There’s a time to “dish,” a time to “rap” and a time for some “straight talk.” And then there is always the story telling, the perfect segue for having seen Junebug Productions’ two shows last Friday night and Saturday. Author and actor John O’Neal, in “Don’t Start Me to Talking or I’ll Tell You Everything I Know…” was thoroughly engaging. His performance is a wonderful introduction to this theatrical genre.
His multi-talented son, singer and actor William O’Neal, was in fabulous form in “Trying to Find My Way Back Home — ¬¶” His uncanny ability to change characters (and sex) in mid-sentence captured the multi party conversations that were scripted. The music in both shows was completely different and, in each case, captivating.
Both audiences were impressed and appreciative. It did feel strange to have William,
a veteran of Hurricane Katrina, express effusive gratitude to an audience for “braving
the torrential rain.” Because of the rain, and wanting to secure the closest possible parking, I arrived unusually early. Of course, I began to “dish” with the volunteers
And learn what I could about their experiences and reflections. They had, after all,
volunteered at about 10 events. Their responses to my query about which performances they had seen were stunning; they had seen none because they could not afford tickets
And were told that volunteers, without tickets, were prohibited from attending. There was no offer of “standing room” or “space available basis.” They were not complaining and felt good about their volunteerism.
The audience on Saturday was, at best, sparse. The klezmer concert at Branford College
was appreciated by less than half-capacity. It is certain that only the extremely affluent can attend all or most of the ticketed events without foregoing a lot of other pleasures.
There is a definite “disconnect.” The festival is not self-sustaining. The generous sponsorships of the Community Foundation of Greater New Haven, New Alliance Bank, United Illuminating, the State of Connecticut, and many others make this extravaganza and many other initiatives possible. It is not their intention to supplement the elite, but rather to expand the economic base and expose as many people as possible to these world-class arts venues. It is inexcusable not to fill every seat of every performance, whether it is with students, senior citizens or others who cannot afford the luxury. It is also demoralizing to the performers to play to an empty house. Organizers were well aware of which events were not selling as planned.
While we can cut a little slack for this new executive director’s first season, the community and the funders should insist that a policy be implemented to assure
that there are “no repeat performances” of this egregious error.
So, there you have it — ¬¶.Dishin from a soapbox — ¬¶.ALL FOR THE GREATER GOOD!