By Sara Blanche Hayes
It’s been almost three months since Wildsong took over the OB Playhouse space. Artistic Director Brooke Aliceon looks like she hasn’t slept since the last time The OB Rag caught up with her.
“If anything, owning the space has only pushed us to work even harder and create even bigger and better shows.”
The improvements to the old playhouse are immediately apparent. The front entrance boasts a professional coat of black paint with mood lighting. The concessions are served on movie theater racks, with a new silver fridge that lights up when you knock on the glass.
“That feature was particularly exciting,” said Aliceon, grinning.
Inside the theater space, the shows themselves haven’t changed much. They’ve only gone up in quality, with Aliceon’s visions sharpening to a fine point through killer vocals. They also still retain the DIY aesthetics that make their shows so unique. The intimate setting and performer polish create an experience that is difficult to describe. Brooklyn Basement Punk Show meets Big Budget Broadway? Whatever the case, this team of volunteers brings a little bit of magic to the OB audience, and this magic has people coming back again and again.
After their success with Sweeny Todd, Wildsong is currently putting on a production of Footloose, the hit musical based on the 80s classic.
“It’s a nice change of pace,” Kannon Gowen, Wildsong’s technical director, shared with me. “A little bit of happiness after Rent and Sweeney Todd.”
The show itself reminds me of a classic sit-com. It features a quirky cast, lovable protagonists, a funny plot, and a few touching moments that will absolutely illicit a tear or two. Audiences can’t seem to help but dance along to their favorite numbers or cheer wildly at the end of Holding Out for a Hero.
As fun as Footloose has been for the duo, the reality of owning the space and what it takes to keep making incredible art has only gotten more and more wrapped up in dollar signs.
“We can finally apply for grants, but we still rely exclusively on community support. If we don’t come close to selling out each night, we don’t break even.” Said Aliceon.
Footloose hasn’t quite hit that mark for opening weekend. In a world where licensing companies and landlords weren’t squeezing every penny they could out of theater makers, having a half-house show wouldn’t be quite the death sentence. But Gowen is convinced that theatergoers don’t often understand what goes into a show like this.
“It’s clear that people care about art. I just think the reality of what it takes to make it surprises folks. Rent, costumes, rights, props, sets. A six-week run of a relatively well-known show will cost us $35,000. Maybe more.”
Maybe more. It’s an incredible achievement to even make ends meet.
But making ends meet is the bare minimum. During my time at Wildsong, I’ve never known the bare minimum to be enough for them.
Footloose is a great example of that. Director Rachel Mink was able to thread an important needle: maintain the levity without sacrificing the important themes. The character of Ren is fundamentally different when played by a black man. The comments about Ren’s suspicious nature, accusations of him stealing, getting pulled over by the police—these moments become scary when you’re watching.
Rather than shy away from these implications, the creative team at Wildsong has embraced them. Ren is witty, steadfast in his beliefs, and unwilling to capitulate to an unjust system. And, in true musical theater fashion, Wildsong has embraced a reality where things can change, a new future is possible, and Ren gets to win.
“It’s not realistic. But we have to make a show where we believe that the impossible can happen.”
Aliceon grabs Gowen’s hand. Sitting there, I can’t help but hope alongside them.
If you’d like to help Wildsong keep making theatrical work in OB, you can support them on their website by buying tickets or donating to them directly. www.wildsongproductions.com
