The LuPone Paradox

I have long considered Patti LuPone to be a living legend. I was fortunate enough to see her iconic Broadway performances in Evita and Gypsy, as well as her performance in the original London production of Le Miz. Plus a gazillion film and television roles.I was not surprised when I heard about Ms. LuPone stopping a performance of Gypsy to demand the removal of a patron who was taking pictures; nor was I surprised to hear she snatched a cell phone from a woman repeatedly texting during Show For Days. The stories reminded me of the scene in the remake of A Star Is Born when Barbra stuck a microphone in Kris Kristofferson’s face because he was talking through her set. And I absolutely agree that cell phones should be turned off and tucked away during stages shows, concert performances, films and the like. Hell, I get cranky when someone checks their email in the movie theatre during previews.And yet something troubles me. Every entertainment industry has had to adapt to new technologies since Al Jolson killed vaudeville by singing in The Jazz Singer. Broadcast television has faced the invention of the video recorder, the explosion of cable television (including HBO) and the rise of over-the-top services such as Netflix and Amazon. In fact, not one of the 7 shows nominated for best drama this year are on broadcast networks, and only 2 of the 7 nominated for best comedy are broadcast network shows. The recorded music industry has been turned on its head by iTunes. The motion picture industry has been challenged both by 65 inch televisions and the availability of original films on cable channels.And then there is the theatre industry. Yes, we are dipping cautious toes into simulcasting and incorporating new technologies into stage productions. But the theatre industry has dug in its heels in the face of the proliferation of smart phones. We make the announcement at the beginning of the show that, for a few hours, everyone has to stop behaving the way they normally do. To a certain extent we have been successful in making people put their phones away, but how long will it be until technology outpaces our solutions? Are we going to start making people take off their smart watches?And therein lies what I call The Lupone Paradox: the theatre industry needs to control the use of technology in order to preserve artistic integrity, but runs the risk of alienating its audience by demonizing them for using technology.As I usually do when faced with an existential dilemma, I turn to Star Trek for guidance. At one of the Star Trek conventions I attended, I sat in on a presentation by Marina Sirtis (Counselor Troi in The Next Generation). At the beginning of her talk, Ms. Sirtis offered the audience a bargain. She would pose for pictures at the beginning of her talk if they would agree to hold back from taking pictures during the talk. And then she vamped stage left, stage right and center stage. As she said, the audience did not get as many pictures, but they got better pictures.What was the brilliant idea? Ms. Sirtis engaged with those using technology. Everyone got what they wanted.So, how can theatre engage with technology users? A few thoughts:1. Designate a portion of the theatre smart-phone friendly the way we designate approved zones for cigarette smokers.2. Include private “selfie with the stars” benefits in the price of premium seats or find another way to let people get the pictures they want for a price.3. Broadcast song lyrics and trivia to smart watches during performances.OK, so maybe you hate all of those ideas, but consider this: I can think of no industry that has remained successful by demanding that people change their behavior, or by refusing to adapt to changes resulting from new technologies. During my lifetime, I have seen:1. The movie studios sue Sony to stop the sale of home video recorders – the studios lost the case and the public relations war, and in the end had to adapt to the reality of home viewing;2. The Recording Industry Association of America made a point of suing people for unintentionally violating copyrights by downloading music – or for being the parent of a kid who downloaded music. Not only did it fail to stop the digital distribution of music, but it made it made the RIAA the money-grubbing enemy of progress in the court of public opinion;3. Broadcast networks lobbied for, and won, a law requiring cable networks to pay broadcasters for the right to re-transmit broadcast shows that were made available free of charge to the public. Battle won, war lost as high cable bills encourage a new generation of viewers to cut the cord altogether and gets most of its media online.I have a few simple core beliefs, and one of them is that change is inevitable and only those who adapt survive. I truly think those who seek to preserve the future of the theatre industry need to start adapting to the new technological reality.