Philadelphia-Area Theatre Companies Celebrate Their 5th Anniversary

Philadelphia-Area Theatre companies have seen a tremendous rise in its number of cultural groups in recent years. This is particularly true for theatre organizations, which number more than 120 in the Theatre Alliance of Greater Philadelphia's membership directory.

The largest, like Walnut Street Theatre, Philadelphia Theatre Company, and the Arden Theatre Company among others, are well-known, recognizable names, whose identity is enhanced by their building facades. But, what about the smaller theatre company? The emerging or transient organization trying to make its mark on its community and the field of theatre?

The 2009-10 season marks five or more years for a handful of these companies, including 11th Hour Theatre Company, Flashpoint Theatre Company, BCKSEET Productions, and Norristown's Theatre Horizon. Given the tough economic times that are challenging most nonprofit groups, especially those that rely on endowment funds to support annual budgets, it is the younger and smaller groups with budgets under $250,000 that are showing their strength. Since their inception, these
companies have had to operate with lean finances and few staff, and have consequently
been poised for adaptability during the recession.

"Our biggest struggle was in the beginning, when the founding members had to learn how to get the work done. We've outlasted my expectations," says MeghAnn Williams, Artistic Administrator of Flashpoint Theatre Company. "I'm proud that we've grown as artists and choose challenging plays. I'm proud that we're finding our voice."

Several young companies have ventured into co-productions to maximize resources and undertake larger scale shows than they would be able to produce independently.

Barrymore Award-winning 11th Hour Theatre Company and Theatre Horizon recently collaborated on the successful musical Little Shop of Horrors, which debuted in Norristown before its move downtown. The flexibility inherent in their business model also allows these groups to take artistic risks. Flashpoint and BCKSEET regularly give new works their Philadelphia premiere, as they will with this spring's productions of Crumble (Lay Me Down Justin Timberlake) and the musical Some Assembly Required, respectively. These groups have been springboards for early-career theatre artists, including actors, designers and directors. "Many of the actors and designers
who work with us are simultaneously moving into bigger and bigger projects and are
winning awards," says Erin Reilly, Artistic Director of Theatre Horizon, where Neil LaBute's award-winning play Fat Pig opens in April. "It's satisfying to be evolving together in Philadelphia."

Fat Pig features the talent of several emerging actors, including Paul Felder and Melissa Joy Hart.
Yet, for all the success demonstrated by these young organizations, they do not command the same funding support as their larger counterparts. "Eligibility and access to grants have been restricted in recent years, but also operate a little like the chicken and the egg," comments Kate Brennan of BCKSEET Productions. "For some grants in particular, you need a full-time paid employee to apply, but you need a grant to pay a full-time employee. So, it's complicated, time-consuming and stressful to find funding." With arts education programs as viable and needy as those offered by the established organizations, notably Theatre Horizon's Autism Drama Outreach Program, the community investment being made by these companies often precedes the funding for their programs. As a result, they must reinvent traditional fundraising methods. Annual events like 11th Hour's Philly Rocks, a one-night rock band party, and BCKSEET's Valentine's Day Sucks bring
in funds needed to support artistic and outreach programming.

What will the future hold for these young theatre companies? With their passionate motivation, adaptability, and creative problem-solving, one can hope we will see them shine even more brightly in another five years. "Lasting five years or more, particularly in the present economic state, really speaks to the resonance these smaller companies have with newer and, at times more adventurous
audiences," says Margie Salvante, Executive Director of the Theatre Alliance of Greater Philadelphia.

"They are the companies really in the trenches of Philadelphia theatre and considering their strength in producing up to three or four mainstage shows per season, they have great potential for real staying power. They are helping establish world class status for Philadelphia's theatre industry."

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