At two creative persons mixers hosted by Ria T. DiLullo and Sam Given last month, Ria took a moment to offer some remarks on the importance of the indie theater scene and bringing it closer together. We would now like to share those remarks with you. You can either view the footage from the event (above) or give it a read (below).
Greetings Folks!
Ria T. DiLullo here - the founder, artistic director, and human behind The Skeleton Rep(resents), an indie theater company with a mission to explore modern myth through the development of new plays and a sincere practice of craft.
Skeleton Rep turns 9 years old this year and I have been reflecting on where Skeleton Rep, and therefore myself both as the company’s leader and as an artist outside of Skeleton Rep, have fit into the theatrical landscape of NYC, and where we are headed. This reflection began through conversations with TSR participants, the seemingly unending upheaval in leadership in the NYC theater scene, the loss of spaces at zero cost to artists, and attending copious amounts of theater at all production levels the last few years.
Ria T. DiLullo here - the founder, artistic director, and human behind The Skeleton Rep(resents), an indie theater company with a mission to explore modern myth through the development of new plays and a sincere practice of craft.
Skeleton Rep turns 9 years old this year and I have been reflecting on where Skeleton Rep, and therefore myself both as the company’s leader and as an artist outside of Skeleton Rep, have fit into the theatrical landscape of NYC, and where we are headed. This reflection began through conversations with TSR participants, the seemingly unending upheaval in leadership in the NYC theater scene, the loss of spaces at zero cost to artists, and attending copious amounts of theater at all production levels the last few years.
Gothamist published an article in March titled “Where did NYC’s indie theater scene go? Backyards, basements, and rooftops.” Reading this article, I shouted out loud at my screen, “I’ve done all of those things - and more! Backyards, basements, rooftops, living rooms, bars, parks, and of course - The Tank.”
Now I am ambitious - I personally would love the opportunity to direct on bigger stages with bigger budgets. (And if those opportunities were also with scripts I’ve had a hand in developing, all the better!) However, I recently realized that this is something I want for myself - but not for Skeleton Rep.
Skeleton Rep is special precisely because of the type of space it holds for artists, collaborators, and supporters. I created TSR out of necessity, and that demand still exists in full force.
Now I am ambitious - I personally would love the opportunity to direct on bigger stages with bigger budgets. (And if those opportunities were also with scripts I’ve had a hand in developing, all the better!) However, I recently realized that this is something I want for myself - but not for Skeleton Rep.
Skeleton Rep is special precisely because of the type of space it holds for artists, collaborators, and supporters. I created TSR out of necessity, and that demand still exists in full force.
For example, while attempting to find community and opportunity in the downtown scene in the early 2010s, my thinking coalesced into something like this: I needed space to practice my craft of directing, which means I needed plays and actors. Most of us can’t really truly practice theater-making without an audience, and it needed to cost almost nothing.
At the time, I had a big enough living room. I had access to print scripts for free. I knew dozens of playwrights and actors and I was confident that I could secure an audience, even if it was other playwrights and actors. The ingredients were set for what became Skeleton Rep’s Salon Series, a one-day event that ended with a party. I set up my living room in the morning, we rehearsed in the afternoon, we then did the reading, which followed with a party for the audience and artists alike, and provided a comfortable environment for people to meet and exchange ideas. Each salon was free to attend and attendees all brought refreshments to share with the larger group.
It worked: To date, we have hosted 59 salon performances in living rooms, backyards, bar spaces, and of course zoom. The success of the Salon Series proved to be a building block of Skeleton Rep, and has evolved over the years to become more robust. The Salon Series is now a submissions-based development process for the playwright culminating in three rehearsals with actors and then the presentation itself. While the core of the intention remains the same, the Salon Series program now offers a higher quality experience for all.
At the time, I had a big enough living room. I had access to print scripts for free. I knew dozens of playwrights and actors and I was confident that I could secure an audience, even if it was other playwrights and actors. The ingredients were set for what became Skeleton Rep’s Salon Series, a one-day event that ended with a party. I set up my living room in the morning, we rehearsed in the afternoon, we then did the reading, which followed with a party for the audience and artists alike, and provided a comfortable environment for people to meet and exchange ideas. Each salon was free to attend and attendees all brought refreshments to share with the larger group.
It worked: To date, we have hosted 59 salon performances in living rooms, backyards, bar spaces, and of course zoom. The success of the Salon Series proved to be a building block of Skeleton Rep, and has evolved over the years to become more robust. The Salon Series is now a submissions-based development process for the playwright culminating in three rehearsals with actors and then the presentation itself. While the core of the intention remains the same, the Salon Series program now offers a higher quality experience for all.
As we enter, reflect, and celebrate 10 years of salons, they continue to be the highlights of our year for participants and audiences alike. This growth now provides our salons with funding that prioritizes paying performers and playwrights, while keeping the ticket price free for attendees, although as a small, indie theater group, we always accept donations. Actors and playwrights at many stages of life and career participate. Our salons grew into a diverse mix of people; you might catch a seasoned veteran and someone just discovering their craft in the same, promising new play. The vibe of the night will carry you through your week, reminding you of what you love about NYC in the first place.
Over these years, many plays that got their start at the Salon Series have gone on for further development opportunities or have world premiers, demonstrating the importance of this program as a launchpad for the arts.
In professing my love for the indie theater space and committing Skeleton Rep to maintaining its position in that landscape, I am reminded of Cord Jefferson’s Oscar’s comment, “Instead of making one $200 million movie, make 20 $10 million dollar movies or 50 $4 million dollar movies.” I agree. Also, indie theater is way cheaper than that.
In professing my love for the indie theater space and committing Skeleton Rep to maintaining its position in that landscape, I am reminded of Cord Jefferson’s Oscar’s comment, “Instead of making one $200 million movie, make 20 $10 million dollar movies or 50 $4 million dollar movies.” I agree. Also, indie theater is way cheaper than that.
Indie Theater is the incubator for the thing that you don’t know is coming, for the artist who will create something that makes it big even after they’ve moved on. It is an influential space that can change an artist’s life, who may in turn change yours - even if just for one night. I’d say that is a high reward, low risk investment.
If that is something you can get behind, let’s (re)commit to indie theater together. There are many ways to (re)commit to indie theater: Attend that show or reading. If you have a space, even a non-traditional one, be a host. If you have access to low-cost or free printing, offer to print a company’s scripts. Consider giving a monthly donation of any size. Donate. These actions all support the indie space. It never disappears, it is always necessary, and when it is thriving, so do our communities.
If that is something you can get behind, let’s (re)commit to indie theater together. There are many ways to (re)commit to indie theater: Attend that show or reading. If you have a space, even a non-traditional one, be a host. If you have access to low-cost or free printing, offer to print a company’s scripts. Consider giving a monthly donation of any size. Donate. These actions all support the indie space. It never disappears, it is always necessary, and when it is thriving, so do our communities.
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