The commercial theatre in America has always been a speculative business. In some periods it has just managed to provide a living for people who work in it. At other times, the commercial theatre has made substantial profits, most of which have been distributed to people other than theatre artists. Commercial theatre continues to exist without the benefit of subsidy. The most positive force working in favor of the commercial theatre is the autonomy it provides both producers and artists. Commercial theatre continues to function as an influential marketplace, in terms of both audience and talent.
Winners Circle Productions is a consortium of investors who have made it their business to sponsor and promote Edward Clinton's Winners! in a unique and groundbreaking fashion. By starting its commercial Pre-Broadway tour in non-traditional venues, the producers intend to achieve three very distinct goals. Firstly, we would like to cordially invite regular theatre goers to experience a different environment in which to have a theatrical experience. Secondly, to treat the gaming patron to a type of entertainment that is slightly different from what they've normally come to expect when visiting the casino. And lastly, the producers feel that by providing an entertainment that has as its back-drop a well known icon of the world's popular culture, a beauty pageant, that Winners! will reach across age barriers, theatrical barriers and gender barriers to produce a theatrical entertainment that everyone can have fun at and enjoy.
The comedy Winners! has had a number of workshop productions. Workshop productions are creatures of the non-profit regional theatre system set up to assist American playwrights. Non-profit regional theatres are given grant money to do workshop productions of plays chosen by the artistic directors of the various regional theatres. The scripts chosen are those considered to show great talent and promise. The workshop production offers the playwright an opportunity to see the show up on its feet with an audience and to make changes to the show accordingly.
This is the same process used by the world famous Eugene O'Neill Playwright's Conference in Waterford , Connecticut , where our playwright, Edward Clinton is an alumnus. Each workshop experience allows the playwright to see and learn how the actors move on the stage and together with the words scripted that make the characters come to life. While the workshop process is the beginning of the life of a play, it is the out of town tryout performances that make all the difference. The life giving energy received from audiences sets the show on the right track as it winds its way toward the Big Apple.
Edward Clinton's Winners! has been through several major workshops at prestigious theatres. First, at Theatre-by-the-Sea in Portsmouth, New Hampshire; then later at Chicago's Wisdom Bridge Theatre, where it was moderated by Robert Falls, veteran Broadway director and Resident Theatre Artistic Director of Chicago's Goodman Theatre. At the Chelsea Theatre in New York City , Winners! was directed by David Petrarca (Frog and Toad ), moderated by Broadway director Gene Saks, famous for directing many of Neil Simon's comedies in their premiere Broadway productions. Subsequently, Winners! was workshopped in a full blown production, with sets, lights and costumes at the Donald L. Oat theatre in Norwich, Connecticut. It was through these various processes, as well as the insight and very beneficial assistance from some of the finest talent in American theatre that Winners! was honed into the script it is today. |
