Mark Bucher may be succinctly described as the last of the great actor/producers in Milwaukee. He controls his own theater. He selects his casts. He selects the plays to be performed. He selects designers, lighting experts and, in short, he does everything or has a hand in everything connected with the productions in the Boulevard Theater.
If you've been to a production there, you've almost certainly seen and heard Mark. In addition to his work at the Boulevard, Bucher was a waiter at Mader's for a considerable time and won the Milwaukee waiter of the year award in that position.
Unlike far too many erstwhile actor/producers, Bucher has proceeded step by step and has been careful to make sure that his reach does not exceed his grasp.
He has given many neophyte actors their start. He has provided refreshing opportunities to do plays with less than ideal commercial possibilities for actors, directors, and designers. He is one of the few actor/producers to be loved and respected by the theater community as well as by the audiences who flock to the Boulevard Theatre and his long suffering wife.
OMC: When you started the Boulevard, did you expect it to survive 15 years?
Mark Bucher: Absolutely not. We started by staging three small-cast pieces --"Counting the Ways" by Edward Albee, "The Woolgather" by William Matrosimone" and "Virginia" by Edna O'Brien -- at the former St. Michael's Waiting Room and Cafe, a coffee/art house on the corner of Bremen and Clarke in the heart of Milwaukee's Riverwest.
Those shows ran only two weekends and the runs covered approximately six shows. At that time I couldn't have imagined running a company that runs a September-May season which stages over 110 performances a season and offering over 100 artists career networking and growth opportunities each season.
OMC: What did you have in mind when you started the Boulevard?
MB: I started the Boulevard because I wanted to act. Twenty years ago there were very few opportunities for new and emerging actors. The UWM training program had just begun, so previous opportunities for undergraduate students totally disappeared. There wasn't the abundance of smaller, second-tier theatre companies which now exist. Those companies came later (and) many of their key personnel began at or received community/media notice at the Boulevard.
Founding the Boulevard forced me to become acquainted with a wide variety of literary works and styles, which later enabled me to direct. And maintaining a space demands the talents of an administrator, publicist, dramaturg, etc. I do very little acting now.
OMC: How has theatre in Milwaukee changed in the past 15 years?
MB: A young actor of 20 or so purportedly has many more chances and choices now. Certainly, there is an abundance of second-tier companies that have started or evolved. Many of them, however, now use smaller casts due to economic pressures, equity or union-affiliated artists (which may foster a belief of success or recognition), or maintain a stable of talent on which they rely, which presents both advantages and disadvantages.
The short-cut answer: on the surface, it has changed greatly. In reality, the opportunity for an emerging actor to play a major role is an established classical or regarded modern author's work is slim. Boulevard's mission continues to dedicate itself to presenting a chance for an untrained, imperfect actor to grow and explore and possibly fail. But that is part of an artist's growth pattern.
OMC: Would you swap the Boulevard for the Rep's Powerhouse stage?
MB: No. I would like the opportunity to use a larger palette occasionally. I am available to be hired on the off chance they need someone in a pinch.
OMC: If money were no problem, how would you like to improve the Boulevard?
MB: Money is always a problem. More money can be allowed to produce larger -- though not necessarily greater -- expectations. More money is not the answer. It never has been. A living wage for actors, directors and administrators can be obtained from our media, our community, our business and social leaders and our foundations and arts boards when they all accept that the arts are not a commodity to be captured like some wild animal and put on display. When they respect the fact that artists work and train very hard (as hard as other professionals) and that they provide a necessary and valued service to our community -- then improvements can truly be made, and not just fancier lobbies or more expensive chardonnay to serve at intermission.
Respect for the arts, esteem for the their contributions and true belief in their necessity improve any theatre. Money does not buy respect, esteem or true belief. Case closed.
OMC: Tell us about the Alley Series.
MB: An alternative performance series which allows more controversial themes and styles to be explored, as well as revisiting neglected or forgotten literary works -- all performed at alternative performance times. These shows are performed on the same set as another show and are often linked by some thematic core or plot twist. It also allows me to hire artists with whom I am not familiar (or less familiar) and employ them first-time or them in a manner which is new or unproven.
A revisiting of Robert Anderson's "I Never Sang for My Father" this past January is an excellent example. Mature artists were brought in and given a chance to display their prowess and talents, as well as other actors being given solid, meaty roles when formerly they may have been cast in musical comedy genres. It was a tremendous success.
OMC: Do you have a favorite play and/or author?
MB: I enjoy a tightly-written piece that is not ashamed to be intelligent, that dares to use big words when smaller ones could be employed. But that doesn't think it is better for it and is exclusive. Albee, Mamet, Shakespeare, especially Moliere, my hero, and some undiscovered gems which I daren't mention here.
OMC: Have begun planning for next season?
MB: An artistic director is always planning. Viewing, reading, seeing new or other artists' works or plays or acting, thinking, thinking, thinking never ends. Being sensitive to former successes, economic trends, the force that larger companies can wield is a 24-hour a day job. Boulevard will restructure its season next by eliminating a major Mainstage run (5 weeks) and extending the run of our Alley productions. This will foster the ability to recreate and stimulate our exceptionally loyal and lovely subscribers and supporters into consistently viewing us afresh.
OMC: How have you found your actors and directors?
MB: They find us. I believe that God presents us with the right cards and right people and right times at all times. But we must hone our ability to listen and observe and trust. Former waitresses, bus boys, people who have never acted before have found a home at the Boulevard and have been allowed to expose the lights of their talents from underneath various bushels.
OMC: Do you welcome all your competition and do you consider them competition?
MB: There is room at the table for everyone, though not necessarily at the same time. Artistic competition increases awareness and focus -- that's a good thing. If media sources, foundations and boards keep pace fiscally and their visions expand along with other companies, there is no competition, just expanded awareness and focus.
OMC: Describe your life, your philosophy, your ambitions and your goals in 50 words or less.
MB: My life has often been me chasing a vision of "success" that never existed and never will. My philosophy is to abandon that cruel training of living in the past and dreading the future and allow the present. My ambitions range from paying my utility bills on time for once to finally accepting the fact that -- culturally, Milwaukee-wise -- I am president-for-life on the planet Odd. My goals include providing chances for artists to simply present the best work they can and for our wonderful audiences to attend, support and enjoy that work.
Visit The Boulevard Ensemble's website.
