What's the history of the Huntington's relationship with commercial producers?

Peter DuBois

by Peter DuBois

The Boston Globe reported recently on an upcoming study about the partnership between the non-profit-theatre and commercial producers. The study was sponsored by the Center for Theater Commons at Emerson College and written by Diane Ragsdale.

With respect to the Huntington, its true that we occasionally collaborate with commercial producers, and we believe that this can be accomplished in ways that stay on mission.

I encourage you to read the Globe article and to think about your own response to the questions raised. The Globe reported a short overview of our history of collaborations that involved commercial producers. In the interest of transparency and adding additional facts to the conversation, here's the full history of the Huntington's relationship with commercial producers, dating back to the our founding.

What do you think about the relationship between non-profit theatres and commercial producers? If you're an audience member, do you think it's impacted your experience at the Huntington?

My tenure: 5 seasons, 3 projects scheduled in collaboration with commercial producers (one dropped out before production), and one co-produced with a New York-based non-profit 

2012-2013 Season
Our Town
In collaboration with an Off Broadway commercial producer

2011 – 2012 Season 
Sons of the Prophet
Co-production with New York-based non-profit

Captors
In collaboration with an outside producer

2008-2009 Season
Pirates! 
Scheduled with the with the participation of an outside producer who ultimately pulled out before production

The Nicholas Martin years: 8 seasons, 7 projects in collaboration with commercial producers including 3 with Broadway in Boston

2007-2008 Season
Alfred Hitchcock's The 39 Steps
West-End transfer transferred directly to Broadway

2006-2007 Season
Radio Golf
Pre-Broadway production with commercial producers involved

2004-2005 Season
Gem of the Ocean
Pre-Broadway production with commercial producers involved

2003-2004 Season
As You Like It
Commercial touring production co-produced with Broadway in Boston

2002-2003 Season
Marty 
Produced in collaboration with commercial producers

2001-2002 Season
Observe the Sons of Ulster Marching Toward the Somme
Produced in association with Broadway in Boston, direct transfer to Lincoln Center Theatre

2000-2001 Season
Fully Committed
Produced in association with Broadway in Boston

The Peter Altman years: 18 seasons, 7 projects in collaboration with commercial producers

1999-2000 Season
King Hedley
Produced in collaboration with commercial producers

1998-1999 Season
Jitney
Produced in collaboration with commercial producers, no commercial run

1995-1996 Season
Seven Guitars
Produced in collaboration with commercial producers, pre-Broadway run

The Young Man from Atlanta
Enhanced by commercial producers, ran on Broadway in 1997

1992-1993 Season
Pal Joey
Enhanced by commercial producers

1990-1991 Season
Two Trains Running
Produced in collaboration with commercial producers, pre-Broadway run

1987-1988 Season
The Piano Lesson
Produced in collaboration with commercial producers, pre-Broadway run

Educating Rita with a Hot Pot of Coffee

Educating Rita Assistant Director Nicholas Vargas has been receiving his own education in the rehearsal room, mainly involving British dialects and slang terms. He shares his thoughts and observations following the first week of rehearsal working alongside director Maria Aitken:

A "two hander" — a play with two people. This is what I assume Director Maria Aitken means when she uses the term in rehearsal. Either that or she'd like both actors to always be cognizant of using both hands more. Or she believes it's a difficult play to direct and she will need both hands to manage. Perhaps even something more philosophical about two hands in a bush are worth more in a tree. I think it must be the first.

In this "two hander," set in the north of England, we've all come to learn the importance of the "Hot Pot of Coffee" sound when speaking — a very useful, yet sometimes confusing vocabulary term used by the dialect coach, Stephen Gabis. He uses the phrase to correct the short "o" vowel sounds necessary for our two wonderful actors, Andrew and Jane, to master . "Hutt Putt uh Cough-ee," or something like that. Yet, despite my urge to run across the street to grab another Starbucks, the company forges forward having staged the framework to Act I of this two-act two hander. (Say that ten times fast!)

We've already started incorporating props and some mock ups of costumes, which is necessary in a play where the longest break between scenes is thirty seconds. The company is keen on using every desk drawer, coat rack, filing cabinet, and pocket to hide and discard unwanted props and costume pieces. I almost wonder if this isn't a play in search of Waldo. Not Ralph Waldo — but I'm sure he's hidden in the stacks of books somewhere. I guess you'll have to come and see if you can find him for yourself!

So, what's next in the process? More blocking? Of course. Some self discovery? Maybe. Discovering the correlation between whiskey and Chekov? Definitely.

Willy Russell's Educating Rita, directed by Maria Aitken, plays March 11 — April 10, 2011 at the Boston University Theatre, 264 Huntington Avenue, Boston. For more information or to buy tickets, visit our website or call the Box Office at 617 266-0800.