Community Outreach

We continually strive to make our work (performances, classes, and performance opportunities) available to as wide a cross-section of individuals as we can. Some of our strategies for reaching a diverse audience include: 

Touring
We have brought our performances to many regions of Massachusetts, including Cape Cod, Martha’s Vineyard, the North Shore, and western MA, and to a host of venues in the Greater Boston area, including the Museum of Fine Arts, the Museum of Science, MIT, the Jorge Hernandez Cultural Center, Double EdgeTheatre, The Middle East Cafe, MamaKin, and the Boston Center for the Arts. We have performed New York and have toured internationally to Poland, Germany, Denmark, Scotland, and Peru.

Pay What You Can Evenings and Free Performances
We believe no one should be excluded from theatre performances due to their income, so we offer an innovative range of discounted and free tickets to those in need. Working with Special Needs Constituencies: We have been a pioneering theatre in the promotion of full access to Deaf and Deaf/blind audience members through inclusion of ASL interpreters as an integral part of our performances, and through active outreach to these audiences. We have a long-term goal to include Deaf actors in performance.

Education - Workshops and Training
We are committed to ongoing training for members of our company. We also offer workshops by company members or guest artists to other artists and the community at large. In 1997 Pilgrim Theatre won a much-coveted, three-year grant from the Massachusetts Cultural Council. Rated #2 in our category, we earned nearly perfect marks in the following areas:

• Artistic Quality;
• Community involvement and support, including collaboration with community and/or cultural organizations, and community representation on the board, staff and/or advisory committees;
• Success in including underserved populations in cultural programming as participant and/or audiences;
• Success in providing both physical and communication access to people with disabilities, including the barrier-free status of facilities used;
• Record of participation and support of artists, interpretive scientists and/or humanists and their involvement in all aspects of cultural programming; Administrative ability of staff and board;
• Organizational planning and evaluation; and
• Track record of sound financial management, including a broad base of financial support.

In 2000, we again won three-year funding from the MCC.