Stage and street

[Prof. John Bull]

It is my observation that most stage performers don't try to engage with patrons outside the context of their formal performances.  Being deliberately broad so as not to offend anyone, I would note that most musicians, magicians, comedians, fire performers, dancers, and acrobats I have seen perform their shows and then either disappear or see the faire without adopting a persona and interacting improvisationally with patrons after the hat pass is complete.  Another way of looking at it is that there is little overlap between performers and cast.

I'm wondering...
a) Is my observation accurate?
b) Is this deliberate on the part of faire EDs or just a consequence of non-overlapping skills and interests on the part of the performers?
c) Any good examples of stage acts that don't fit this pattern?

[Terry Griffith]

It is my observation that most stage performers don't try to engage with patrons outside the context of their formal performances.  Being deliberately broad so as not to offend anyone, I would note that most musicians, magicians, comedians, fire performers, dancers, and acrobats I have seen perform their shows and then either disappear or see the faire without adopting a persona and interacting improvisationally with patrons after the hat pass is complete.  Another way of looking at it is that there is little overlap between performers and cast.

I'm wondering...
a) Is my observation accurate?
b) Is this deliberate on the part of faire EDs or just a consequence of non-overlapping skills and interests on the part of the performers?
c) Any good examples of stage acts that don't fit this pattern?

Prof., I have to say that your observations are correct in some cases but not all.  Some performers feel that maintaining an aloofness sets them apart from the patrons.  Usually those performers who feel this way are not the ones that patrons feel a loyalty to or get to know personally.  I can only speak for PRF and GLMF where I perform.  The nationally known acts are more prone to adapt that attitude and it does make them seem more like "celebrities".  However they miss out on one of my favorite parts of faire and that is getting to know patrons as friends and interacting with them to preserve the intrastice.  At PRF, we have a stage very close to the pub.  All the acts on that stage normally spend what little free time we have in the pub talking and interacting with patrons and each other.  I have formed bonds with patrons in the pub that have carried over into the mundane world all year long.  Unfortunately, the busy schedule of shows, parade, busking on a schedule and trying to find time to eat cuts into that important time.

As far as improv in the lanes, I love doing that but that is not our function.  If the cast is open to it then it will work but the cast usually feels like we are intruding on their space just as much as if they walked onto our stage during a performance.  I do have friends on cast that will include me in bits in the lanes but I think I am a rare case. 

I think many performers also have the attitude that they are being paid to perform on stage and the cast is being paid to interact with patrons.  That distinction is a professional one that changes from faire to faire. 

Besides meself and the other acts on the Pirates Pub Stage at PRF, another good example is Pirates Royal at MRF.  They have an area that is theirs alone to relax, sell CDs and talk to patrons.  They are approachable and enjoy meeting fans.  Unfortunately, most of us don't have the luxury of a camp site for that purpose.  I wish we did.

I'm sure others will give examples of stage acts that don't fit the pattern you have observed.  It will be interesting to see who is considered approachable and what benefits that approachability bring.

[GirlChris]

I think it's also important to consider what the performer has been contracted to do. If a performer isn't paid or contracted to put in the extra hours of work that working the street entails... well then, they probably aren't going to do it.

Because doing street work is just that- work. Time spent running around in the streets could instead be spent relaxing, rehearsing or -depending on the show- recuperating before the next performance. And as a performer, it doesn't make financial sense to give away your work without compensation. It's like my Grandma always said, though she was talking about something slightly different, "why buy the cow when you can get the milk for free?"

Yes, there are some groups that don't do this. But again, they're contracted to work in the street as well as on stage. The Aerial Angels, Theatre in the Ground, the Knotty Knickers and Crye and Cudgel all spend as much or more time in the street as they do on stage. That's one of their selling points, "We will give you more hours of entertainment."

[Carl Heinz]

At RPFS, at least, the public is a part of the overall show.  We have extensive workshops on meet and greet, improv, BFA and how to interact with one another as well as the public.

Some of the stage shows do perform primarily on stage, but the Queen and her Court are active in the street--to the extent that we have the occasional "Oh (%#" reaction because we haven't realized that she was in the area and have to play catch up.

My function is primarily that of meet & greet and to interact with children and other mobility challenged folks.  I also provide something of a photo op since I'm riding around in probably the biggest anachronism at Faire.

However, interaction is pretty variable from event to event.  I sometimes don't choose to be in character when visiting some other events because other visitors think I'm part of the show and, if I'm not familiar with the layout, it's sometimes difficult to tell them such things as the location of the nearest privies.  I can also have a bit of fun with folks who might not recognize me out of character, but who I recognize from other events.  The latter was easier to do back when I was on foot.

Some of the folks in the stage shows also have a dual function of actually being stage performers and a separate role as street performers or theme characters.

This discussion also brings to mind some AFR discussions several years ago which included some stage performers from some of the Eastern events who really resented the concept of large numbers of virtually unpaid participants.  It seemed to me that they found this to be threatening.

[Captain Cornelius Howard Duckman]

I have noticed this quite a bit. I remember back before Ded Bob hit it big, it was normal to find him walking the streets, entertaining. Nowadays, the only time I see him away from the stage, it's without the puppet. The same with a lot of the 'big' name acts. You rarely see the Zucchini brothers when they aren't on stage,or Manolette or Tartanic or alot of the musical groups, more specifically the ones with instruments.

However, I have had the fortune of knowing a lot of stage acts that DO hit the streets. Shanty Man and Bonnie Lass, The Rogue Blades, The Bucaneer Blades in whatever incarnation they might be in, the Washing well Wenches, Tritons Fury, Ric Rock, Bocca Musica, all wander the streets in between sets, interacting with patrons, and, well, making friends. Of course, a lot of these shows also tend to be the ones who, if not encourage hecklers, don't mind them quite as much as certain acts.

I think some of it might be an audience building thing. Smaller named groups need to spread the information of their shows a little more then the big names who are gaurenteed an audience.

But thats just my opinion.

[Carl Heinz]

And some folks just enjoy playing in the street as well as on stage.  It's also a function of whether they get mobbed in the street.  I suspect that reduces their desire to play in the street.

[Margaret]

However, I have had the fortune of knowing a lot of stage acts that DO hit the streets. Shanty Man and Bonnie Lass, The Rogue Blades, The Bucaneer Blades in whatever incarnation they might be in, the Washing well Wenches, Tritons Fury, Ric Rock, Bocca Musica, all wander the streets in between sets, interacting with patrons, and, well, making friends. Of course, a lot of these shows also tend to be the ones who, if not encourage hecklers, don't mind them quite as much as certain acts.

I think some of it might be an audience building thing. Smaller named groups need to spread the information of their shows a little more then the big names who are gaurenteed an audience.

But thats just my opinion.

Audience building and networking are different than gigging on the streets though.  That's more marketing.  Kevin from Boca is going to hit the streets and talk with people and say "Hey, come see our show." rather tahn getting into a bit with Mary Jane the seamstress about finding a husband.

[aerial angels]

Not all stage acts come from a street/improv background, too.  I started on local cast at my home fair and trained at Sterling as a BTM, so I love getting to improv in the streets as a "villager", but this is not everyone's experience, and it can be intimidating to plunge in without knowing a lot of people on the local cast, not knowing what's a scheduled interaction with lines or a repeated daily bit, etc. Doing shows is our first job and priority, so we don't get to spend time sorting out from day to day what's join-able and what needs its own performance space and time without interruption.

Other handicaps - we don't know the whole village cast by sight, and it's hard to figure out who's a patron/playtron in a great outfit and who works here; often the village cast doesn't know us by sight, either. I just joined one of our teams that had been at a renfest for a couple of weeks, and were having a hard time interacting because the local cast thought they were weirdly-dressed playtrons and treated them as such. (It was a bit shocking to have the Queen dismiss us with barely a glance, clearly thinking we were weird patrons, when I tried to give her a flowery compliment).

And often we're not aware of the relative improv skill levels of the local cast - are they going to enjoy playing with someone new or be freaked out that someone they don't know wants them to say yes? I've had a fair number of experiences where I've tried to start a bit and they other actor was having none of it or was intimidated by my being a stage act and that hindered their ability to play.

[Prof. John Bull]

Thank you all for the insightful replies.  Please keep them coming.

I think it's also important to consider what the performer has been contracted to do. If a performer isn't paid or contracted to put in the extra hours of work that working the street entails... well then, they probably aren't going to do it.

Because doing street work is just that- work. [...]

GirlChris,

It is my understanding that, real world, most experienced performers negotiate contracts on the basis of their prior year contribution.  As such, the performer that makes the extra effort to work the lanes between stage appearances would presumably set themselves up for a more lucrative contract the following year (as well as drawing tips or perhaps publicizing an upcoming stage show).  I'm presuming an appropriate and competent level of engagement that speaks to the performer's strengths -- sleight of hand, puppetry, music, fencing, juggling flaming torches -- so as not to duplicate the efforts of the cast.

My experience is that most performers are not mercenaries but rather people who love what they do yet insist on a certain level of compensation to defray the expenses of performing and to rationalize their involvement to their families.  Actors who are in it for the money do TV commercials instead.

[Captain Cornelius Howard Duckman]

(It was a bit shocking to have the Queen dismiss us with barely a glance, clearly thinking we were weird patrons, when I tried to give her a flowery compliment).

I find it shocking to have a queen dismiss ANYONE with barely a glance.

[Carl Heinz]

Aerial-

It's not really a problem if the folks who pay at the gate are considered to be part of the show.  The only time we have a problem is when someone in a costume misbehaves and we need to determine whether the culprit was or wasn't a participant.  Participants can get their passes lifted.  Non-participants can be asked to leave.

The folks who've played our queens have always interacted with the public.  There's been a participant workshop for several years on interacting with the queen, but a lot of this concerns do's and don't's and specific queues such as whether something given to her is to be returned or not.  The young woman presently playing our queen sometimes causes us problems when we're not expecting her to be in our area, she appears, and we have to play catch up.

About the only time we try to limit the interaction is when we have to hurry to something that's been scheduled.  In that case, we'll excuse ourselves and explain that we need to be somewhere.

I do know that some events limit caste to a few theme characters, but there are over 1,000 participants at RPFS on any given day including the theme characters and shows.  The whole site is a stage.

[Margaret]

It is my understanding that, real world, most experienced performers negotiate contracts on the basis of their prior year contribution.  As such, the performer that makes the extra effort to work the lanes between stage appearances would presumably set themselves up for a more lucrative contract the following year (as well as drawing tips or perhaps publicizing an upcoming stage show).  I'm presuming an appropriate and competent level of engagement that speaks to the performer's strengths -- sleight of hand, puppetry, music, fencing, juggling flaming torches -- so as not to duplicate the efforts of the cast.

Here's the thing with that.  Cast has rehearsals a couple of times a week to develop their gigs and interactions with each other.  Stage acts are not part of that process of development of the 'show'.  It is not to exclude them, it's just their role at the show. 

Also, most main stage acts at MIRF have 4 or 5 scheduled shows a day, a pretty big schedule, so there is not much time to gig in the streets inbetween shows if they want to get something to eat.  Then there are acts like Tartanic, who put on one hell of a show on their own stage, then show up to preform at Queen's Tea and then later at Pub Sing.  They are BUSY!  So, it's not really an issue of making themselves more 'marketable' or 'useful' around the faire site.  The stage acts fullfill their role at faire and the lane acts fullfill theirs.

[Terry Griffith]

It is my understanding that, real world, most experienced performers negotiate contracts on the basis of their prior year contribution.  As such, the performer that makes the extra effort to work the lanes between stage appearances would presumably set themselves up for a more lucrative contract the following year

Oh, would that it were so.  At some faires, regardless of what you do, if you ask for more money the following year you are gone.  I have even negotiated extra work to get a raise and the next year my pay went down and I was told "we don't need you to do that this year".  It had nothing to do with the quality of what I did.  Just budget cuts. 

[Katie Bookwench]

It is my understanding that, real world, most experienced performers negotiate contracts on the basis of their prior year contribution.  As such, the performer that makes the extra effort to work the lanes between stage appearances would presumably set themselves up for a more lucrative contract the following year (as well as drawing tips or perhaps publicizing an upcoming stage show). 

This would be a logical conclusion, however it does not always happen this way. As stated in a couple of previous replies, when the buget for a Faire is cut, the performer is often asked to take LESS the following year, despite any extra work they did.  It's not uncommon for Faire Management to expect the same level of participation in addition to cutting contract amounts, simply because the performer has already done the extra work for no additional compensation the prior year.

It is much like the 'milk and cow' situation in GilChris' post.

[will paisley]

My experience is that most performers are not mercenaries but rather people who love what they do yet insist on a certain level of compensation to defray the expenses of performing and to rationalize their involvement to their families.  Actors who are in it for the money do TV commercials instead.

You missed a large category here - people who do this for a living because they love it, but need to do far more than "defray expenses".  While they're not in it to get rich, they definitely need to eat and pay the rent.  These people will usually do extra, such as perform at pub sing or join in a bit - if they are invited.  Otherwise, the issues aerial brought up come into play.  Moreover, much of the extra time and energy apart from performances has to be spent on networking and plugging the act.  When performing at faire is one's primary means of support, there's not nearly as much available time to run around and do street as there is for a cast member whose primary reason for being at faire is to do just that.