High costs, small rewards - Putting on a roots play is a big risk THE MAINSTREAM theatrical fraternity sometimes frowns upon roots theatre for it's almost farcical productions as well as its simple dramatic elements in comparison to the more elaborate ones of theatre. However, the members of the roots fraternity will tell you that to mount a quality production, overhead costs match those of mainstream theatre. "You can have as low as $100,000 to produce but it won't get you very far, and the production won't be good," explains Na-dine Hamilton, producer of the root's play Ghetto Justice. "How-ever, to mount a quality production, you have to have at least $500, 000." Ginger Knight, producer of the play Room for Rent agrees. "It costs a lot of money to produce plays. When you are putting on a production you have to think about overhead costs that can run anywhere from $300,000 up if you want a quality play," he said. Overhead costs include promotion, sets, venues and costumes, as well as rehearsal time. "Promotion can cost a lot of money. You are talking about radio ads, television, newspapers, as well as billboards and posters," former producer Paul Beale explained. "In addition to that, you have to pay the municipalities for putting signs at the various locations." Currently, venues can cost a tidy sum, and it depends on which theatre the play is being held at. Venues will run a producer from as low as $8,000 per night to a high of $20,000. Some of these venues, such as Centrestage, come with box office personnel, car park attendants etc. The producers say that at times, the money collected on performance nights goes towards venue payments. "To break even on venue costs you need at least 70 people per show because the theatre costs are high. Sometimes, you don't get 70 people so you are there mopping your brows wondering where you are going to get the money to take care of venue and pay actors," Mr. Knight said. To cover the high costs, producers admit they sometimes ask for sponsorship. However, they are not always lucky since sponsorship is difficult to come by, and hence they have to resort to more creative methods. "In theatre, you have what is called a benefit performance where we sell a night to different bodies at half price. Sometimes the benefit night will have a good turn out and so you will make a money. But sometimes we don't and you can lose $200,000 to $300,000 easily," said Mr. Knight. "Sometimes you ask non-traditional places such as pharmacies to sponsor you. Other times you ask a friend to sponsor you some furniture and ply board for the set. Sometimes the sponsorship is not money but kind such as drinks for the actors when the play or rehearsal ends," Mr. Hamilton explained. Costs double Like their mainstream counterparts, the roots theatre's production costs double when they hit the road. From actors to transportation, the costs are enough to drive a producer into bankruptcy. "You can't owe actors when you touch the road so whether or not you make money you have to pay them," explained Mr. Hamilton. "It is even more expensive if you decide to use a celebrity cast," she added. Knight says that he doesn't go to the country regularly unless a promoter at that end bears the cost of venue among other things. In terms of viability, both theatrical forms are in the realms of uncertainty since there is tremendous risk involved. "I don't know which theatre is more viable because it is very difficult to make money out of theatre in Jamaica today," said Lenford Salmon, a director at Jambiz, the production house that produces Oliver's Posse. "There is a market for roots play in Jamaica because there are people who like that form of theatre. But I couldn't say which is more viable because I don't produce roots plays," Salmon added. "The mainstream theatre can be more viable because they have more established actors. But, a roots play is viable because people love it. Some people won't go to a dance but they will watch a play," added Hamilton. Withr regards to viability, Beale explains that it was the risk that turned him off from the industry. "It's a tremendous cost. There are many stipulations that you have to pay for. If you notice not many plays are being held these days because it costs too much," he said.
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