Maybe I’m being a bit harsh when I say it was “The Very Worst Play”, for certainly there have been, and will continue to be plays produced on par with (or even worse than!) the play I saw yester-afternoon… And in all honesty, the costumes were fantastic and the actor’s hearts sincere, surely lifting it from the dredges of productions in which they didn’t even have that.  Which is why I’ve also titled it “An Earnest Effort;” because it is my stern belief that most of these Terrible Theatrical Experiences are born of genuine passion and belief in the product… missplaced as it may be.

Anyway, to the point; The City of Prescott, some lawyers, and a generous donor, have recently renovated the Elks Opera House.  What once was a shabby and dwindling monument to the theatrical days of yore has been restored in all it’s early 1900 glory.  It is, in a word, beautiful.  (check out pics/historical info here if inclined)

So imagine my anticipation when I heard a new play focusing on a local historical figure of dark and devious character, Prescott’s “Murderess Madam” Gabriell “Gabe” Dollie Wiley, was to be presented.  The play, The Black Widow of Prescott, recieved a wonderful write up in the local paper, emphasising the title character’s penchant for dead husbands – always a delectable topic of entertainment – as well as the author’s two years study into her life.  It was a press release, not a review, however, and it, along with the wonder of seeing a play in the newly renovated theatre, proved tempting to everyone; the house was completely sold out at both shows.

But here is my complaint – Not everyone can write a play.  It requires not only talent, but study.  It is not an art form for all to say to themselves “I can do that” without regard for the craft of the thing, and I take great issue with those who write away, willy nilly, and then snake money out of people’s hard-won coffers.  For although I am certain this author thought she was offering up a great afternoon of entertainment, She. Was. Not.

Which, as a theater professional who has spent thousands (seriously!) of hours studying, honing, and practicing her craft, I find incredibly irresponsible.

That’s not to say that I don’t support the impetus for a self-produced production!  I am a big believer in doing whatever it takes to get your work seen.  BUT, I am also of the mind that you must know where you are as an artist, and where your artistic egg is in its development, so as to ensure that the steps you are taking are productive and not mob-inducing.  You should never charge admission to something that is, quite frankly, as underdeveloped as this play was.  What I saw yesterday was in need of serious work-shopping and guidance if it is to ever have a life beyond Ms.Sickler’s mothering hand, yet there it was, paraded about as though deserving of my $12.

To that, I say, it was not.

Now, some people might be reading this and shaking their head at my harsh tone, my severe judgment… You are probably shaking your head because you see art as something to be nurtured no matter what.  I say that is a very healthy attitude for community theatre, educational drama, and the like.  Art does need be nurtured!  Artists are sensitive creatures, and healthy encouragement goes a long way in helping an artistic soul reach his/her potential.  But there is a big difference between the burgeoning artist and the artist who claims commercial appeal/viability.

Once an artist starts charging admission, they are branding their product as “Professional,” and there are standards associated with “Professional” Theater, including that the material is production-ready and the actors trained or at the very least “professionally” directed - and by professional I mean that these are people who have dedicated time to honing their craft and have proved their mettle.  This is an unavoidable fact in any sort of paid-for-service; by soliciting a fee, you are presenting yourself as deserving of that fee, and should be held to standards accordingly.   (The PFAA has a director’s mentorship program for this exact purpose; to train those who will be captaining their productions.)

Let me reiterate – If you want to be a professional, it’s not enough to be passionate; you must learn how to put those passions to good use!

I’ve seen a lot of bad theater, and I’ve seen my fair share of the fantastic… All have been the result of tireless effort and a genuine love of performance.  But the difference, and we should all be paying attention to that which separates the wheat from the chaff, is the skill and expertise that comes from studying your craft.

So perhaps it is with some personal affront I take issue with Ms. Sickler’s grand efforts – she put a lot of time and money into this production, to that I tip my hat- but why not put as much time and effort into learning how to get the material in tip-top shape first.  Why not learn a bit more about the crafts of stage-writing and directing, before pouring it all out, as she did; an under-baked idea wrapped in sexy garter belts and felt beards?

The actors were several times at a loss for where to go, what to do… producing comical moments not born of the text, but of the “Oh, wow, this is so embarrassing” stage moments.  The incessant refrain of the monotonous chorus song became more and more grating as its leading lady talk-sang her way through it… to what dramatic purpose?  And the promised “peek” into the glamorously devilish lifestyle behind the play’s name-sake amounted to nothing more than a few lines of dialogue about wanting to get married and stop whoring, but oh darn-it all if those pesky men didn’t keep stealing her jewels… Is this really the full depth of detail discovered about this character after two years of research?  I’m sure it is not!  What a joy it would have been had Ms. Sickler endeavored to flesh this character out to the full extent of her research!

But then, perhaps it is assuming for me to say that she did not… for I do not know the playwright, nor her process, and it is here that I must again tip my hat to anyone who labors so feverishly that they are able to create and put-up such a feat as a play.  It is a group effort, it is a labor of love; it is really, really hard.  And although I think she jumped the gun with this script, I do highly applaud Ms. Sickler’s tenacity and hard work in bringing her brain-child to life.  I just hope that she seeks out the resources and mentorship to help her turn this very interesting seed into a story deserving the lavish production she so prematurely gave it.

And to the Elks Opera House, I say perhaps it is a good idea to start looking a bit closer at who they rent their theater too.  Branding is an important part of running a theater, even if it is a rental house.  It would be of great benefit to them to pay greater attention to the shows they stake their reputation on.

And to those of you who haven’t yet been inside the theatre itself, I recommend you do so.  We wrote our collected $45 tickets off as a very pricey tour of an otherwise glamourous space, and in that regard it was (almost) totally worth it.