As they are wont to do, the guys over at 5 Useless Degrees have been exploring the seamy, dank, always interesting underside of the theatre world. And this time their probing and prodding has led to one of the more interesting stories in the Northwest theatre this year.
You may recall back in March a story by Brendan Kiley in The Stranger about the new play SEVEN WAYS TO GET THERE by Bryan Willis and Dwayne Clark at Seattle’s ACT Theatre. Read that article for the backstory.
In a nutshell, businessman Dwayne Clark approached Willis about writing a play partially based on Clark’s life and experience in group therapy. They did it, Clark bankrolled the entire operation, and the play went up at ACT and sounds to have been pretty darn successful, both financially and critically.
And then, of course, the theatuh peanut gallery, which so often sounds like a mob of emaciated crows fighting over a roadkilled mouse, went into overdrive weeping and wailing how unfair it was that only rich playwrights get produced, and how wrong it was for Clark to use financial influence to get his play done.
There are many, many threads you could draw out in this saga, but probably the most relevant one is Clark’s observation on how broken the regional theatre is financially:
“Why do you do this? How do you stay in business? This seems like a broken economic model.”