The standard complaints apply here, but there are some pretty good things to come out of this. The one thing I was most struck by was the number of people who basically declare that the system is broken. Just flat out. No one really thinks that it will last 25 years as it is. Which makes you wonder why it still lasts today.
The other thing that struck me is that no one is talking about saving it. No ideas for fixing the standard model. Either it's just ignored, or it's declared non-functional, or it's assumed that the theatre of the future will look nothing like it. At what point does it simply cease to exist? No one seems to know. But these folks are moving on.
Yes, I do like the playwrights' responses best. But even still, the ideas live in such a narrow band. More community involvement. No standard model. More interactivity (in terms of audience outreach). More like rock shows. All good and interesting, and, yep, they're short essays, but nothing that goes beyond that surface. Little reflection on what that means. Like I said below, there's little sense of all of that beyond ways of getting more (or different) butts in seats. Which is a noble goal and might be the place we need to start. But there's little about what kind of art they will be seeing in their club settings that they were texted to attend. Well, beside magnet theater.
What will plays, theatre pieces, dance pieces look like in 25 years? What did they look like 25 years ago? How different are they now? I don't think there's really that much difference, in terms of actual plays. And that might be the larger problem. It might even be an insolvable problem, really. As the old saying goes, there are only seven stories in the world. Well, some folks have even narrowed it down to two. And plays? How many kinds of plays are there really? I don't know. But that might be a good question to answer.