It appears that in many major theaters across the country, men’s roles out number women’s by half. One out of every three roles go to women. (An informal survey of 10 theatrical seasons from across the country that I did put women in only 35% of the total roles). This means that men’s stories out number women’s by the same amount.
Those of us noticing this could be considered big old whiners if it weren’t for some solid business-y sounding facts:
- Women buy 70% of theater tickets sold
- Women make up 60%-70% of its audience (see here and here)
- On Broadway, shows written by women (who statistically write more female roles than men) actually pull in more at the box office than plays by men
In any other market the majority of consumers would significantly define the product or experience. Why not theater?
I will disclaim right away that this is not about women playwrights, though plays by women represent less than 20% of the works on and off-Broadway and in regional theaters (and also in the UK, as The Guardian illuminates). I consider August: Osage County and In The Red And Brown Water plays about women though men wrote both.
This is about modern theater telling its predominantly female audiences that the human experience deserving of dramatic imagination is still the male one. In TV, this might be a top-down insistence. In politics or business we see it all the time. But in theater?
Sean Daniels, Artist-At-Large/Director of Artistic Engagement at Geva Theater, says:
“In addition to it being inconceivable in 2012 to not program any female playwrights (or really any year past 1913), it’s also just bad business. Just from a business model, look at Menopause: The Musical. Though we may take it to task for not hitting all of Aristotle’s Six Elements, it’s a show that looked at who the main people buying tickets were, and allowed them to see themselves on stage — thus making millions and not only preaching and loving the choir, but getting tons of new patrons into the theater.”
But what would it be like if this were more common? What if American theater equally reflected and projected its own audience (at least 60% women) and their audience’s wallets (which are in their purses) in their season choices?
Theaters might make more money. A friend and artistic leader at a major regional theater remarked on the marked success of Molly Smith Metzler’s plays Elemeno Pea, a play about sisters. Or what about Tracy Letts runaway hit August: Osage County (a play with incredible parts for women including three sisters), or Lynn Nottage’s Ruined, or Margaret Edson’s Wit, or John Patrick Shanley’s Doubt or Steve Yockey’s Bellwether (with seven parts for women)?
We wouldn’t lose our classics. Shakespeare’s plays are notoriously under-femmed, but not all of them are. Give me Much Ado About Nothing or Twelfth Night or wacky Midsummer. Or re-imagine the Bard for us. I saw a truly fresh and powerful production of Julius Caesar at Oregon Shakespeare Festival last year in which Caesar was unapologetically played by a woman (it might have been the best show I saw all year, including my own). I didn’t think “Oh look at that woman playing a man’s part.” I thought, “Oh my god she’s channeling Benazir Bhutto.”
Ibsen also gave us stunning women’s stories. So did Shaw, Chekov, Williams, Miller. And don’t forget the female playwrights of those same eras. Complex parts for more than one token women are there for the planning.
We might inspire new classics. I’m not telling playwrights what to write.Wait. Hell yes I am. And I’m hoping they get commissions to do so. Please write those complex and shocking and profound parts for our great female actors. Lead roles, supporting roles, lots of roles. Imagine writing for Stockard Channing or Viola Davis or Amy Morton or Meryl Streep. How about putting all of them in the same play. Oh my god, I just died a little thinking about it.
However, the now famous study by social scientist Emily Glassberg Sands about gender bias in theater says that though female playwrights write more roles for women, they are aware that plays with female protagonists aren’t as likely to be produced as plays with male protagonists. “One way women have compensated for writing female stories is to write fewer [female] roles, which make their plays accessible to more theaters,” the study finds.
So American theater might need a theatrical version of the The Bechdel Test for movies which names the following three criteria: (1) it has to have at least two women in it, who (2) who talk to each other, about (3) something besides a man.
There are bright spots however. Chloe Bronzan and Robert Parsons of Symmetry Theater in San Francisco have already put into practice their own version of the Bechdel Test. They built their company around the precepts: “We will never produce a play with more male than female characters,” they said, “We will never have more male than female union actors on our stage and we will produce plays that tell stories which include full, fleshed out and complex women that serve as propellants to the human story being told.”
We won’t lose our audiences, but we might just gain new ones. Another Artistic Director colleague noted that if theater companies counted Menopause: The Musical as part of their actual season (as opposed to the touring or rental production it usually is) it would be the best-selling show in their histories. Why? Women go to the theater and they bring their friends if they have shows that reflect their experiences. A dear friend connected with August: Osage County’s fierce females so much that she flew from Atlanta to New York three times just to see it as many times on Broadway.
As Hanna Rosen has pointed out in her articles and lectures — there is a definitive rise in women as breadwinners and moneymakers in this country. I live in the Bay Area and am delightfully surrounded by brilliant women running major intuitions, businesses, and government orgs. Smart institutions will notice this and deliver. Women are already your majority, and women share experiences with other women, so it shouldn’t be hard to bring new women into the theater patronizing community.
Sean Daniels again:
“I think there’s a hidden thinking in here that men won’t watch women centric plays, but women will watch men centric plays — which really just sells everyone in that equation short. There are men watching The Hunger Games, but eventually there won’t be ladies watching dude filled plays and seasons.”
We might help the world. Women are always underrepresented in positions of money, power, and personal safety. This comes, as most inherent biases do, from a lack of understanding and empathy. If we see more stories of women on stages across the country and the world we can change that.
Maybe what we really dream of is the day when plays by and about women would stop being “women’s plays” and start being — oh, y’know — really successful, moneymaking, audience-supported, universal, true, bold, smart plays. Everyone wants those plays, no matter what your gender.
Theater audiences want the designers of theatrical seasons to pay attention to the women onstage. Count them (as Valerie Week is doing in The Bay). The women in your audiences will.
Joy Meads of Center Theater Group in LA says:
“It’s frustrating that we have to have this conversation in 2012. But I’ve experienced this in my conversations about plays with colleagues across the country. Colleagues dismissing a play because its female protagonist was ‘unlikable.’ Producers should recognize that ‘we just choose the best plays’ is no longer an adequate defense: no one believes that there’s a shadowy cabal of avowed misogynists determined to keep women offstage. We need to be brave and rigorous in examining the shadowy, unconscious ways gender bias influences our decision making.”
Theater should be in the complex and necessary business of illuminating the human condition, of inspiring empathy and community, of provoking understanding, of entertaining and surprising and exposing and making beautiful the complete world of our time.
You know what helps that?
Telling everyone’s stories.
Lauren Gunderson is an award-winning playwright, screenwriter, and essayist from San Francisco. She studied at Emory University and NYU’s Tisch School of Performing Arts where she was a Reynolds Fellow in Social Entrepreneurship. @LalaTellsAStory and LaurenGunderson.com