Every now and then it’s good to reflect upon the merits of Theatre. Theatre is an art form almost universal to mankind. Regardless of culture, there is some form of public demonstration that is ritualized and offered as insight or lesson to the audience. The methodology can vary. For some it’s shamanic oral tradition, for some it’s dance, and for Western culture (a rather broad stroke referring to the societies effected by Hellenism) the mode is drama. Other elements are employed, such as music and dance, but the underlying base is drama—human interaction superimposed upon a prescribed circumstance.

This is worthy of mention in that despite the formula seeming rather confining, the product can be far ranging and profound. But to achieve greatness, there are two elements that must be applied with considerable generosity—courage and commitment.

Courage is the willingness upon the part of the artist to dig deep into a subject and shed light that may be different and possibly uncomfortable for an audience to see. Courage is in the confidence that the point of view has sufficient merit to engage other artists to communicate the vision and that an audience will accept and be moved by that vision. And courage is the artist’s belief, even during the dark moments when inspiration seems to have flow away, that truth is about to be revealed.

Commitment is the asset that every artist must draw upon continuously. For courage to address an idea anew requires no more than whim, but to pursue it and flush it out and shape the idea until it is discernable requires an unflinching resolve to follow a path wherever it may take you. This commitment is employed even with the awareness that all too often some choices lead to dead ends.

There are other attributes, but these two are essential. But more than that, courage and commitment is shared by all that participate, from the writer, through the director, to the designers, to the actors, and finally, to us the audience.

Indeed, we too must bring more than just our presence to the theatre, for theatre is an interactive communication. The voices of the artists meet and confront the judgment of the audience. Is this interaction essential for good theatre? Absolutely.  Without the confrontation, the challenge as it were, to the audience’s sense of value, theatre becomes nothing more than entertainment. While there is a place for entertainment, entertainment in and of itself is merely a diversion, while theatre is and should be an engagement.

So how do we as an audience exercise our courage and commitment in this relationship? Let’s face it, at times it takes courage to walk into an unknown space. Theatre is almost a sacred place, where we need to know that we as an audience will be safe. The physical space in some small venues can be off-putting—will our seats be comfortable, will the actors get too close to us or interact with us when we just want to sit back and relax?

The courage to explore the unknown extends to visiting new theatres, testing out new companies, seeing if there’s more to the world than the one theatre company we already trust. On an emotional and spiritual level, walking into an unknown theatre to see an untested play can feel like walking into a battle. Yet we suspend our disbelief and begin the journey with the artists. Since it is the job of the artist to challenge us, to lead us on journeys we would not otherwise explore, sometimes we may end up feeling disoriented or even offended. It takes courage to remain open to what these artists want to say, to understand that it’s okay if a given play doesn’t speak to us, to acknowledge that what we detest may be exactly what a different audience member hoped to see. Being willing to step into the unknown and to respond openly even when we are uncomfortable in the process takes courage.

As to commitment, we have to start with the understanding that to have great theatre, the artist must take great chances. At times, the results are bad theatre. We as an audience must be willing to experience fully those moments too; we must be willing to commit our time to stay through to the end, whether we like a show or not. That’s part of the deal. This is not intended as a punishment, but we have to believe that maybe in the end we will get something we don’t expect—an glimpse into the company’s purpose, a moment when the play transcends its badness, or at least a good laugh. And when we do see the occasional clunker, we must redouble our efforts to find the good show the next time out.

Finally, we the audience must exercise our courage and commit to respond to a show we see. Good or bad we are given the opportunity at the end of a play to express our feelings. In days gone by, audiences were known to throw garbage if they were displeased; today that may be a bit much, but we can express ourselves through voice—through conversation—or through silence. When we are confused or alienated by a show, our sense of curiosity can lead to fascinating conversations with the artists and producer’s as well as help us decide whether to return to the company’s future shows.

Conversely, if we see a show we like, let us remember that what we give back to the show, in applause, in our willingness to sit through curtain call, speaks volumes to the cast. That is not meant to suggest a standing ovation for every show you see. In fact, remember that a standing ovation is for those shows that transcend to true excellence.

Let’s use our powers, our courage, to take part and be wholly involved in theatre. And let’s demonstrate our commitment by replying. Let the producers know what we feel. They will embrace you for your engagement, whether you like the show or not. Theatre is by, for and about community, and without your input, theatre is only half a community.