There can be good reasons to produce a rarely performed work. And, more likely, there are very good reasons why some­thing hasn’t been performed in 60 years. If you let your audi­ence in on the real reason for a rare revival, perhaps they’ll be more under­standing if the evening’s enter­tain­ment doesn’t meet their usual expec­ta­tions of your work. Or maybe by surfacing the truth, you’ll recon­sider the choice, saving your audience’s time and money from works that should be left alone.

Here are some recent exam­ples, real and close-to real. Which perfor­mances would you want to see?

A. Two room­mates in college, now famous actresses of stage and tele­vi­sion, want to do some­thing together. This is the only play they could agree to do — a dated work from the 70s. Perhaps they’ll find out in rehearsals why they haven’t worked together in 30 years.

B. The work requires the world’s top six tenors and we’ve got the ones still able to leap tall build­ings. You may find the story simple and the context dated, but you’re guar­an­teed some vocal fire­works.

C. In this 1929 revival, there is one quasi-familiar song plus a funny song that’s the favorite of the major sponsor and one of the chorus boys (now living with the director). You’ll prob­ably enjoy seven minutes out of the 150-minute evening.

D. An early work by this play­wright will help you under­stand her later successes. We wish we could afford to present one of the successes along­side the playwright’s learning-to-write version. Hope­fully in a near-future season. Donate today.

E. Tonight’s story, based on Greek myths, offers striking paral­lels to the 21st century. The opera is about trans­for­ma­tion, like the acute shift from wealth to poverty and back again. A clever blend of comedy, tragedy and morality tale, this opera demon­strates how fortunes can change instantly, with one divine spell or one click of the mouse.

F. The lead actress, coming out of retire­ment, requests this obscure British work from her youth. She has two good scenes and then drifts in and out the remainder of the play, observing the action as if a ghost. A tour-de-force perfor­mance she’d like you to remember as her legacy to the “thee-uh-tah.”

G. Most of the music is terrific. The book, revised four times while the composer was still alive, continues to be prob­lem­atic. The director knows how to solve this and is writing his version. We tried to engage a successful play­wright or show doctor to work behind the scenes with the director. No one was avail­able or inter­ested. You’ll have a chance to critique online after opening night, only two weeks away.

H. We obtained lavish sets and costumes, designed for another opera. Hope­fully the visual stim­u­la­tion will hold your atten­tion for three hours of repet­i­tive music.

I. The work is in an obscure language, still spoken by a dwin­dling tribe of Brazilian rain-forest natives. Our soloist spent 10 years living with the late composer among those natives, and is spending six weeks with our chorus to prepare this remark­able evening for you.

If you can reveal the truth about why you’re producing a rarely-performed work, let your audi­ence know in every adver­tise­ment. You’ll attract those who are adven­turous, those who want to support you and your efforts, or those who require seeing the creator’s complete body of work. If you can’t put your producing inten­tions in print, then let the sleeping dog lie in perpe­tuity. Cherish your audience’s time, money and interest in seeing your future work.