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Scene from my ten-minute play, THE FUGITIVE with Penny Peyser & Andy Goldberg

It’s probably half urban legend, but the concept of Top 40 radio supposedly began when radio station owner Todd Storz was in a restaurant/bar with some friends in the mid ‘50s. There was a juke box and as new customers arrived they all seemed to play the same three songs. At the end of the night the restaurant staff was cleaning up, putting chairs on the tables, etc. and they too selected those same three songs to listen to. Now it’s one thing for the customers. They come in, hear the song once then leave. But the staff must’ve heard those same songs twenty times and yet they STILL chose to select them.

A lightbulb went on over Storz’s head. People want to hear their favorite songs over and over. So his station began playing the big hits of the day over and over, and the ratings skyrocketed.

Sure, people wanted to hear new music too, but just sprinkled in. Most of all they wanted the hits.

This applies to other forms of entertainment as well. How many cable channels are playing multiple daily episodes of MASH, I LOVE LUCY, LAW & ORDER, NCIS, and THE BIG BANG THEORY? People want to hear (and see) the hits.

Unfortunately, for us playwrights it’s the same thing in the theatre. Why take a chance with a new play by me when you can just schedule THE ODD COUPLE by Neil Simon? It makes it hard to get a new play produced if you don’t have a Tony.

And lots of theatres who do accept new material want to make sure the play has never been produced. They want the “World Premier.” It’s a big deal to them. They can ask for subsidiary rights for taking the risk of mounting your untried material. And if the play goes on to be a big hit they have bragging rights that they were the first one to discover it.

Okay, I get that. I’m not happy about it, but I can see their point.

What I don’t get is when theatres want unproduced material only for ten-minute play festivals. I submit a lot of ten-minute plays to festivals (been very lucky in some and not so much in others) and it frustrates me how many of them only want unproduced plays. Why? What’s the advantage? You can crow about a ten-minute play that goes on to other competitions? There’s no subsidiary rights. And what the artistic director and his staff are left with is a blizzard of terrible plays to go along with the few good ones. Happy sifting. Part of the reasons so many of these plays are bad is because the writer never had a chance to see and fix it once it was on its feet.

And the audience doesn’t give a shit that they’re watching a “World Premier.” In fact, brand new work might make them leery. If you think it’s tough sitting in a movie theatre watching some stink burger, imagine how much harder it is when the performance is live and the actors can watch you.

Seems to me it would be better to mount plays that have proven to be successful. If I were running a ten-minute festival I would require two things: 1) They play must have already been produced, and 2) The play must’ve WON something (“Best Play,” “Audience Favorite,” etc.)

Instead of 600 submission for ten slots I’d have 150 (and let’s get real, those are the same 150 that are really in competition even if there are 600 submission). It’s just simple logic –

PLAY THE HITS.

from By Ken Levine http://bit.ly/2DYH5j0
Breaking News: My suggestion to save theatre as we know it - News Paper