Where's the audience for the Barrymore Awards?

You may think the presentation of trophies is the sole reason for having such awards. Get real! If that’s all you want to do, it could be accomplished at a private dinner. The other — and equally important — goal is to publicize the work of Philadelphia’s theatrical community to potential patrons, so the participants should put on an appealing show, and they did.

This year’s ceremony was a brisk, smooth-running affair directed by actor Steve Pacek. It had a better flow than in earlier years, with no long speeches. Some of the best talent in this thriving theater town wrote and staged an elaborate opening number, as well as clever bits throughout the evening. Musical excerpts from nominated shows were presented with members of their original casts.

It was a pleasure to hear again one song each from Into the Woods, Field Hockey Hot, Herringbone, and Ragtime. Presented without scenery, the numbers had much less impact than they originally did at Theatre Horizon, 11th Hour Theatre, Flashpoint Theatre, and Bristol Riverside Theatre, but they were nostalgic reminders.

Creativity enlivened the prerecorded biographies of companies nominated for the June and Steve Wolfson Award for an Evolving Theatre Company, and in the introductions of nominees for the F. Otto Haas Emerging Artist of the Year. Even for those not winning the awards, these were attractive calling cards.

Good show, no audience

Yet the show lacked the broad appeal that would make theatergoers want to attend.

There’s a rush by fans to buy tickets to the Tonys in New York, and mobs gather to line the red carpet at Radio City. Why doesn’t this Philadelphia theater event attract similar attention? Why don’t people who buy seats to plays and musicals throughout the rest of the year come to this event?

In the past, efforts were made to glamorize the Barrymores. Showbiz celebrities came down from New York to present awards, and for several years the ceremonies were hosted by Tony Braithwaite, who emceed with all the aplomb of Johnny Carson. But those approaches were abandoned. The target shifted.

As the Philadelphia theater community matured, it seemed appropriate to focus on local talent and forego parallels to New York City. Concurrently, students at Philly schools developed an enthusiastic desire to cheer on people they knew and worked with — and the number of alumni increases each year, of course. The Barrymores became the once-a-year party for them to dress up and celebrate their camaraderie.

Squealing their approval

Their ardor is inspiring; the high level of enthusiasm is uplifting. I get a kick when I hear the kids squeal their approval, especially when their objects are actors or directors whom I know. Unfortunately, the raucous crowd reactions turn off audience members who are less personally involved. People sitting on either side of me sat on their hands and looked uncomfortable when shrieks erupted from fans sitting behind us.

Presenters on stage repeatedly asked the audience to withhold applause when the names of individual nominees were read, and their admonishments were ignored. Many names could not be heard because fans were screaming approval of the previous name.

What’s the solution? We shouldn’t dampen the enthusiasm of young attendees, and yet I wish the Barrymores could reach out to attract a more diverse cross section of the many people who patronize Philadelphia theater.

In addition, the ceremonies should be exposed to a wider public on TV. I don’t understand why no local station does that as a public service.