Saratoga Drama Group director C Michael Traw works at the California Café, and Roberta Savage, who just produced the The King and I, is a Realtor at Village Square Realty in Los Gatos. "Don't give up your day job" certainly applies here.

And for those who are not volunteers, most receive only a stipend or gas reimbursement. But giving up untold hours of free time without benefit of compensation just goes with the territory, and without them the show could not go on.

"If I worked this hard in real estate I'd be a millionaire," quips Savage, who works eight hours a day for two months during a production.

It says something about the city of Saratoga that, although its population is small, it nonetheless supports two theater groups—West Valley Light Opera Association, started in 1964, and Saratoga Drama Group, which began under the auspices of the Saratoga Federated Church in 1963. Both have called the Saratoga Civic Theatre their home since it was completed in 1964. And despite this longevity, they still go to great strides to make sure everyone, especially the newcomers, know about these gems.

Even during boom times, community theater has never had money to squander or waste. But in this tough economy, when businesses are struggling to survive, nonprofits like the arts find it even more challenging. "There is a declining audience because of the economy," says Savage.

Although some theaters like the Sunnyvale Community Players receive city subsidies, Saratoga's two theater groups do not. And since they don't rely on grants either, they must instead depend on ticket prices alone.

This is all in contrast to research done in 2001 by Cultural Initiatives Silicon Valley, which interviewed nonprofit arts groups in Santa Clara County. They found that individual contributions here accounted for only 35 percent of their budgets as compared to the national average of 61 percent. Since these two theater groups depend exclusively on individual contributions, needless to say it's a difficult task at hand.

One way they do so is by helping each other—this may seem counterintuitive, but it actually makes sense. It's called co-ompetition, a term coined in business to reflect the interconnectedness of businesses that compete but must also cooperate. So although these theater groups compete from the same pool of talent, they also depend on each other as well.

"If we don't cooperate, we won't stay in business," says Marge Hand, publicity and program chairwoman of West Valley Light Opera. One way is by communicating—information is freely exchanged about who's doing what and when so that productions aren't repeated. After all, there's only so many times a person's willing to see The Sound of Music within a specific time period.

And with more theater venues than ever, this has become even more imperative. In the early 1960s there were about five community theaters around, says Hand. Now there are 40 to 45 groups. The South Bay has cultivated its own niche; many patrons have given up trips to San Francisco except a once-a-year excursion. It has gotten too expensive with ticket prices, parking and gas; in addition, you can hear and see better in a small theater, says Hand.

Local theater groups do benefit, though, from a close proximity to San Francisco—the arts beget more arts, so to speak. There is a certain synergy when a population has many choices and great talent; the arts become part of the culture. But one fact that both large and small theaters contend with is an aging audience base. Productions are chosen specifically with this demographic group, as well as families, in mind.

Steps are being taken to reverse this trend and introduce younger generations into the theater. Both West Valley Light Opera and Saratoga Drama Group have Student Rush deals where college and high school students get 50 percent discounts shortly before the performance begins.

Others are going even further. American Conservatory Theater in San Francisco is offering a 50 percent discount to patrons under 30. But deals can be a double-edged sword. If everyone paid half price, the theaters would go out of business, but without a future audience they'll be gone, too.

Putting on these productions isn't cheap either. There is theater rental and there are set costs if they're not able to rent the sets from another group. Sets can be constructed for around $2,000 and sent over to West Valley College to be painted. Costumes are frequently rented to save money; for example, The King and I costumes were rented from American Musical Theatre of San Jose. Otherwise there is a seamstress available. The Saratoga Drama Group maintains a costume bank in Los Gatos where the costumes are kept ready for future productions.

Royalties are one large expense that can't be bartered or volunteered away and have increased significantly over the years. The King and I costs $9,200, as compared to $3,500 in 1964. Royalties are based on how many seats are in the theater, which is 300 in this case, and there is nothing less than $5,000.

But the bottom line is that ticket sales equal survival, so the aim is to sell 90 percent of the seats, says Savage. There is a big push to get the performers to sell as many tickets as possible, especially during the first two weeks of the show's performance. This is a critical period in the show's success.

Actors come from all over the Bay Area; the actress playing Anna in The King and I lived in Santa Cruz and the King was from San Mateo. Some performers travel from show to show and are referred to as "gypsies." In fact, a gypsy robe is presented at the dress rehearsal to the person best typifying this moniker.

For West Valley Light Opera, in its performance of Hello Dolly, performers came from as far away as Santa Cruz and Burlingame. They've even had someone in the past drive from Oakland because of interest in a particular musical.

Rehearsals are arranged around work schedules, so that means evenings and weekends. Every effort is made to only have people onsite if they are needed for their particular part—obviously, for the lead role this is most of the time. But all this changes during the final week before opening day, appropriately enough called "hell week," when everyone works nonstop.

Performers run the gamut when it comes to reasons for doing local productions. Although some performers use community theater as a springboard to larger venues, others are perfectly content to stay put. There are some great local training venues for those starting out young and then moving on to community theater. The Children's Musical Theatre does an excellent job in preparing children, says Savage.

Some move on and hit it really big, like Ed Solomon, who graduated from Saratoga High School and went on to write the blockbuster Men in Black. He appeared in local productions, as did Dan Jinks, who produced American Beauty.

Many others, although not famous, do leverage their experience in local groups for bigger venues. One big coup is getting an Equity Card, which allows a performer to audition for Broadway shows, tours and higher-paying regional theaters. Others go for the big plunge and head for that mecca of theater, New York. Nick Nakashima is one such person. He played the part of Lun Tha in The King and I as well as understudying a part with TheatreWorks. He has appeared in five local productions.

"It gives me confidence so I don't get rusty," says the Los Gatos native. This is something he'll need to beat out competition when he leaves next spring. This has been a longtime goal. Nakashima has been saving since high school, using his earnings waiting tables and other odd jobs so he can live a full year without working.

His parents have been extremely supportive of his career and the arts in general. He went to Lincoln High School, a magnet school for the arts, which provided valuable training. Students auditioned to get into classes, and placement depended on acting ability. In turn, they put on great productions.

"I've always loved being a ham and the center of attention," he says, but admits it wasn't until high school that he discovered what he wanted to do.

Performing since he was 11, the 26-year-old doesn't seem worried about his big move. He'll be living with a friend who works with the Roundabout Theatre in Times Square. He's hoping these connections will help him once there.

He understands the extremely competitive arena he's jumping into, but wants to see where the experience takes him. Besides, he says practically, in a worst-case scenario he can always move back here. The salary's not as good, but the community theater is first-rate. After all, it is a labor of love.

West Valley Light Opera Association

Hello Dolly—Nov. 8 through

Dec. 6, 2003

A Chorus Line—March 6 through

April 3, 2004

Seven Brides for Seven Brothers—

June 6 through July 31, 2004

For tickets, call 408-268-3777

Saratoga Drama Group

Gypsy—Jan. 31 through

Feb. 21, 2004

Annie—May 15 through

June 12, 2004

For tickets, call 408-882-5099