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Another one bites the dust. Three actually, since the Elephant Stages comprise the black box Elephant Studio, intimate Elephant Space and the extraordinary Lillian Theatre with its massive stage, exposed brick walls, comfortable 99 seats and CLEAN restrooms!  

On September 1, the Stages went black: the latest casualty in a disturbing trend. The good rental houses are becoming increasingly more difficult to find and even more expensive to rent.  

Consider that the Hudson Theatre complex, another prime piece of real estate, posts rental rates of $625 – 825 per performance for its well-maintained 99-seat spaces. That could mean $17,000 just on the theatre rental for a six-week run. 

So the solution for some determined theatre artists is to think small. Four days ago, I posed a question to 200+ So Cal Guild member friends on Facebook asking if they’d self-produced this season. I received one response. 

David Rambo wanted to remount his career-igniting play, God’s Man in Texas, which premiered at the 1999 Humana Fest and has played at regional theatres around the country.  

“All three actors have talked about doing this play together for three years. We’ve planned different productions, and then someone would get a big gig,” he said. “This time, everyone was available, including me to direct.” 

Rambo was on the board of The Blank Theatre in Hollywood, so he outlined a three-week run when he knew the cozy 49-seat black box would be vacant. 

“I budgeted $15 grand, and it ended up costing $17,000. I spent a little extra on the set and had some unanticipated production expenses like production photography.” 

Under the new Actors Equity Transitional 99-Seat Code, he discovered another unforeseen expense. “I wanted to work with Equity, because I had two Equity cast members, and Equity was my first union when I moved to Los Angeles. I didn’t want to break the rules. 

“But now I was required to pay workers comp in addition to event liability insurance. The policy ended up costing $1,300 for twelve performances. I admire Equity goals, but I just don’t think they’re compatible with small theatre.” 

Rambo said his box office will return roughly 25% of his investment.  

“Small theatre is not a money-making enterprise. That’s not why we do it. This is not a LORT A theatre. The air conditioning isn’t quite what you need when it’s 100° outside, and sometimes the lights flicker. But that’s okay. It’s about getting to that moment of magic and having a wonderful experience.” 

Down the street, another theatre artist – Celebration Theatre’s co-artistic director Michael Sheppard – is also adjusting to small quarters: the 47-seat Lex Theatre. Celebration lost the lease on its 65-seat theatre two years, and it’s now a pot dispensary.  

“Our former space was known to everyone for 21 years. We knew all of its quirks, it’s peccadilloes,” Sheppard said. “This current space is completely new to us. It’s challenging, but exciting. 

“We are presenting all LA premieres in our upcoming season: one show is well known (The Boy From Oz), and most people haven’t heard of the other two. So it’s kind of like doing world premiere,” he laughed.  

“The decline in world premieres is very prevalent in Los Angeles. It’s hard to produce a show that hasn’t been proven. It’s even harder now with the current rules and restrictions placed upon 99-seat theatres here.”

When asked to describe his outlook for LA theatre, Sheppard said “I’m cautiously optimistic. The next couple of years will be a bloodbath. Work is going to decrease. People are going to be angry and frustrated, and there will be more division within our theatre community. Wait, did I say cautiously optimistic? I guess I just meant cautious.” 

ldharris@dramatistsguild.com