Reserve July, 1955 . Play Director, Pearl Harbor (Hawaii) Little Theatre 1957-1950 . Instructor, Uest High School, Columbus, Ohio February, 1957 Play Director, Strollers Dramatic Society, The Ohio 3tate University, Columbus, Ohio Summer, 1957 . Graduate Assistant, Department of Speech, The Ohio State University, Columbus, Ohio October, 1957 Play Director, Village Little Theatre, Upper Arlington, Ohio Summer, I960 . Technical Director, Ross Common Playhouse, Wind Gap, Pennsylvania 1960-1966 . Instructor in Speech and Director of Broad­ casting, Bates College, Lewiston, Maine iv FIELDS OF STUDY Major Field: Speech Studies in Theatre, Professors Roy H. Bowen, John H. McDowell, Charles J. McGaw, and Everett M, Schre k Studies in Communications. Professors Franklin H. Knower, Harrison B. Summers, and Paul A. Carmack Minor Field: History of Fine Arts Professor D. Alexander Severino CONTENTS Page ACKNOWLEDGMENTS .................................. ii VITA .............................................. IV FIELDS OF STUDY .................................. v TAELES .............................................. viii Chapter I. INTRODUCTION............................... 1 General Background Review of Previous Studies Methodology II. GROUP INFORMATION ......................... 20 Year of Establishment Committees Membership Major Productions Musicals Other Productions Policies on Directing and Casting III. FINANCES.................................. 52 Budgets Admission Charges Membership Dues IV. S T A F F .................................... 73 Summary of Positions No Paid Positions Full Time Positions Part Time Positions Both Full and Part Time Positions vl Chapter Page V. PLAY SELECTION............................ 87 The Selection Process Preferences by Types Problems Encountered Actual Productions Reported VI. FACILITIES................................ 12** Theatre Ownership Theatre Plants VII. S U M M A R Y .................................. 133 Appendixes I. COMPLETE MAILING L I S T ..................... Ity II. RESPONDING T H E A T R E S ....................... 16^ III. COVER LETTER AND QUESTIONNAIRE............. 181 IV. LIST OF 1962-1963 MAJORPRODUCTIONS ......... 186 BIBLIOGRAPHY...................................... 196 vii TABLES Table Page 1. Year of Establishment...................... 22 2. Executive Committees ....................... 23 3* Standing Committees ......................... 25 4. Membership Figures ......................... 2? 5* Percentage of Participation................. 29 6. General Membership Meetings Held Per Year . 3*+ 7* Number of Major Productions ................ 36 8. Number of Performances of Major Productions . • 38 9. Production of Musicals ..................... *+1 10. Musical Accompaniment ....................... ^3 11. Activities Other than Major Productions .... 4 5 12. Overall Budgets............................ 53 13. Sources of Income........................... 57 1^. Season Ticket Costs ......................... 62 15. Season Ticket Costs per P l a y ............... 65 16. Individual Ticket Costs ..................... 6? 17. Membership D u e s ............................ 71 18. Theatre Staffs by Positions ................ 7^ 19. Numbers on Staffs........................... 77 20. Responsibility for
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