h2g2 The Hitchhiker's Guide to the Galaxy: Earth Edition

First, I’d like to let you know that burnout is a dangerous bit of business, and it sounds as if you could really use a break. Do yourself a favor and force yourself to keep from obsessing about things like ‘duty’ or ‘responsibility’ for productions. Your health should come first. Only the professionals who need to make their living should be so dedicated, and even they need to keep a sharp eye on their health and emotional state.

I would like to address the question: ‘What’s it all about?’

Theatre has a legitimate and positive societal function that may never be replaceable through technology. The key component is the exchange of ideas, but with input that goes beyond the printed word, or the static, unchanging nature of film. .

It is always a reflection of society, and society needs to take regular look at itself to be alerted to problems and dangers, challenges and successes, trends and stabilities. It can take a microscopic point and bring it up to life-size where it can be exposed and examined, amplified and clarified, supported or ridiculed.

This is why governments have often tried to control the theatre. It can discuss a subject in a roundabout way, using euphemism, imagery, analogy, metaphor, and similes to bring into sharp focus the deep corners and crevices of politics, religion, and society. It is no wonder that many children’s stories are thinly disguised pokes at governments, royalty and politicians.

Each performance is a new experience. Each production a new chance to bring out something fresh and new for a writer’s work. Each choice of prop, lighting, costume, etc. allows a new finished effect for the audience’s edification or entertainment. Some are of necessity better than others, but each one becomes a unique version of the play’s vision.

Granted, some people obsess about whatever they are doing. They can make life hell for those who have a more relaxed attitude toward the thespian art and life. This can, however, lead to great performances. Others want to get the correct ‘feeling’ across and will sacrifice accuracy or detail as necessary to make ‘the point’. These, also, have their place.

I would advise leaving any production where family, friends and other responsibilities have to be entirely ignored. At the same time, I understand the need for a commitment from those who do join a production. It does create an obligation that makes the production possible.

No one can produce a play with players and stage persons just showing up whenever the opportunity presents itself. This is also a good part of the character building process, like playing team sports, or joining clubs with worthwhile goals. People learn whom they can trust and turn to by watching whether or not we keep our commitments.

A final thought (though by no means the only remaining one) on why we get involved is the result of the end product. The applause, adulation, and appreciation of a satisfied audience are something that make us feel more worthwhile and validated. People simply feel good when they have helped people, even if it is only to entertain them for a couple of hours and making them think of life a little differently.