When I was in grad school, I brought the guest director from England to see a Moliere piece made by Theatre de la Jeune Lune, on tour from Minneapolis. I’d seen Jeune Lune’s work in their home when I was on tour and fell in love with their production of The Kitchen. If you saw this production you’ll know why. (Plates!) So I knew this visiting director would find something of interest in their Moliere piece. She was very impressed and we talked about that production a lot, even later that year, when I came to assist her on a production in London.

Not long after that, Jeune Lune, after thirty years of innovative work, had to close. Word on the street was that financial troubles had sunk them and they had to disband. Every time I saw this director I’d brought to the show after that, she’d ask me, “Darling, how could this happen? How could they let this wonderful company die? What is wrong in your country that they don’t know they need to take care of extraordinary artists like that?” She was greatly troubled by the loss. I was too – though a lot less surprised, as I’ve come to expect a terrible survival-of-the-financially-fittest in the arts in this country. It’s not the best art that survives – just the stuff that generates the most financially stable footprint.

To keep reading Here Comes the Wave, visit the Songs for the Struggling Artist blog.

This is Episode 262
Song: Tori Amos' Amber Waves

Image of Kneehigh Theatre's production of Brief Encounter, a show that featured quite a lot of waves. 

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Emily Rainbow Davis