Turning around your Turkey

7th July 2010

What you may have inadvertently done is brought a crap show to the Fringe. It happens quite a lot, and it's very expensive. It may be because you have been short sighted, ignored all pleas to NOT do it, or that you are surrounded by a collusive bunch of people who were too scared to say anything. It could be that the whole show was conceived at a student party, or as an act of revenge against your ex. It could also be that you aren't nearly as talented or skilled as you think you are. And, of course, it could be that your show is actually an act of genius, but simply way ahead of its time, or the right show for the wrong audience.

So, no one is coming. The critics have panned it. Ticket sales have sit the floor. You feel depressed, defeat, angry, philosophical, or perhaps even just a bit fired up and motivated to turn things around.

Here are a few tips for turning around disaster. (And I really do believe that is possible by the way).

1. Trawl the reviews for constructive comments and look for any commonalities among reviews. If three reviewers all say it is far too long, take that feedback seriously. Even if one review makes a specific comment, drop your ego, and entertain the thoughts openly. Then be prepared to rework. Stay up all night and re-rehearse. There's still time to remake and revive.

2. Change the title of the show. It may well have been a good idea in the pub months ago, but may be the first card that is toppling all of the others. A lot of comedians for example think they are revolutionary using the "C" word. They aren't, of course. Mostly it;s an irritating cliche and doesn't set things up well from the start. JUst because you think something is witty, doesn't it is in the eyes of the rest of humanity.

3. Get back to simplicity. Audiences and some reviewers will forgive a poor script to an extent if the actors are accessible and really putting themselves 100% into the production, not hiding behind gimicry. Drop rubbish soundtracks, lighting effects and unnecessary set and props if they are really being used as lazy crutches to help the actors avoid fully committing to their performance. A show may even rescue itself partly, even if the acting isn't great, if there's a heart to it that infects the audience. Go for the bare aspects of direct performance 100% and then add another 100% on top of that.

4. Get out onto the streets if you think your show isn't being understood. Get into conversations with potential audience, explaining in a few short sentences what the show is about. It may be that your show listing in the brochure and flyers have bamboozled or unintentionally switched off reviewers and public alike.

5. A lot of shows try 2 for 1 offers. Try a 3 for 1 offer. Make sure if you give out free tickets you get eye contact with the person you give the free ticket too and a one liner about what makes your show worth seeing.

6. Remember, most audience members are seeking enjoyment. Is your show enjoyable, entertaining, even if it is intense and serious. You might need to look at the narrative and make it simpler, more accessible. If it is a more abstract piece you might need to shorten it, simplify it, look at aspects which confuse for no good reason. Surreal theatre must not feel accidental.

7. You may have rehearsed the play or show to death, know your material backwards, but have forgotten to warm up and train as a performer. Practice the basic skills over again - voice projection, blocking, scene changes - you may simply look unprepared and amateurish because you've failed to rehearse the skills needed.

8. Be prepared to rewrite and make cuts to the piece. Find people you trust and get them along to see the show and be open to their feedback. Weed out any conflicts and competitiveness in the cast - there's no time nor place for it when you are all trying to make your show work. You may even have to fire saboteurs and ego-trippers. You might even have to fire yourself! But conflict, fear, insecurity, competitiveness can all kill off shows, and often do.

9. Take a breather - pull the show for a day and regroup - rehearse, rethink, rework, breathe the sense of failure our and give it another run-up. Spend a day out on the streets flyering and the go back to the next performance and give it your very best. Sometimes you are just feeling deflated. If the show really is just poor and you've realised it, look at how you can rework it to harvest the best parts and do a tough edit. I believe almost any show can be strengthened at least partly through: stronger narrative, better accessibility, tighter delivery from all of the cast, more energy and consistent effort, getting closer to the audiences in some cases, making better use of the venue, explaining the show better when flyering.

10. Be prepared to trash your current press release and rewrite a new one and send it out, even halfway through a Fringe Festival - even after the first few nights. It could be that you just got that press release badly wrong and need to "rebrand" quickly

11. Reframe in your own minds the purpose of the show at this Fringe. Cut the ticket prices and invite audiences to it as a "scratch" show and build in an openness to feedback. Have humility and use the opportunity to make the show better by the end of the run. You might even be able to relaunch during the Fringe!

12. Finally, see as many shows as you can that are achieving good reviews, especially where they are in similar territory to yours. Do not plagiarise but be open to learning from them and being open to the realisation that your take was wrong from the start and that there are new aspects you can incorporate.