George has noted that, despite some misgivings that have been expressed about whether or not certain theatre (Richard Foreman explictly) is inclusive or elitist, Foreman happens to pack his runs with audience. On Theatre Ideas George notes, quite rightly, that Foreman must be doing something right.
And I contend that it is... branding. That Foreman is a New York City brand, whose posters can be seen covering the city whenever his productions are on the way, which is every twenty minutes. They cover the walls of any available surface, and they have a distinct look. One that says "Enter here, all ye wacky New York Theatre Artists and Downtown Scene-sters. I am Foreman, and I am ubiquitous." He promises a "Richard Foreman experience." His name is his Brand.
Note the posters above and you'll see that Foreman's name is prominently displayed. Also, there is a consistency to the style and iconography. This is the epitome of branding. Ask any college student wandering around NYU who Richard Foreman is, and what his next show is, and they'll at least try to remember what they read on one of his posters. They are aware of him, and that is how he maintains his audience. Image, in a nation without state funding of any consequence, matters.
I would like to add that this is not a judgement on the quality of Foreman's work, which is unique and an acquired taste and certainly valuable. This is to highlight that an artist as bizarre and unique as Foreman advertises, and advertises like no other theater producer/director/writer in New York does.
I stand corrected therefore. We can all learn a tremendous amount from him.