Jasper noticed that at least one other theatre writer in the area is engaging in a conversation Jane Turner Peterson started in the spring issue of Jasper Magazine about community and regional theatres and the problems of competition in booking shows. So we thought it might be helpful to reprint Jane’s original article from the magazine.
Jane is the theatre editor for Jasper Magazine, a member of the Jasper Project board of directors, and she just finished up serving as leader of the 2026 Play Right Project which midwifed D.K. Turner’s wonderful play, The Counting Table, onto the literary landscape.
How many local theatres can you name here in the Midlands? More importantly—how many have you actually visited or been involved with? Do you find yourself loyal to just one theatre, or do you venture out to Lexington, Chapin, or even Newberry to see or participate in or see work on other stages?
Right here in the Columbia area, we’re home to an impressive lineup: Town Theatre, Workshop Theatre, Trustus Theatre (with both its Mainstage and Side Door spaces), Chapin Theatre, Village Square Theatre, Soda City Theatre, Broad River Arts Center (BRAC), and The South Carolina Shakespeare Theatre, which performs on multiple outdoor stages. Add to that the University of South Carolina’s three venues—Longstreet Theatre, Drayton Hall, and the Benson Theatre black box—and you have a remarkable number of creative spaces for a community our size.
That doesn’t even include the region’s thriving youth programs, such as Columbia Children’s Theatre and Broadway Bound, or the classes and performance opportunities offered by nearly every community theatre. Harbison Theatre at Midlands Technical College also hosts a wide range of professional productions while providing space for local companies with larger-scale needs.
And with these spaces comes something even more valuable: people. The Midlands boasts a deep well of talented actors, directors, musicians, designers, and volunteers who care deeply about the work. It’s a vibrant, passionate theatre community—and we’re lucky to have it.
But that talent pool, as strong as it is, isn’t endless. And lately, there’s been a growing concern that we may be stretching it thin—not because of a lack of passion, but because of how we’re operating within our own ecosystem.
“Because at its core, theatre is about connection.”
In recent seasons, there’s been a noticeable trend: multiple theatres producing the same—or very similar—shows within a short window of time. It’s easy to understand why. Everyone wants to bring in audiences. Everyone wants a successful run. Familiar titles and newer, buzzworthy shows feel like a safer bet when the goal is getting “butts in the seats.”
But it raises an important question: are we truly serving our audiences—and ourselves—when we program this way? Are we building something sustainable, or are we unintentionally competing for the same limited resources?
Curious about whether this was unique to Columbia, I turned to a national Facebook group, Community Theatre Resource Group, and posed the question. The response was immediate and overwhelming. Dozens of theatre-makers from across the country chimed in, and the consensus was clear: this isn’t just a Midlands issue. It’s happening everywhere.
Stories poured in of overlapping productions—sometimes in the same city, sometimes within just a few miles. Popular titles like Kinky Boots, The Play That Goes Wrong, Frozen, and Come From Away appear multiple times in the same season, often drawing from the same pool of actors and audiences.
Many pointed to a shift in how production rights are managed. In years past, licensing companies maintained tighter control, limiting how close in proximity or timing the same show could be produced. Today, with fewer companies controlling more titles, those restrictions have loosened significantly. The result? A kind of theatrical free-for-all.
To be clear, no one is doing anything “wrong.” The desire to produce exciting, recognizable work is natural—and necessary. But without communication, we may be unintentionally undercutting one another.
And yet, within those same national conversations, there were glimpses of a different approach. Some communities have found ways to collaborate rather than compete—sharing calendars, coordinating seasons, even creating joint awards programs that celebrate the entire theatre ecosystem. In those places, success isn’t measured by one theatre’s box office, but by the health of the community as a whole.
That’s the model worth striving for.
Because at its core, theatre is about connection. It turns first-time attendees into lifelong supporters. It builds relationships. It creates community. An audience member today might be a volunteer tomorrow, a donor next season, or even a performer down the line, especially in a community theatre setting. Every production is an opportunity to grow that circle.
“The goal isn’t uniformity—it’s balance.”
When we think of ourselves as competitors, we risk shrinking that opportunity. But when we think of ourselves as collaborators—as part of a shared mission to keep theatre alive and thriving in the Midlands—we expand it.
Actors already understand this. They move fluidly between companies, following roles that excite them and working with artists who inspire them. Loyalty isn’t tied to a single stage—it’s tied to the work itself. And from an audience perspective, there’s something refreshing about seeing new faces in new spaces, discovering different interpretations, and experiencing the breadth of talent our community has to offer.
Still, there are practical realities to consider. Casting is challenging, especially when multiple productions are drawing from the same pool at the same time. Directors know how difficult it can be to find a full cast of “triple threats”—performers who can sing, dance, and act at a high level. When several theatres are producing similar shows simultaneously, that challenge only intensifies.
Audiences, too, are affected. With overlapping productions, they’re forced to choose—sometimes missing out on shows they might otherwise have attended. And as actors move between theatres, their friends and families follow, creating a ripple effect that spreads audiences across venues. While that can introduce people to new theatres, it can also dilute attendance when too many similar offerings compete at once.
“… when one theatre succeeds, it doesn’t take away from the others—it adds to the cultural fabric of the entire region.”
So what’s the solution?
It doesn’t require a major overhaul—just a shift in mindset. Communication is a powerful first step. Imagine if theatre leaders, board members, and directors gathered once a year—virtually or in person, to share season plans, compare calendars, and look for opportunities to complement rather than compete.
From there, collaboration could grow naturally. Costumes, props, and even set pieces could be shared or rented between companies. Knowledge and resources could flow more freely. And programming could become more intentional, offering audiences a wider variety of experiences across the region.
The goal isn’t uniformity—it’s balance.
The Midlands has everything it needs to be an extraordinary theatre community. The talent is here. The passion is here. The audiences are here. What’s left is the willingness to work together in a way that strengthens the whole.
Because when one theatre succeeds, it doesn’t take away from the others—it adds to the cultural fabric of the entire region.
And that’s something worth building, together.