Megan's Head

A place where Megan gets off her head.

Theatre is my Conflict

It is so hard to explain my broken heart, with the one piece torn every time I think about the tiny audiences who decide to witness our amazing work in Song And Dance, where drumming up an audience has been harder than removing each hair off our bodies with nail bitten fingers one at a time. The other piece of heart is healthy and pumping, full of pride and joy, after opening our industrial theatre project to a delighted audience of 350 odd petrol pump attendants and cashiers. Yes, this audience was bussed in, and yes, they didn’t pay, and yes, there was a big, corporate budget for the whole snazzy roadshow, but I swear, it couldn’t be clearer to me that people do not want to PAY for theatre or make the effort to go. Or is it just the theatre that I make? Am I making theatre that people don’t want to see? Please, let me know. This piece of heart needs to be given a chance to die an honest death or to heal and call it a day.


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  1. ah Megan, from what i’ve heard your play [if Song and Dance would be classified as play – it has musical words in the title] is a delightful beautiful piece and it’s just because they don’t. they don’t know. they don’t get it. they need to be dragged [the first time] just like with half of our TS audiences almost every show [what first time in 18 years seeing this?] – it has no bearing or reflection on the work, just on the culture and the ignorance [as in not knowing not as in stupid] of what is out there. so keep on. for that handful of people audience who come and are mesemerised and transformed and heart-pumped for what they see. keep on! and thank you thus so far you have! i have enjoyed every piece of work you have done that i’ve gotten to see or be a part of immensely. i’m thinking specifically of Noah and Graham Weir stuff. classic!

  2. Hey Megan
    Eish. I totally agree with Brett that the audience numbers are no reflection of the worth or relevance of the work. I’m not sure what it is, exactly. Watching the fluctuations of TheatreSports bookings from one week to another mystifies me: two or three weeks of sold-out shows, followed by a couple of weeks of shows with zero bookings, and in between, people who phone in from upcountry because they can’t wait to visit Cape Town and want to guarantee a booking for something they’ve anticipated for weeks. I really don’t understand it.

    One issue may be location – whilst I love the KBT, it may just be that this piece would’ve been better located somewhere central with a more structured marketing reach across different sectors of CT audiences.

    For my part, I’m terribly sorry that the last two weeks has made it impossible for me to be as supportive as I wanted to. I’m hoping that like your Christmas show, it’ll have another run sometime. Keep the faith, lady, you’re doing amazing work.

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