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Dear John

Should I alter my performance to suit venue size?

First published 13th December 2007

Question:
I'm about to go on tour, working in a variety of different sized venues. What is the difference performance wise between playing big venues and small ones?

Answer:
There are some very interesting aspects to this question, although it may seem on the surface a simple one. In general, beginners tend to aspire to playing bigger venues as their career progresses, while at the same time finding the thought of putting their act across in a really big venue a little scary. What they may not realise is that quite a few of the nerves I am called upon to help steady in my private career advice work belong to performers who regularly play in bigger spaces, but who may be finding smaller private parties and showcases - especially ones where they can see the audience up close - a lot more daunting. On the other hand, one of the challenges of career development from a purely economic point of view is to assess whether a performer who is achieving success in more intimate forums can actually adapt what they do effectively to a larger stage or, if not, whether career expansion is more usefully done in other media. Here are two performers who have made an equally strong impact on both ends of the scale to share some insights.

Peter Corry

Originally from Northern Ireland, Peter has travelled the globe with his unique interpretations of selections from musicals, opera, rock, jazz and, of course, the haunting melodies of his native isle. Peter made the role of Javert his own with three successful years in Les Miserables, before playing to 15,000 people in the concert version at Belfast's Odyssey Arena. He presented his own TV series for BBC Northern Ireland, singing alongside a host of inter-national personalities, and combines touring with his BBC Radio show, as well as masterclasses for performers.

"I think the first useful point, which doesn't just relate to venue size, is you need to make a decision to enjoy and rise to the challenge of every show you do on it's own merits, because every show is different. And that includes two shows in the same venue, never mind different ones.

"One of my goals as a performer - especially with the range of material I sing - is to try to communicate as intimately as possible with each audience member, whether they are up close or sitting in the back of a venue such as Dublin's RDS International Exhibition and Convention Centre, far away from the front of the stage. My performance experience comes into play when planning how to communicate that intimacy within the parameters of the particular show.

"Another point I would make, and again this applies to big and small shows alike, is even a solo show is never just about you the performer. You need to understand the effect that light and sound and other elements have on the end result, and be able to communicate clearly (and politely) what you require from each of those elements to the people responsible for providing them.

"In my masterclasses I stress two key elements, confidence and communication. Confidence comes from knowing what you are aiming to achieve and knowing you have put the work in necessary to achieve it. Once you can project that confidence, it is far easier to communicate clearly and effectively, no matter how big or small a show you are putting on.''

Rowetta

Rowetta became a household name when she shot to fame as the last female finalist in the first series of The X Factor. Prior to the show, Rowetta was a backing vocalist on Simply Red's album Stars and worked extensively as a singer with Manchester band the Happy Mondays. On Saturday, December 22, 2007 she appears with former Boyzone singer Stephen Gately and West End stars Marti Webb and Maria Friedman in Christmas on Broadway at the IndigO2 venue at the O2 Arena in Greenwich.

"I agree with Peter that each type of show is different. I really enjoyed the large-scale shows I was involved in as part of The X Factor Live or doing stadiums with the Happy Mondays. It's very exciting to feel the energy coming from so many people all at once and to use that to lift your own performance. I also enjoy the smaller, more intimate gigs though - maybe because interaction with people has always been a big thing for me. I've always tried to be real whether I'm on stage or off - which I think is a necessity when you're up close to the audience and can't hide behind the spotlight so much.

"In the same way that Peter talks about being aware of the different effects lighting and sound can have on your performance, I would say the material you choose is very important, both in terms of the kind of gig you are doing, but also simply in having a sense of what suits your own performance style. I love doing theatrical work and am hoping to get a lot more of it, but I still try to make decisions based on what I know will work rather than taking anything I'm offered. For instance, in Christmas on Broadway, one of my songs is As Long as He Needs Me, from Oliver, which really works well with my voice and personality. It's also a song I can put a lot of emotion into, and emotion is something that always connects with audiences, large and small.'''

John sums up

The question of how to handle differing sized venues often has its solution not so much in concentrating on the venue, as concentrating first on your own strengths and weaknesses. The aim is to maximise those strengths and support and work around the challenges in the context of that particular venue. It is a good plan to deliberately go to shows at different types of theatres, sit yourself in one of the cheap or less than perfect seats and work out what you would do to entertain the punter sitting there if you were on stage. And, of course, it is always a good idea to invest in seeing performers like Peter and Rowetta bring the benefit of their experience to doing that very thing, should they be playing somewhere near you anytime soon. Of course, no matter what size the venue in these two cases, you need to be booking fast while there are seats of any kind still available.

* For information on Peter Corry, visit www.petercorry.com and www.personalityartistes.com.

* Rowetta's site is at www.rowetta.com

* Tickets for Christmas on Broadway at indigO2 in Greenwich are available on 0844 844 00022

* Feedback/queries are welcome to dearjohn@thestage.co.uk
Please note that letters will be assumed to be for publication unless otherwise indicated. Name and address must be supplied but can be witheld on request.

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