A DESCREPTIVE STUDY OF THE FLINT COMMUNITY PLAYERS Thesis for film Degree 05 M. A. MICHIGAN STATE UNIVERSITY Peter Henry Blake 1956 A DESCRIPTIVE STUDY OF THE FLINT COMMUNITY PLAYERS By PETER HENRY BLAKE AN ABSTRACT OF A THESIS Submitted to the College of Communication Arts Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Speech C; y 1956 - . ABSTRACT Purpose The author's purpose in making this study was to describe and, wherever appropriate, to evaluate the organization and activities of the Flint Com- munity Players. It was felt that a study of this nature should be of value to all persons interested in the work of the community theater. Procedure Procedure followed by the writer involved, first of all, the reading of works dealing with the community theater in America. This was done in order to augment his knowledge of the general history and organization of community theaters. The next step was an intensive study of the records of the Flint Community Players which consist of thirteen scrapbooks of play programs and newspaper clippings and five loose—leaf volumes of minutes of meetings. The final step was the actual writing of this thesis. Results In Chapter I the historical background of the Flint Community Players is discussed. This chapter takes note of the beginning of the organization in 1929, and important developments in the organization since that time. Previous sites used by the group and the present facilities and equipment are dis- cussed. Chapter II discusses the organizational struc— ture of the Players with particular attention to the duties of committee chairman and other officials. Chapter III discusses the financial growth of the Flint Community Players and the financial proce- dures to which this growth can be attributed. Chapter IV discusses the problem of the turn- over of personnel in the organization and suggests possible reasons for the existence of the problem. Chapter V is a classification of the plays produced by the Flint Community Players in recent years and a discussion of the various factors involved in play selection. Chapter VI discusses the Flint Community Play- ers as a community enterprise. The number of persons working on and attending the plays and the cooperation of the Players with other civic organizations are the subjects of this chapter. A summary and conclusions are to be found in Chapter VII. In this chapter the author discusses the success and permanency of the organization in terms of assets and years of operation and indicates the place of the Flint Community Players in the cul- tural life of the community. A DESCRIPTIVE STUDY OF THE FLINT COMMUNITY PLAYERS BY PETER HENRY BLAKE A THESIS Submitted to the College of Communication Arts of Michigan State University of Agriculture and Applied Science in partial fulfillment of the requirements for the degree of MASTER OF ARTS- Department of Speech 1956 51/30/5? ” a <3 [60$ ACKNOWLEDGMENT Acknowledgment is hereby made to Mr. Russell Barr, Librarian of the Flint Community Players, for the cooperation which made this study possible. Ac- knowledgment is also made to Professors Chenoweth, ‘thker, Buell, and Thomas of Michigan State Univer- sity for their guidance and supervision in the com- pletion of this thesis; and to my wife whose patient understanding and countless hours of typing were in- valuable. TABLE OF CONTENTS PAGE MRODUCT ION O O O O O O O - O O O O O O O O O O O O 1 CHAPTER I. HISTORICAL BACKGROUND . . . . . . . . . . . A II. ORGANIZATION . . . . . . . . . . . . . ._. 17 III. FINANCIAL STATUS . . . . . . . . . . . . . 35 Iv. THE PERSONNEL PROBLEM . . . . . . ... . . #1 v. PLAv SELECTION AND PRODUCTION STANDARDS . R7 VI. THE FLINT COMMUNITY PLAYERS As A COMMUNITY’ENTERPRISE . . . . . . . . . . 58 VII. SUMMARY AND CONCLUSIONS . . . . . . . . . 65 APPENDIX A CONSTITUTION OF THE FLINT COMMUNITY‘PLAYERS . . . . . . . . . 71 APPENDIXB PLAYS PRODUCED . . . . .. . . . . . . . 77 APPENDIX C FINANCIAL STATEMENT . . . . . . . . . 82 ‘BIELIOCRAPHT . . . . . . . . . . . . . . . . . . . 86 LIST OF TABLES Table Page 1. Organizational Structure of the Players. . . . l9 2. Play Production Organization. . . . . . . . . .26 INTRODUCTION This is a study of the Flint Community Players, of Flint, Michigan, as the organization existed in 1955 and continues at the time of this writing. Background material, dating from the origin of the organization in 1929 is surveyed in order to show how the group came into existence and how the present financial and or- ganizational status of the group came about. Partic- ular attention is paid to present practices and pro- cedures, specifically those relating to organizational structure, financial operations, standards of produc- tion, and the relation of the Flint Cemmunity Players to the community of which it is a part. The activities of the group and development of the organization are recorded and, wherever possible, an interpretation of the data cited is offered. The main source for the data used in this study is the records of the Flint Community Players. These consist of thirteen scrapbooks of play programs and newspaper clippings dating from the start of the or- ganization, and five loose-leaf notebooks containing minutes of meetings of the Board of Directors and the Active Mmeership. These records have at points been supplemented by conversations with members of the Com- munity Players who, by reason of length of membership and official positions held in the group, could be ex- pected to clarify various points in question. The author of this study has had contact with the Players since the early part of l9h2 and has main- tained active membership in the group since September, 19M6. He has served one term of office as Treasurer of the Active Membership. In the course of his par- ticipation he has acted both leading and supporting roles and has held many production and administrative positions. These production assignments include ex- perience as assistant director, production manager, stage manager, and service on make-up, sound, lights, set construction, and other committees. This intimate knowledge of the organization makes it possible for the author to compare official statements of procedure with practices known to be followed. The problem of relating specific details of community theater activities to the size, location, and type of community being served is beyond the scope of this study. However, a general description of the community is included here for purposes of orientation. Flint is an industrial city of nearly 200,000 persons located some sixty miles north of Detroit. It is the county seat of Genesee County which adds over 100,000 more persons to the total population of the area. Automotive manufacturing is the main industrial activ- ity, and Chevrolet, Buick, and other divisions of Gen- eral Motors Corporation have factories in the city. Three institutions of higher learning are located in Flint. They are: General Meters Institute, Flint Junior College, and the Flint College of the University of Michigan. It is hoped that this study will be of value to groups considering the formation of a community theater and to established community theaters in other cities which may be considering modifications of their organization or their Operating procedures. It is also felt that this study should be of value to theater students who are interested in the work of the commun- ity theater. Finally, perhaps the Flint Community Players will be able to derive certain values from an overview of its structure and procedures. CHAPTER I HISTORICAL BACKGROUND Although there are some indications in the Flint Community Players' records of earlier amateur dramatic presentations not directly related to the present organization, the modern history of community theater in Flint begins in 1928 with the formation of a group which was later to become the Flint Community Players. Newspaper clippings from 1929 issues of the Flint Journal1 and official press releases of the Players in later years make it evident that a small group was formed in the summer of 1928 with the aim of studying drama in order that members might increase their enjoyment of professional theater productions. Early in 1928 the Wright Players, a professional the- atrical company which had operated in Flint for at least three seasons, was disbanded. This left Flint with the motion pictures as the principle medium of 1Daily newspaper of Flint, Michigan dramatic entertainment. In order to remedy this sit- uation, approximately eighteen persons, including the original play-study group, banded together for the pur- pose of presenting amateur legitimate theater produc- tions. They called themselves the Flint Theater Guild. A certain confusion as to the name of the or- ganization is evident at this time, but a study of newspaper clippings and play programs shows that the group was soon known as the Industrial MUtual Associa- tion Playhouse.2 Under this name three plays were given at the Industrial Mutual Association Auditorium. How- ever, it was soon discovered that this 6,000 seat aud- itorium was much too large for successful operation, and a move was made to facilities provided by the Eggs- Advertiser.3 Seating capacity and other data concern- ing this site could not be established, and the build— ing involved has long since been remodeled for other uses. All that can be definitely stated is that the facilities consisted of space in the building owned and 2The Industrial Mutual Association is an organization of Flint industrial workers, primarily social in char- acter, which erected an auditorium in Flint in the mid- 1920's. The only connection between the Players and this group appears to have been use of the auditorium. 31 morning newspaper published twice each week in Flint. occupied by the News-Advertiser. Along with the move to these quarters in April, 1930, came another change of name, this time an incorporation as the Flint Play- house Association. The trustees of this corporation were E. A. Atwood, A. M. Davison, R. Spencer Bishop, E. H. watson, and Harlow H. Curtice, all prominent in Flint banking, business and industrial circles. Fifty- dollar memberships in the association were sold, and a goal of four hundred and fifty memberships was set, with the proceeds to provide the necessary capital for the erection of a theater. This membership fee was to be returned over a period of time in the form of tickets to productions. However, this association was short— lived. The papers of incorporation were not renewed after the first year, and the group has been known as the Flint Community Players since that time. At this point special mention should be made of three other names from the early years of the Play- ers. These are Bertha Creighton, Stanley Clarke, and Helen Hardy Brown. Miss Bertha Creighton, leading lady with the Wright Players at the time they ceased operations, work- ed with the Flint Community Players until l9h2, except for periods of residence in other parts of the country occasioned by theatrical engagements. As director of many plays during those years and leading lady in some of them, her contribution was immeasurable. Miss Creigh- ton received occasional remuneration from box-office receipts and, as far as is known, has been the only Player to receive any form of pay. Stanley Clarke, another charter member of the organization, was also an early play director and lead- ing actor. Mest of his work came in the period from 1930 to 1932, when business called him to another city. During these years he directed the productions in the absence of Miss Creighton. The third member of the original group who deserves special tribute is Helen Hardy Brown. Mrs. Brown is the only charter member of the group who is still active with the organization. She has directed many plays and acted many leading roles. At various : times since 1929 she has also held practically every important administrative post in the organization. The next major develOpment in the history of the organization came in 1933 with a move to Flint Central High School Auditorium which has a stage with a proscenium opening of approximately fifty feet and a seating capacity of 1,000. In March, 1937, the Flint Community Players joined the Michigan Association of Nonprofessional Theaters.l+ As the Flint group supplied the president, secretary, and treasurer of the state organization dur- ing the l939-k0 season, it can be assumed that Flint was one of the more active members of this association. State-wide recognition came to the Flint Com- munity Players in l9h2 with the award of the Sprowl Plaque by the Michigan Association of Nonprofessional Theaters for the highest standing among Michigan little theaters that year. An honorable mention also came from the National Association of Little Theaters for being one of the few community theaters to operate without a financial deficit. Further evidence of the interest of the Flint group in state-wide activities can be found in the minutes of the Board of Directors for January 9, l9h3, when a motion to join the Michigan Association of Com- munity Theaters was approved.5 l+A forerunner of the present Community Theater Assoc- iation of Michigan. It was founded in 1933 and contin- ued activities until werld War II. SLittle could be discovered concerning this organiza— tion, but statements by Flint Community Players active at that time indicate that it was an abortive attempt The Second werld War brought problems to all amateur dramatic groups, and the Flint Community Play- ers was no exception. The greatest of these problems appears to have been the shortage of personnel result- ing from the flow of manpower into the Armed Services and from the lengthening of hours for civilians. Min- utes of Board Of Directors meetings show that the Play- ers even considered discontinuing operations for the duration of the war. However, a reduced schedule of three plays per season was decided upon, and the records, therefore, show a total of only nine plays between October, l9h2, and May, l9k5. Time was also found for activities in support of the war effort. A benefit performance of Private Liza; was given fer the United Service Organizations, and another benefit performance was given for British war Relief. A series of short radio plays on Civil Defense was produced by Community Players personnel, and there is some mention in the official records of one-act plays given for meetings of patriotic groups. The year l9h5 was an important one for the to reorganize the Michigan Association of Nonprofessional Theaters. There is no further record of this organization since that time. 10 Flint Community Players. A new constitution6 was adepted in January of that year. With the end of the war in sight, plans were also made at that time for the resumption of a five-play schedule during the l9h5- #6 season. In October, l9k5, the Players moved from Central High School Auditorium to Homedale Elementary School Auditorium in time for the opening play of the season. This shift of location appears to have been due mainly to difficulties encountered in scheduling use of the high school auditorium in a satisfactory manner. School and civic activities often conflicted with performance dates desired by the Players. Few rehearsals could be held at the high school, and the stage had to be cleared of furnishings each night be- cause of daytime use by high school students. This change of playhouses from one seating 1,000 persons to one seating 550 was accompanied by an increase in the number of performances presented. Previous to the move each play had been given one or two performances. At the new site this schedule was increased to four, five or six. 6See Appendix A for a copy of this constitution. It is discussed in Chapter II. 11 An important addition to the resources of the Flint Community Players came in November, 19H9, when Mrs. Adah M. Swan donated her house to the group. This property, which included nearly two acres of land, was located within a few blocks of Flint's business sec- tion, and tentative plans were made for building a theater on the site. When the Players learned that zoning changes necessary to permit such use could not be obtained, negotiations were opened for the sale of the prOperty. Purchase by the Riverside Tabernacle7 was arranged in May, 1950, and the $25,000.00 realized on the prOperty was placed in the Players' Building Fund. Mrs. Swan and her husband, the late F. W. Swan had given previous support to the Players through per- mission to use a building located on the property for set construction, storage space, and rehearsal space. Mrs. Swan continues to be active in Community Players affairs. Inadequate facilities handicapped the Players at Homedale School. Although the auditorium which seated approximately five hundred and fifty persons was 7A Flint Protestant religious group which later erected a church on the site. 12 considered to be of the desired size, the stage and backstage facilities left much to be desired. Access to the dressing rooms was possible from only one side "of the stage during a performance as the set usually reached the back wall, and there was no doorway to the corridor on the other side. Classrooms were used as dressing rooms, and, consequently, all costumes and make-up had to be packed away each night in order to clear the rooms for their primary daytime function. Because of these difficulties, a move was made in the fall of 1951 to better facilities in the newly-opened Freeman Community School. This elementary school in the southeast sector of Flint is still the site of Community Players productions at the time of this writing. The present facilities at Freeman School have been found to be much more acceptable. The auditorium seats only three hundred and twelve persons, fewer than most members of the group consider desirable. However, this disadvantage is outweighed by superior stage and backstage facilities. The stage has a twenty-seven foot wide proscenium opening and measures eighteen feet from proscenium to back wall, with approximately four feet of apron space in front of the proscenium. With 13 an average setting in place, approximately four to six feet of space is available between setting and stage wall at each side. This allows reasonably adequate room for the activities of technical crews. Doors leading from the stage to the backstage area allow traffic to and from either side of the stage while a performance is in progress. Two dressing rooms, a) property storage room, and a workshop area adjacent to the stage complete the facilities. At the present time these facilities are used exclusively by the Players. Several thousand dollars worth of equipment owned by the Community Players is used in conjunction with the school facilities. This equipment includes a vacuum cleaner, a power saw, a paint sprayer, and complete lighting and sound systems, in addition to the customary hand tools owned by most dramatic groups. The scenery inventory consists of appTOximately thirty- five flats which are twelve feet high and of various widths, plus auxiliary items such as doors, platforms, and a fireplace. A fabric ceiling is used with all sets. With the exception of a few articles, no ward- robe of costumes is owned by the Players. Costumes for period plays are rented from Detroit or New York companies. Actors follow the custom of the commercial 1h theater and supply their own clothing for modern plays, with some articles occasionally being borrowed from local stores. The lighting system consists of a switchboard containing eight 1,350-watt and four 7SO-watt dimmers, three strips of three-circuit footlights, and twenty- four spotlights. These Spotlights are evenly divided between ellipsoidal and conventional types. Six of the Lekolites with ellipsoidal reflectors are suspend- ed from the auditorium ceiling in order to provide proper down-stage illumination. The switchboard was custom built for the Players and cost $1,500.00 ex- clusive of other items in the system. The sound system consists of a cabinet which houses two variable-speed turntables and provides switches for telephone, doorbell, and clock-chime sound effects. This unit also has six loudspeaker outlets which can be controlled separately. A telephone intercommunication system allows technical cues to be given from the pro- jection booth in the rear of the auditorium, and loud- speakers in the dressing rooms, wired to an on-stage micrOphone, keep the actors informed of the progress of the play. The summary of the high points in the history 15 of the Flint Community Players and a brief review of production facilities are presented as background for the major portion of this study, an analysis of the practices and procedures of the organization as they existed in 1955 and continue at the time of this writ- ing. In this present period the Flint Community Play- are is an organization of nearly two hundred persons, none of whom is paid for any work done for the group. Five major productions are produced each year, with six to nine performances of each. A Children's Thea- ter presentation is also produced annually. The five major productions alone attract a yearly audience of nearly 10,000 persons. The annual budget of the group exceeds $10,000.00, and the liquid assets of the organ- ization are in excess of $50,000.00. Performances of one-act plays are supplied to local civic organizations, and cooperation is extended to the Mott Foundation8 pro- gram and any other worthy civic project. Liason with other community theaters is maintained through member- 8A philanthropic organization established in Flint by C. S. Mott. Educational and recreational programs on both child and adult levels are the principle benefici- aries of this fund. 16 ship in the Community Theater Association of Michigan.9 The chapters which follow consider in more de- tail the various phases of Flint Community Players activities. Additional historical data is included as it pertains to the particular point under discus- sion. _—__ gFounded in July, 1951, as the successor to the Mich- igan Association of Nonprofessional Theaters and the Michigan Association of Community Theaters with the following fourteen charter members: Allegan Civic The- ater, Ann Arbor Civic Theater, Battle Creek Civic Thea- ter, Dowagiac Allied Arts Guild, Flint Community Play- ers, Grand Rapids Civic Players, Jackson Civic Theater, Fkilamazoo Civic Players, Lansing Civic Players Guild, Lcrwell Village Players, Marshall Civic Players, Mid- land Little Theater Guild, Greater Muskegon Civic The- ater, and Twin City Players, Inc.. CHAPTER II ORGANIZATION Until recent times, the organizational struc- ture of the Flint Community Players was rather infor- mal. The governing body of the group was a Board of Directors, but this board appears to have been self- perpetuating and without direct control from those par- ticipating in the production of the plays. According to early members of the Players, this system was fair- ly satisfactory under a strong leader such as Bertha Creighton,10 but, after her resignation from the group in l9h2, a growing need was felt for a more democratic organization and a clear-cut division of responsibility for various phases of production. In response to this need, the Flint Community Players was incorporated under a new constitution on January 9, l9h5. This constitu- tion, a copy of which is to be found in Appendix A, sets forth the organizational structure in use at the present time. Under the constitution there are two types of 10See Chapter I, p. 6. l7 18 membership in the Players, Associate and Active. An Associate Member is a person who has purchased one of the four11 types of season tickets, and this type of membership carries with it no rights beyond attendance at the regularly scheduled plays. An Active Member is a person who has completed one assignment with the Players and paid the one dollar annual membership fee. It is the organization of the Active Members with which this portion of the study is concerned. The Active Membership annually elects the fol- lowing officials: president, vice-president, secretary, and treasurer. These officials, in addition to dis- charging the customary duties of their offices, become members of the Board of Directors during their terms of office. Six other persons are elected to the Board by the Active Membership for two-year terms, with three of the six positions being filled each year. With the selection of the above officials, the main responsibility of the Active Membership is dis- charged. The Active Membership meets on the Tuesday following the final performance of each play for social activity and in order to receive reports from and to L 11Regular, family, patron, and sustaining. H “j BOARD OF DIRECTORS CHAIRMAN SECRETARY VICE-CHAIRMAN BUSINESS MANAGER OFFICERS OF ‘ SIX Two THE ACTIVE i ELECTED APPOINTED MEMBERSHIP MEMBERS MEMBERS WWWILW- WW... -1, I . CHAIRMEN OF . ...... 1 STANDING __.._---_. . -_ ”W W . ; COMMITTEES OFFICERS OF THE ACTIVE MEMBERSHIP, BUILDING PRESIDENT SECRETARY "CURTAIN CALL" 1 VICE-PRESIDENT TREASURER AND PROGRAM’ { "“‘*"”“”'“"“““'[ *“””"“ I __ - DIRECTORS é ‘ ACTIVE MEMBERSHIP EDUCATION 5 l DUES PAYING MEMBERS WWW.-." .-...- W- W W W. HISTORIAN f g F—-——- .n-nu— ~W~— — ~—---.--—.~~——~—-———~———. . PERSONNEL g ASSOCIATE MEMBERSHIP PRODUCTION ; SEASON TICKET HOLDERS PUBLICITY AND PROMOT ION TICKETS AND BOX OFFICE l9 ORGANIZATIONAL STRUCTURE OF THE PLAYERS 20 make recommendations to the Board of Directors. However, full authority rests with the Board. The Constitution states, "The Board of Directors shall serve as the ad- ministrative body of the corporation; it Shall elect its officers, appoint the director and production staff for each of the productions and such other officers as may be necessary, and it shall control the finances of the corporation.". The only exception to the above provision is that the Active Membership dues remain in control of the Active Membership and are used for such purposes as the renting of meeting places, the engagement of guest speakers, and the provision of refreshments. Ticket receipts and all other funds are controlled by the Board. The Board of Directors is composed of those members already mentioned plus two additional members appointed by the Board for one year terms. These ap- pOintive members are usually prominent civic, industrial, or business leaders in the community and may or may not be regular members of the Players. The Board elects its executive officers which consist of chairman, vice- °hairman, secretary, and business manager. Neither the cl'lairman nor business manager may also be an officer of 21 the Active Membership. In an organization such as the Flint Community Players, which operates with no full-time or paid per— sonnel, the committee structure is of great importance. The Constitution of the Players empowers the Board of Directors to appOint "such other officers as may seem necessary," and under this provision the Board each year appoints chairmen of the following standing com- mittees: Building, "Curtain Call" and Program, Direc- tors, Educational, Historian, Personnel, Play Reading, Production, Publicity and Promotion, and Tickets and Box Office. These chairmen have the authority to ask such other persons as they Gish to serve on their re- spective committees. The names of the committees listed, in many cases, make their functions self-explanatory. However, a more detailed consideration of each one will Show its duties more clearly. The desire for a permanent, Player-owned thea- ter probably goes back as far as the Players‘ organiza- tion in 1929. The existence of a Building Committee for at least the past ten years is an expression of that desire. This committee has been responsible in the past for having theater plans drawn and for inves- 22 tigating real estate which might be suitable for the Players' use. At present the main duty Of this commit- tee is to negotiate with the representatives of the Cultural Center Fund12 in order to determine the status of the Community Players in regard to that project. The "Curtain Call" and Program Committee is in charge of writing and arranging for the printing of the "Curtain Call" and program for each play. The "Curtain Call" is an advance notice and seat reservation blank sent to each season-ticket holder prior to each produc- tion. This committee also secures advertising in these publications to defray their cost. The Directors Committee, all members of which have directed Community Players productions, passes on the qualifications of potential directors and, sub- Ject to approval by the Board, chooses a director and assistant director for each play of the season. . The Educational Committee's duties vary from year to year but generally can be said to include the planning of training sessions for Players personnel and making arrangements for experts to address the 12A 315,OOO,OOO.OO building fund which eventually will provide quarters for many Flint cultural organizations. This project is discussed more fully in Chapter VI. 23 group on various phases of theater work. The Historian has charge of the library of play scripts and technical books and keeps all non- current records of the Community Players in order. The Personnel Committee maintains a file on each person active with the Players. This record, in addition to name, address, and telephone number, shows acting and backstage work on Players' productions and committee posts held in the organization. At least one member of this committee attends each tryout ses- sion and Active Membership meeting in order to enroll persons new to the organization who appear at those times and to add their names to the mailing list. A further duty of this committee is to advise the appro- priate production committee chairman of any new members expressing a desire to participate in backstage activi- ties. The Play-reading Committee reads and discusses possible scripts and recommends to the Board of Direc- tors five plays and two or three alternates for the next year's productions. The Production Committee chooses, subject to Board approval, a production manager for each play. The Publicity and Promotion Committee is entrust- 2% ed with the Job of working with the newspapers and radio stations of Flint in order to insure proper publicity for Players' productions. One of the most important functions of this committee is the planning and organ- ization of the annual ticket-sales campaign, conducted in the spring of each year. Season-ticket holders are mailed a season~ticket order-blank which is enclosed with the play tickets for the final production of the season. This ticket order-blank is so phrased as to assume that the ticket holder will wish to reorder. It provides for a choice either of making payment for new tickets before the middle of JUne and receiving a bonus of one or two extra admissions for the follow- ing season, or, of being billed in September. Those ticket holders who do not indicate their intention of reordering are contacted by members of the Players in order to ascertain if this is an oversight or actual intent. Ticket campaign workers alSo contact any in- terested persons who may have not previously held season tickets. The Tickets and Box Office Committee mails to season-ticket holders individual reserved seat tickets for the night requested and mans the box office at per- formances. 25 Whenever possible, the chairman of each of these committees is someone who has previously served on that committee and consequently is familiar with its duties and procedures. The temporary organization established for each play also follows a standard set of procedures. Each play has a director, assistant director, produc- tion manager, stage manager, and house manager. Also there are committees on set design, set construction, lighting, sound, hand properties, set furnishings, cos- tumes, make-up, parking, ushering, check room, and the cast-and-crew party. The ranking member of this organization is the director. He is solely responsible for casting and di- reCting the play, and his wishes in regard to setting, properties, sound and lighting effects are respected unless some insurmountable technical difficulty arises. He is directly responsible to the Board of Directors. The assistant director, the cast, and the prompter are under his immediate authority. werking with the director is a production man- ager. The production manager is in complete charge of all technical committees and all off-stage personnel. He is assisted by a stage manager and a house manager. fih>% wwOUQdHHOZ OwG>ZHN>HHOZ fl .\ \ bmmHmabze Umeneow W WI - we» oewHomEiJ . osma szu owes eswaw I e>mtza cmmmwm _ ommam woo: W I‘ll II: DICTIQ wwozvamw Obma .\\\\\\\\Wlmmmo¢aeHomgrwmwmww .:;:lna,: momma :szsnmw A -:,V. maeom z>z>QWWW ::i:::.~ W uHomaHzm W ewoemweHmm mezzo , oawast I oomequm H z»mm-ce We wee ecmszm Hzmm L 98 a vfi>N two \ UQOHHOZ OWO>ZHN>HHOZ \bemeoeom . Il/mH/x/xxx JV hmmHmH>ze Umenaow wwozvamw Qbmfl modmm Zthoww mo»-oemHom. W A , mmmmmmmmomgrsmwnmw W - a All- - (A; 2 film. -Ag::a|4W _Hnmwe QOZmBmcaeHo 0>me >ZU me2_w>we& m>mfiHzn dmmmwm W g--wmm@ WW ommom woo: W mesow-z>z»mmmW .e:;:,:._ _ uHamaHza W wmowmwaHmm moczu _ Odwasz W oomaazmm Sbwmudv r mme wdmszmHzmm m---..<,., 98 27 The stage manager is in command of the stage crew dur- ing dress rehearsals and performances, and the house manager supervises such matters as ushering and check room service. Tracing the development of a typical play may serve to clarify the productiOn organization. Details may vary with the particular play, but in general these procedures are followed. The final choice of the play has been made several months before the production date, and the di- rector and production manager have been chosen for at least a month before tryouts. The initial production step is then taken with the announcement of tryouts. This announcement is made in two ways: postcards are sent to all persons listed on the active membership rolls, and a newspaper notice, the first production activity of the Publicity Committee, also appears. Tryouts take place at a rented room in the YOung Men's Christian Association building. A few days after tryouts, the cast is chosen by the director, and rehearsals begin at the same site as was used for tryouts. This is four-and-a-half to six weeks prior to opening night. Rehearsals are sched- uled at the discretion of the director, usually three 28 nights a week for the first two or three weeks and five nights a week for the final two weeks. Each rehearsal is usually of two-and-a-half hours duration. While rehearsals continue at a steady pace, the production manager chooses committee chairmen, and the initial production activities commence. The set is designed and construction started. Members of the "Curtain Call" and Program Committee begin gathering material for inclusion in those publications. Tickets are ordered from the printer. The Publicity and Promo- tion Committee makes arrangements for a newspaper story can the cast to appear two or three weeks before the play. Approximately two weeks before opening night, rehearsals are moved to the Freeman school stage and activity is increased in all production departments. Tflae ”Curtain Call" is sent to all season ticket holders, starting with patron and sustaining members, and ticket Dinion that the sale of individual play tickets at the box office, rather than limiting the audience to a select group of subscribers, is a valid criterion \ 2 5Alexander Dean, Little Theatre Organization and Man- Wi Po 13- 2 ,6Virgil L. Baker, "The Community Theatre as a Force in Adult Education", Educational Theatre Journal, IV (OCtOber, 1952), p. 22F. 64 of the community theater.27 Alexander Dean states that a children's theater program is an important part of community theater work.28 Finally, the idea that com- munity theater organization should be controlled ac- cording to democratic procedures is either stated or Implied in the writings of most authorities. The Flint Community Players fulfills the above {requirements. Membership in the organization is Open to all interested persons and the general public is encouraged to attend play performances through the Llse of newspaper and radio announcements. Control of tile organization is exercised by the general member- stiip through the operation of democratic processes. 4A1: Opportunity for creative work and recreation is afforded the peOple of the community and a children's tlieater production is a regular part of the yearly Program. In addition a cooperative relationship ex- 1Sits between the Players and other civic organizations. Bectause of these factors, the Flint Community Players cElrl be considered to be truly a community theater. \ 27 ' Utalbot Pearson, Encores on Main Street, p. 1M6. 253 ltlexander Dean, Little Theatre Organization and Man- Eiigflgggg, p. 71. CHAPTER VII SUMMARY AND CONCLUSIONS The purpose of this study has been to describe and, wherever appropriate, to evaluate the organization and activities of the Flint Community Players, partic- Iilarly in regard to organizational structure, finan- caial operations, standards of production, and the re- lationship between the group and the community it serves. As a result of this study certain facts are now evident. The Flint Community Players is an ama- teur dramatic organization which was established in 1929 and has produced an annual series of plays since that time. At present five plays are produced a year with from six to nine performances each at Freeman Sc311001 Auditorium. In organizational structure the group is a °°Pporation with a Board of Directors, elected by the Active Membership, exercising executive authority. Melllbership is open to any interested person in the Community. There is no paid personnel in the Players, 6‘3 66 and activities are planned and executed by a large number of standing and temporary committees. The financial status of the Players has shown a steady growth to total liquid assets in 1936 of $58,000.00. The business manager is responsible for the financial records, which are audited annually by a certified public accountant. Play selection is based primarily upon the Iknown preferences of the Flint playgoing public with ‘three light and two serious plays being given each Most of the plays produced have previously Year. laeen successful productions of the professional the- ater. Finally, the Flint Community Players enjoys a cooperative relationship with the community of Flint. ltttendance figures show an annual audience of approx- ixnately 9,000 persons, and personnel records indicate 'tllat nearly two hundred persons are active with the group each year. One—act plays are provided for the entertainment of other civic organizations, and a child- ren's play is presented each year. Community recogni- tiixan of the group is evident from the proposed inclu- sion of the Community Players in the Cultural Center which is now being planned. 67 While most aspects of the Flint Community Players' Operations seem appropriate to the group and the community, questions in regards to three of them might be raised. The first of these questions is whether Players' activities might not‘benefit from the services of a full-time, paid director. Kenneth Mac- gowan, in his book, Footlights Across America, implies that the employment of a paid director should be the goal of any amateur dramatic group.29 Talbot Pearson's Qicores on Main Street is mainly concerned with the groups employing a professional director although he states that only about one-third of existing com- munity theaters have this type of leadership.30 Alexander Dean also considers the paid director sys- tem desirable.31 0n the other side of the question, only eight of the nineteen Michigan groups listed in "A Directory of Nonprofessional Community Theatres in the United States" had professional leadership in 1952.3‘2 ‘ 29Kenneth Macgowan, Footlights Across America. 30 Talbot Pearson, Encores on Main Street, p. 5. 31Alexander Dean, Little Theatre Organization and finagement, chap. xvii, pp. 296-3326. 3‘2Mary Eva Duthie, "A Directory of Nonprofessional Community Theatres in the United States", Educational Illleatre Journal, V (May, 1953), pp. 11+6-11+?. This question has been discussed by Players' person- nel at various times and the advantages of full-time, expert leadership weighed against the possible disad- vantage of the expense, the necessary delegation of authority to the director, and the probable lessening of interest by some persons who now feel a deep re— sponsibility toward the group. However, many members still consider the question worthy of further consid- eration. The next problem is that of the personnel turnover in the Community Players. While few persons would consider an unchanging membership desirable, the loss of experienced personnel increases the difficulty or improving production standards. There are indica- tions that this problem should perhaps be explored more fully by the Players with the aim of retaining present members and encouraging full membership on the part of those persons who are only casually associated with the group. The third question is whether the Flint Com- munity Players should present new plays which have not I"eceived professional production. Talbot Pearson im- plies that this is no longer an important function of the community theater, but it is possible that the oc- 68 69 casional production of a new play or a meritorious play which was not well received on Broadway might add variety to the Players' program.33 As far as can be determined, the Flint Com- munity Players is a successful organization with a permanent place in the cultural life of the commun- ity. Assets totalling $58,000.00 and an annual budget in excess of $10,000.00 would seem to indicate suc- <:essful operations. Over a quarter of a century of zactivity, during which time the organization has sur- xrived a financial depression, a world war, and an al- rnost complete turnover of personnel, denotes perma- riency. The organization's relationship to the cul- tnzral life of the community is in part indicated by the statement in the Players' Constitution: "It shall 116 the purpose of this corporation to foster and pro- nuote through dramatic productions and other related activities a community interest and active participa- tZion in the dramatic arts on an educational basis." Amiditional indications can be found in the active par— txicipation and the financial support which the records Sllow'the people of Flint have given to the group. ¥ ‘3 4 3Talbot Pearson, Encores on Main Street, pp. 77-78. This material issued by Special Permission Title: 66 é P. 4/. MW Date: €///;5- Due: AUG 3‘55 Division M; Signed: 75 70 Finally, the assertion that the Flint Community Play- ers is truly a community theater rests on the repre- sentative examples of c00peration with other civic groups and projects which have been cited in this study. APPENDIX A CONSTITUTION OF THE FLINT COMMUNITY PLAYERS, INC. ARTICLE I Name. The name of this organization shall be the Flint Community Players, Inc. ARTICLE II ‘Pur 056. It shall be the purpose of this corporatiOn E0 foster and promote through dramatic productions and other related activities a community interest and active participation in the dramatic arts on an educa- tional basis. ARTICLETIII Membership and Voting Rights {Section 1. Membership. There shall be two types Of membership in this corporation, to be known as As- :sociate Memberships and Active Memberships: Group 1. Associate Members shall be those who liold season tickets. Grou 2. Active Members shall be those who have <30mpletea satisfactorily one assignment for the Play- ers, pay an annual membership fee of one dollar, and mneet such other requirements as may be established by tune Membership. Individuals who were Active Members that have been inactive for two or more years will be 1*equired to complete another assignment in addition to Paying the membership fee before becoming an Active I‘f‘einber again. 71 LI) ‘1‘ 'U 72 Section 2. Votin Ri hts. The Active Membership shall elect the Boarg of DIrectors, including four Officers -— President, Vice-President, Secretary and Treasurer -- Of the Active Membership; it shall vote on all amendments to the Constitution; and it may plan social or special events for the Membership. ARTICLE IV Officers Section 1. Board of Directors. The Board of Direc- tors shall consISt of twelve members, as follows: President, Vice-President, Secretary, and Treasurer of the Active Membership, with a term of Office of one year; six other persons elected by the Membership, with a term of Office of two years; and two persons appoint- ed by the Chairman of the Board of Directors with the Tapproval of the Board, with a term Of office of one 'year. The six Beard Members shall have been Active Members for one year or more prior to election and 'three shall be elected each year. The Board of Directors shall serve as the adminis- ‘trative body of the corporation; it shall elect its cafficers, appoint the director and production staff for each of the productions and such other Officers as may lee necessary, and it shall control the finances of the corporation .. £3ection 2. Officers of the Membership. President of the Active Membership -- the President, besides serv- ing as a member of the Board of Directors, shall pre- side at all Membership meetings, call special Membership meetings, and perform such other duties as the Member- ship may direct, provided they do not violate any part Of this Constitution. Vice-President of the Active Membership -- the \Fice-President besides serving as a member of the Board or Directors, shall, in the absence of the President, preside at Membership meetings. He shall perform such Other duties Of the President as may be required by the abeence or illness of the President. Other responsi- bilities and duties may be delegated to the Vice-Pres- 1dent by the Membership. 73 Secretary of the Active Membership -- the Secre- tary, besides serving as a member of the Board of D1- rectors, shall keep minutes of the Membership meetings and such other records and correspondence as required by the Membership. Treasurer of the Active Membership -- the Treas- urer, besides serving as a member of the Board of Di- rectors, shall keep the accounts of the Membership, in- cluding all dues and special assessments, and make such expenditures as authorized by the Membership. Other Officers of the Active Membership -- the Membership may elect such other officers as it may deem necessary as long as the responsibilities of such officers do not conflict with the responsibilities and duties of the offices established by this Constitution. Section 3. Election Procedure. The annual election of the Board of DIrectors and the Officers of the Active Membership shall be held on the second Tuesday following the opening performance of the last play of the season, and the officers shall take Office im- med iately. The President of the Membership shall appoint a zaominating committee a resonable time before the meet- :Lng designated above, which committee shall prepare a slate Of the candidates for the offices of President, Trice-President, Secretary and Treasurer of the Active Imembership, and three positions on the Board of Direc- tuors. Said committee shall report at the meeting, 1>lacing in nomination the names of those members it has selected as candidates. Additional nominations may be reads from the floor at the proper time during the meet- iJng. It shall be the duty of the Secretary of the Mem- bership at such elections to have available a list Of tune names of those members entitled to vote in such election. Section 1:. Vacancies. Vacancies on the Board shall be filled by appointment by the Chairman of the 3Ek>ard of Directors with the approval of the Board, ex- c=ept in the case of a vacancy in one of the four of- 1I143es of the Active Membership, in which case the Mem- bership shall elect a new officer to complete the term. 7h The Secretary of the Board shall report any mem- ber Of the Board who declares necessity of absence from the Board three consecutive meetings and the Board must therefore determine whether such Office is to be considered vacant to be filled by regular prO- cedure. Section 5. Place of Meeting. The Directors may hold their meetings, have an office and keep the books Of the corporation in such place or places within or without the State Of Michigan as the Board of Direc- tors may, from time to time, determine. Section 6. Meetin . Meetings of the Board of Di- rectors may Ee called by the Chairman, Secretary, (or any three (3) members of the Board, notice being given by the Secretary of the time and place. Siection 7. Quorum. A majority of Directors shall constitute a quorum. {Section 8. Action by Uhanimous Written Consent. When the Directors Shall severally or collectively con- sent in writing to any action to be taken by the cor- I}oration, such action shall be as valid corporate ac- tiion as though it had been authorized at a meeting of the Board of Directors. Section 9. Honorary Membership. The Board may, in acknowledgment Of services rendered the corporation Ctr the community, bestow honorary memberships, such huanorary memberships not being subject to dues and hav- ing no vote. Section 10. Members Of the Active Membership who are members of the Board may also be officers of the IBeard. Only the Chairman and Business Manager may not h01d two offices simultaneously. Section 11. Should the Board of Directors deem it nec— essary (a) to use money previously designated as a part of a building fund for purposes other than a building or prOperty for such a building, (b) to borrow money for any use against such prop- erty or buildings as may be owned by the cor- poration, 75 (c) to dispose of such property or buildings as may be owned by the corporation, (d) to borrow money for any purposes whatever, it shall be necessary for such action to be approved before the fact by two-thirds of those present at an Active Membership meeting, notice of which has been sent to Active Members of the current year and previous year. ARTICLE V Meetings Section 1. Timeerlace and Purpose. Meetings of the Members Of_this corporation shall be held biannually -- one at the end of the season for the purpose of electing Directors, and one at the beginning of the season to start the program for the new year and for the trans- action of such other business as may be brought before the meeting. Special meetings shall be called by the TBoard of Directors or by the Officers of the Active Membership group . ‘Section 2. Special Meetings. Special meetings of members may be called by the President and Secretary and shall be called by either of them at the request :in writing or by vote Of a majority of the Board of IDirectors or at the request in writing of twenty-five 13ercent of the Members of the corporation in good standing . Section 3. Notice. Written notice of any meeting of the Active Membership shall be mailed to each Active Member at his last known address as the "same appears upon the books of the corporation, or otherwise, at lxeast three (3) days prior to any meeting, and any no- tzice of special meetings shall indicate briefly the Object or Objects thereof. Section ‘+. guorum. Presence in person of twenty-five percent 0 he members of this corporation shall con- stitute a quorum at any meeting of the Members. Section 5. ‘Giving‘ Notice. Any notice required by statute or this Constitution to be given Members, Directors, or Officers of the corporation shall be deemed sufficient if given by depositing the same in a 76 Post Office Box, with postage paid, addressed to such person at his last known address, and such notice shall be deemed to have been given at the time of such mail- ing. 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New YOrk: Jonathan Cape and Harrison Smith, Incorporated, 1929. Dean, Alexander. Little Theatre Organization and Man- agement. New YOrk:- D. Appleton and Company, 1926. Kronenberger, Louis (ed.). The Best Plays of 1953 - 195%. New YOrk: Dodd, Mead and Company, 195%. Macgowan, Kenneth. Footlights Across America. New York: Harcourt, Brace and Company, 1929. Pearson, Talbot. Encores on Main Street. Pittsburgh: Carnegie Institute of Technology Press,.l9h8. Perry, Clarence Arthur. The WOrk of the Little Theatres. New YOrk: Russell Sage Foundation, 1933. Selden, Samuel (ed.). Organizipg a Community Theatre. Cleveland: National Theatre Conference, l9h5. Periodicals Baker, Virgil L. "The Community Theatre as a Force in Adult Education," Educational Theatre Journal, IV, .(October, 1952). 86- 87 Duthie, Mary Eva. "The Community Theatre at Mid-Cen- tury," Educational Theatre Journal, III, (March, 1951). Duthie, Mary Eva. "A Directory of Nonprofessional Com- munity Theatres in the United States," Educational Theatre JOurnal, V, (May, 1953). Schoell, Edwin R. "The Drama in the Community Theatre: 19H0 - 1950," Educationa1_Theatre Journal, V, (May, 1953)- Unpublished Material Flint Community Players. Scrapbooks of play programs and newspaper clippings and Minutes of Board of Di- rectors and Active Membership meetings, 1929 to 1956. Other Sources Personal interviews with Russell Barr, Historian and Librarian Of the Flint Community Players. ROOM USE ONLY Date Due I Demco-293 MIC ifii’i/uiiiiiiiiflifijiiflflii1I RIES