By SHARON EBERSON
Little Lake Theatre is ready to ring in its 77th season in 2025 with good news not often heard these days. The Washington County company that bills itself as “the region’s premier community theater” is reporting record-breaking subscriber growth that keeps on growing.
Artistic director Patrick Cannon has called 2024 a “truly transformative year,” when Little Lake brought in record-breaking subscription numbers and a 35% increase in ticket sales revenue.
When he was hired in 2022, as theaters were emerging from the devastating pandemic shutdown, he said his vision included “a new work development program consisting of workshop and reading initiatives, and, lastly, deeper collaborative partnerships with businesses in our community.”
Cannon attributes the subscription growth to several initiatives, most notably The Lakepass, a flexible subscription program that is already on track to surpass 2024’s numbers.
at Little Lake Theatre. (Image: Hawk Photography and Multimedia LLC)
Other launches included the Senior Soliloquies Program, providing free training for senior citizens, with several participants performing in Little Lake’s productions, and Play in a Day: In 24 hours, more than 60 local artists created and performed nine original plays.
The year also saw the inaugural Broadway at the Ballpark, a collaboration with the Washington Wild Things that “brought together music, theater and baseball, in a dynamic celebration of the performing arts.”
A focus on accessibility included sensory-friendly and audio-described performances, while Little Lake also finished physical improvements to its facility and unveiled a new website.
OnStage Pittsburgh asked Patrick Cannon to give us some insights into what Little Lake has accomplished in his short time at the helm.
Question: Was Little Lake on shaky or solid ground financially when you got there?
Cannon: When I was hired in 2022, Little Lake was financially stable, but like most arts organizations emerging from the pandemic, it faced a lot of challenges. The 2022 season, which was programmed before my arrival, ultimately struggled with low ticket sales, and we lost several performances to COVID. The community’s love for the Lake was evident, but it was clear that reconnecting with audiences and reinvigorating our programming were critical steps to ensure the theatre remained a vital part of the community.
Little Lake has been around for a very long time. How long did it take you to get your bearings with what might work, artistically and economically?
Cannon: It took me two full seasons to really understand the rhythm of the theater and the community it serves. In 2023, my first season of programming, I began testing what might work, and while single ticket sales improved, subscriptions dipped. That experience was invaluable and really lit a fire under me. I devoted significant time and effort to deeply and intentionally engaging and listening to our audience and artists. By 2024, I knew I had my finger on the pulse. It’s been a lot of listening, observing, and refining, and I feel that 2024 marked a turning point where we introduced programming and initiatives that better aligned with our community’s interests.
Question: That 35% is a very big jump year over year. What were a couple of things that your first season taught you that allowed you to try so many new initiatives this past season?.
Cannon: The first two seasons taught me the value of listening and adapting quickly. It taught me that community connection is everything. Audience feedback directly informed the decision to introduce a new subscription model in 2024, offering more flexibility and choice, which has been a game changer. I also took a strategic approach to restructuring our production schedule, reducing the number of shows while increasing performances for each. This shift improved the quality of our work, expanded access for audiences, and allowed us to leverage word of mouth and data-driven marketing to maximize attendance and impact.
Question: Besides more and new subscribers, how would you quantify the success of the company, artistically?
Cannon: The artistic success of 2024 is deeply tied to the expansion of our production teams. By bringing in more professional directors, designers and artists into the fold, we’ve elevated our production value and taken on more ambitious storytelling. I think this collaborative approach has raised the bar a lot. Beyond ticket sales, the feedback we’ve received – whether through post-show conversations, email correspondence, or new faces in the audience – has been a testament to the impact we’re having. The work is resonating, and I guess that is the truest measure of artistic success, but the metric I care most about is how many community members feel inspired to audition for our shows. Above all, I want the Lake to be a place where artists want to be – an artistic home where they feel supported, valued and safe.
Question: Did this season put you on solid footing for next season?
Cannon: Yes, 2024 has been transformative in a lot of ways. The success of our new subscription model, the artistic strides we’ve made, and the stronger connection we’ve built with our community have all contributed to a solid foundation in 2025. We’re moving into next season with a clear vision and momentum on our side.
Question: Have you set specific goals for next season? Is there one thing you would like to accomplish in 2025 that you haven’t tried yet?
Cannon: My primary goal for 2025 is to deepen Little Lake’s connection with our community by expanding our education programs. This includes offering more classes for all ages and building upon the success of our Senior Soliloquies program with the launch of Senior Summer Camp. This new initiative will provide community members with an affordable opportunity to attend “theater summer camp,” whether it’s their first time or their first time in a long time.
Beyond 2025, I’m eager to explore ambitious, site-specific projects here in Washington County that challenge perceptions of what community theater can achieve. I have ideas for productions like Damn Yankees at the Washington Wild Things Park and Metamorphoses in a community pool, or The Glass Menagerie in collaboration with the Duncan Miller Glass Museum. I also want to commission new works down the line, such as a play about the Whiskey Rebellion performed at the Bradford House, and bring more immersive experiences to our property, like productions of Of Mice and Men and The Legend of Sleepy Hollow that move between the lake, barn and theater.
At its heart, the Lake is more than a theater. It’s a crossroads. We want it to be a springboard for artists looking to break into the professional or community theater scene, a welcoming home for community members eager to dip their toes into the craft, and a sanctuary for artists who balance full-time jobs and family commitments yet give so generously of their talent. These artists not only enrich our productions but also build lasting relationships with our audience, creating connections that go beyond the stage and exemplify the best of what community theatre can be.
My vision is for Little Lake to grow its reputation as a creative force on par with Pittsburgh’s largest arts institutions while remaining deeply rooted in its mission to serve and reflect our local community.
For more information about Little Lake Theatre, subscription plans, and the upcoming season, visit littlelake.org.
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