The Playwrights’ Center of San The Playwrights’ Center of San FranciscoFranciscoAnnual Survey 2007 Results Analysis

Prepared by:Laylah Muran de AsseretoLittle Moon ConsultingJuly 2007

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Member responses also include board members, one of which had false or “test” answers, but could not be identified in order to exclude.

78% 15% 7%

46% (36) of Assumed total membership (78) responded to the survey.78% of Respondents were current members.

Leng

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hip

Leng

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The majority of current and former members are 1 to 5 years. 9 have more than 5 years membership. Of the 7 former members, two didn’t state length of membership the other three were under 5 years. Most had left within the last two years.

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14% (5) of current members have had a break in membership.

15% (7) of respondents were lapsed members.

Reasons Cited for Breaks In Membership:

Reasons Sited for Lapsed Membership:

3 Became Dissatisfied with PCSF1 Had other commitments that precluded PCSF participation*1 Could not afford to renew1 Is taking a break from playwriting 1 Lived out of reasonable commuting range to participate

*This member indicated a plan to return to PCSF after his/her class schedule freed up.

1 Became Dissatisfied with PCSF then decided to give us another chance1 Had personal reasons (unstated)1 Took a break from craft1 Missed a renewal1 Cited move from Fort Mason made PCSF inconvenient

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Region: All Respondents

Only a small majority of members who responded live in San Francisco.•19 within San Francisco and •16 out of San Francisco.

Age

Ran

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ange

<302% 30-39

11%

40-4933%

50-5935%

60-6911%

70+9%

Gen

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Dis

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• 20 (all current members) indicated no other discipline outside of writing*• Only one current member listed Actor as the only discipline.• All who indicated Screenwriter also indicated Playwright, (7 current

members)

*Several indicated Friend of the Arts, this was not counted as a discipline.

How

did

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y he

ar a

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us?

How

did

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y he

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us?

Rea

sons

for

Join

ing

Rea

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for

Join

ing

• 20 of 28 Indicated both Networking with Peers and Work Read by Actors.• 2 who indicated “Other” stated they joined primarily for a contest and these

indicated no other primary reason.• 1 who indicated “Other” stated they also joined to work on dialogue or novels.• 1 who indicated “Other” joined for a Board Position• 1 who indicated “Other” stated work to be read period (it was before there

were actors)

Part

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Shows members & former members who participated in these programs.

Shows frequency of participation – all respondents.

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Former member participation frequency.

Shows frequency of participation – Current Members.

* Two of the “Never” respondents live outside CA or US and cannot participate.

Also, 9 of 36 participated in speaker panels, 6 in PCSF led workshops, 8 in DramaRama, and 2 in Stages(1988) – none of which have occurred in the last two years.

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Current Members who have had a Living Room Reading of their work.

• The 3 N/A responses are either non-playwright or playwrights who did not have work ready for Living Room Reading.

• 5 Members declined to answer.

• Of those respondents who identified themselves, there is some cursory evidence that Living Room Readings show an impact on SR/DR selection.

Part

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Overall Participation Activity – Members & Former Members

• More members are Active to some degree than members who are not. However the number of members who could be said to be passive is very high.

• 2 of the passive members live out of state or out of the US.• Of the Former Members 3 of 7 were passive, 3 were moderately active,

and one declined to state. None were Active.

* Passive was given to members who generally had no participation in program events or indicated sometimes to only a few.

Moderately Active was given to members who indicated sometimes to most events and most of the time or all the time to a few others.

Active was given to members who indicated most of the time and/or all the time to most events.

Part

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• Active Membership only shows up in those who have been members for more than 1 year and less than 5 years.

• Passive and Moderately Active Members are on par in less than a year and more than 10 years.

• The ratio of Passive membership in the 1 to 5 year time-span is much less.

For these purposes, participation does not take into account submissions, utilization of other non-active benefits, or donation/support.

Bene

fit U

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nefit

Util

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Total Respondents includes Current and Former Members. • 1 Former Member declined to state.• 6 Current Members declined to state.

Subm

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Subm

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36 Total Respondents includes Current and Former Members. • 1 Former Member declined to state.• 6 Current Members declined to state.

Former Members Represent:

There is no apparent correlation between satisfaction, stated reason for leaving, and selection / submission. Though 1 former member did indicate in comments he left because PCSF would only produce “standard” / traditionally structured work.

Perc

eive

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alue

Perc

eive

d V

alue

The number of unanswered varies by question and would have varying degrees of impact to the outcome depending on the answer.

Perc

eive

d V

alue

Perc

eive

d V

alue

• Staged Readings and the Weekly Newsletter have nearly unanimous ranking as Very Valuable.• PCSF Merchandise had a clear majority of those who responded as Not Valuable.• The number of people who have never seen the PCSF Roadmap is an indicator of how many people

didn’t answer.• Similar with the Question guide and Format Template/Guide.• No conclusion can be made from the Education Discounts.• Clear majorities found Developmental Readings and Scene Nights valuable.

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• 11 Members have also Acted for PCSF• 10 Members have also Directed for PCSF• 9 Members have Volunteered for PCSF

Very low willingness to volunteer. One member’s comment about volunteering for front of house was that it seemed like it was always the same people and he got burnt out.

Mem

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Members indicated a willingness to share their expertise as Speaker or In general:

•Fundraising•An Actor’s Perspective•Self-Producing, Casting•Lead workshops at The Playwrights Showcase of the Western Region•Collaboration / Submitting your work•Directing, occasional staged reading direction•Creative writing teacher at a College, produced playwright•Last Frontier Theatre Conference•Working with your first director

Inte

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Inte

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Largely inconclusive as opinions seem to be all over the board. Though some have some clear support. Blue indicates strong interest. Purple indicates no response was given. This is a significant percentage making much of the other response difficult to decipher.

A closer analysis of the correlation between disciplines and current membership needs to be done to better understand these results.

Subj

ects

for

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Subj

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Membership expressed an interest in the following topics for speaker/forums or further education/development opportunities:

• What exactly is that Actor DOING with my work?

• Submissions, • Grants, • Artists' Retreats/Colonies• Playwright process• Character development versus

situation/plot driven stories; • Discussion on the challenges of

fictionalizing real life characters or events;

• How to put your work out in the world/business side of writing

• How best to get a script produced once it has been read, “corrected” , and is now ready to be staged.

• A panel on the world of literary managers and directors...how they choose plays and what they are looking for.

• Professional etiquette: working with a director and/or dramaturge.

• A Comparison between two Playwrights;

• What exactly is that Actor DOING with my work?

• Submissions, • Grants, • Artists' Retreats/Colonies• Playwright process• Character development versus

situation/plot driven stories; • Discussion on the challenges of

fictionalizing real life characters or events;

• How to put your work out in the world/business side of writing

• How best to get a script produced once it has been read, “corrected” , and is now ready to be staged.

• A panel on the world of literary managers and directors...how they choose plays and what they are looking for.

• Professional etiquette: working with a director and/or dramaturge.

Ove

rall

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Ove

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Com

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• Location of meetings (not immediately near any public transit stops) in a high-crime area makes it risky for a single older woman to walk alone at night, but I guess that's the most affordable space available.

• This is a great organization You provide a great service Thank you

• I live in the south bay. It is VERY hard to get to SF on Tuesday nights. I would be SO grateful and so present at weekend events--if only scene nights could sometimes be on weekends. It would be wonderful. I know there are problems finding actors, but this is a really serious limit to my participation even though I am very committed to PCSF and to my growth as a playwright. If not scene nights, then maybe more weekend events of other kinds. I would like to be more involved, but the drive just isn't feasible very often. I would be willing to work on dramaturgy long distance if that were possible as well.

• Get a new venue. That place on Mission St is disgusting. Would New Conservatory let us use their space?

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ack • I have only recently resumed membership after a long hiatus, so I

regret if some my responses seem unresponsive. I have not yet assumed a very "active" membership role & I have some difficulties attending Tuesday nights in SF in any case, which may limit my activities.

• I haven't had another production, but my Sheherezade play is tentatively scheduled for production in August by PTR On Stage at the Phoenix Theatre. I got burned out on house manager because I noticed it was the same few of us always doing it. There needs to be more participation so we each do it less often.

• I've noticed that the questions for feedback for developmental/staged readings rarely differ from production to production. Yet, most of the audience feedback and excitement are related to other areas. Why not have the playwright's submit their own questions?

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ack • My problem with the staged reading judging process while I was

involved with it is that it seemed to exclude anything that did not fit the standard Greek inspired well made play model. I have written plays with a standard dramatic template and enjoyed doing so, but I no longer want to do that. So I thought it best to find a different group to work with.

• I'm very proud to be a member of PCSF and I am very impressed with how it has been run since I joined three years ago. I very much appreciate all of your hard work and I would be happy to help out in any way.

• PCSF is a connection to theatre for me, however little I may be writing these days

• The PCSF probably has a number of playwrights with a prolific streak. If a playwright have a number of works he/she wants read, and if the upcoming season is short of plays, and if the playwright is willing to assume the entire cost of the cast & director, and if the extra work(s) is/are good enough, why not go ahead and let it be?

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Com

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ack • If I lived closer I'd be much more interested.

• My initial artistic exposure to PCSF began @ Fort Mason many moons ago...I participated in several theatrical undertakings there. It was one of my very first acting opportunities in San Francisco. You have all progressed light years from "The Days On The Bay"! Kudos & Congratulations as your creative path unfolds...PEACE...