The Darkhorse Theater recently announced it will be limiting all theater companies to two-weekend runs, beginning with the 2005-'06 season—yet another reminder of Nashville's lamentable shortage of adequate theatrical performing spaces.
Darkhorse management enacted the new policy because there are simply too many independent companies clamoring for a decent, affordable venue. Shorter runs mean fewer opportunities for audiences to attend worthy shows, not to mention a media time crunch that may prohibit in-depth coverage. If critics don't catch a show's first weekend, there is little reason to bother with the second, since reviews would likely be published at the tail end of a show's run, or after the show closes. (Typically, a show reaps the benefit of positive word-of-mouth and good reviews in its third weekend, but that won't be happening at the Darkhorse in the new era.)
The surface perception is that Nashville struggles simply to keep theatrical activity, awareness and attendance from diminishing. Yet in reality, there is an overload of performing groups, all trying to cram their fare into the Darkhorse, which—its cozy, functional character notwithstanding—is hardly state-of-the-art.
Nashvillians may never be as interested in local theater as they are in music or films, but there are talented, enthusiastic artists in this town who want to do their work and commit the time and money to make things happen. Yet you can't play well if you don't have a decent playground.
In Greek drama, the deus ex machina descends from on high to deliver the protagonists from their angst. Nashville theater needs such an angel. Even better would be a concerted group effort—surely some coalition of concerned citizens, city officials and private interests can join minds to resolve this dilemma, either through rehabbing an existing structure or building a brand-new, all-access community theater facility that could accommodate companies of all kinds, where the cost of space isn't prohibitive. Such a venue might have more than one small theater, as well as space for classes, meetings and rehearsals that could foster and reinforce the entire operation. It wouldn't have to be on the grand scale of a performing arts center or a symphony hall.
For the present, the Darkhorse remains a friendly, cherished place where theater is always welcome. But don't blink this fall, or you might miss the show.
—Martin Brady
