As various performing arts organizations across the country venture toward reopening, many have been forever changed by the pandemic. Some of these changes have been positive for both organizations and audiences—shifting away from status quo and toward new levels of innovation and accessibility. One such shift has been the widespread adoption of digital programs. Indeed, a study,
Culture Track: Culture and Community in a Time of Crisis, conducted during 2020 and commissioned by Wallace, has uncovered a high level of participation in digital programs during the pandemic.
To further explore the crucial role of digital in the performing arts, we recently connected with two grant recipients from Wallace’s
Building Audiences for Sustainability initiative, which ended in 2019: Seattle Opera and Woolly Mammoth Theatre. Marketing Director Kristina Murti at Seattle Opera and Artistic Director Maria Manuela Goyanes and Managing Director Emika Abe at Woolly Mammoth shared insights from their respective organizations’ creation of digital programs, highlighting some of the advantages and challenges that they’ve experienced. The interviews have been edited for length and clarity.
Looking back at the past year, what one piece of digital content do you think was your most successful, interesting, significant or surprising? And why?
Goyanes: In many ways, Woolly Mammoth was built to meet a moment like this, as risk-taking and innovation are at the core of what we do. From the outset of the pandemic, we wanted to create opportunities to continue to spark conversation through theatre and to quickly provide jobs for artists and technicians who were left unemployed. We decided to commission two works specifically for alternative mediums. It feels important to talk about both since they were both significant for us, and also so different from each other, which really showcases how wide-ranging this type of content can be.
The first was commissioning the Telephonic Literary Union to create
Human Resources, which repurposed a customer service hotline into an intimate audio anthology for remote times. The project contained audio experiences written by authors of color, employed actors from all over the country, and spurred audiences to listen, reflect and try to find the “Super Secret Happiness Code” embedded within the hotline. As evidence of its success, six months later,
Human Resources had a future life—The Repertory Theatre of St. Louis presented the piece for their local community last month.
The second project,
This is Who I Am, was a co-commission with New York City’s Play Company for Playwright and Director Amir Nizar Zuabi to write a play specifically for our current digital platform,
Woolly on Demand. Zuabi embraced that challenge completely and wrote the story of two characters, a Father and his Son, meeting on video chat with the hope of overcoming their estrangement. This fully realized production was rehearsed and performed entirely remotely, with its two actors, Ramsey Faragallah and Yousof Sultani, performing nightly from their own kitchens. We shared the play through a five-way co-production with American Repertory Theater in MA, The Guthrie Theater in MN and the Oregon Shakespeare Festival.
Murti: In my opinion, our
Don Giovanni, recorded in January, was our most significant opera recording this season. It was the second full opera we recorded, and the first work we did not record in our main performance hall. There’s a lot of assumptions in opera about “how things need to be” and the idea of recording a “performance” outside of our main performance hall was not something we were seriously considering earlier in the pandemic—until we needed to, and then we decided to build a sound/film studio in our administration/operations center. We also recorded the audio separately from the staging and synced everything together in a pretty seamless way. The idea that we could record the performance “off-site” brought confidence to our next project,
Flight, which was recorded really off-site: at Seattle’s Museum of Flight. That project is most certainly the pinnacle of what we’ve done so far but having
Don Giovanni under our belt and producing opera in an entirely new way was crucial to being able to put together an amazing product like
What has been the biggest challenge that your organization has faced while reconfiguring its programming for the digital space?
Abe: It’s hard to pinpoint what the biggest challenge has been, as there have been so many!
One challenge has been that in undertaking new digital projects, we really went back to being beginners, even though Woolly has been around for 41 years. At first, we didn’t know what types of professionals we needed to engage to create work online. As we were seeking an outlet to share our work virtually, new hosting and streaming platforms for the theatre community were rushing into existence to tap into a new market. We had to evaluate our options without any particular expertise on our staff about video formatting or ways to stream from your computer to your television. At least we can say with confidence that we know a lot more now than we did a year ago.
Fortunately, because so many other theatres were making similar pivots into the digital sphere, we were able to turn to our colleagues for guidance—and then later on, to share our own insights with others. It has been heartening to see the many ways in which the theatre industry has come together to collaborate and support each other through this pandemic.
Murti: We have not been able to use our main performance venue, McCaw Hall, consistently as a recording site so we have had to
reimagine several of our Opera Center spaces as movie sets. Due to social distancing requirements and space considerations, we also had to record the music separately from the staging. These two issues were challenging but allowed us to think way outside of the box. As mentioned,
Flight, which premiered this month, takes place in an airport terminal and was filmed on location at The Museum of Flight, an impressive museum filled with aircraft and large spaces that feels very much like an airport. No opera stage set will ever match the scale and brilliance of being at that location for this opera.
Was there any type of program you tried along the way that didn’t work, or didn’t work as expected? If so, what did you learn from this experience?
Murti: We’ve really experimented a lot with community programming. What format works? Should they occur at a specific date and time? Do we take reservations? Do we pre-record the entire talk and then edit into a more formal video? What’s the best length? We’ve tried a lot of things here and continue to experiment.
In general, I’d say we’ve found that shorter (20-minutes or less) is better than longer. We are still trying to determine whether it’s better to have a Zoom-style event with a set date and time, which people can join and feel like they are part of the discussion, or an event that is pre-recorded.
Goyanes: Close to the beginning of the pandemic, we decided to experiment in the learning space, specifically offering classes entitled “Woolly for the Body, Mind and Spirit.” We offered a dance class, a class that paired a contemporary book with a contemporary play that Woolly had produced, as well as an acting class specifically geared for video audition techniques. We have not offered classes like this at Woolly in a long time, and we struggled with enrollment for many reasons, not the least of which was that we were launching this while COVID-19 numbers were high in the summer of 2020. The emotional toll of the pandemic, as well as the isolation, has been hard on our staff and our audiences. While we are energized by class ideas, in hindsight we needed more time for our community to wrap its head not only around what shelter-in-place meant, but also what it meant for Woolly to move into an intentionally educational space again. Another takeaway was that we learned to stick to what we do best and adapt it to the moment, rather than launch entirely new offerings for our audience.
Have there been any unexpected advantages to presenting virtual programming? If so, what does this success look like?
Murti: I touched on this earlier with the idea of separating the audio and staging recordings—that is something we did not consider last summer but has allowed us to expand into new and different locations and possibilities. We are currently planning where to record our upcoming
Tosca and are considering one of the most beautiful cathedrals in our city.
Another advantage to virtual programming is the ability for people to watch the opera more than once. We’ve found that a lot of people do this. ForThe Elixir of Love, our subscribers watched the opera on average 1.8 times. We keep each of our digital programs available to subscribers for three weeks following their online premiere, and many have reported watching early on and then again later on.
Do you expect to incorporate digital programs into your regular programming in a post-pandemic landscape? If so, how?
Murti: Yes, although what this looks like is very much evolving. Attendance at digital talks have far outpaced what we would have in-person. Seattle has terrible traffic so I believe we will have a hybrid of an in-person and virtual atmosphere for these events going forward. Some opera/musical content will most definitely continue virtually, but we haven’t figured out yet what that will look like in the future.
Goyanes: While we are absolutely eager to bring live in-person theatre back into our programming, we also want to center the idea of abundance in our collaborations, relationships and in the theater we make. One of Woolly’s guiding principles is to reimagine collaboration and community, across industries, communities, disciplines and mediums. Digital programming fits squarely into that reimagining, and we are eager to build upon the experiments of this past year.
For one, producing in the digital realm greatly increases access to our work. For example, our theatre in downtown DC seats 270 people, and on the last night of our digital production of Amir Nizar Zuabi’s
This is Who I Am, we saw upwards of 500 people tune in online, not only from all over the United States, but also from abroad. With a lower ticket price for our online productions, we have also been able to provide greater access by removing a financial barrier for more audiences.
We know that as vaccinations become widely available and restrictions from the pandemic get lifted, we will face new hurdles. Experts say that COVID-19 or similar viruses will be an ongoing part of our lives. A year ago, as new leaders were stewarding Woolly Mammoth into its next chapter, we were growing our operations and impact. Now, the same growth has been set back and we are not yet sure how long the ramifications of this time will last. Many of our artists are still unemployed and we fear that many will have left our field permanently.
All that said, we fully believe that Woolly Mammoth’s courage, creativity and sense of possibility will help us chart a path through these and other challenges we face.
What advice would you offer an organization who is just beginning their journey in adapting to the digital stage?
Murti: Try to think outside of your normal locations. After a year of this, audiences are going to expect you to do more than simply put your normal in-person event into a digital format. Virtual content should be designed with that in mind, as it takes just as long to figure out as an in-person event. Everyone has been surprised at how long it takes to edit a full-length opera. We’re doing it in about 2-3 weeks and it’s a real push to get it completed.
Abe: Now that there is a lot of material out in the world online, check out what you’re interested in to get a sense of the breadth of different ways that artists are creating in all sorts of digital mediums. Are you interested in interactive shows? Live or filmed? Take note of what engages you, what makes for ease of experience, what feels satisfying. And then reach out to folks at those theatres. Ask questions with curiosity and gratitude – take the advice that serves you and chart your own path. Just like there is no one way to make theatre, there is no one way to make theatre online.
For more information on Seattle Opera’s and Woolly Mammoth Theatre’s full range of digital programming, please visit their websites: www.seattleopera.org and www.woollymammoth.net