News and Events
Arts cuts mean theatres must learn to share the stage
30th Sep 2010
How do we rate the value of a subsidised theatre organisation or building? A straightforward answer is that we judge it by what happens onstage. A valuable organisation is one doing great work � think of Sheffield under Michael Grandage; the Tricycle's run of verbatim plays; the RSC or the National at various times in their history; the Royal Court under Stephen Daldry. The shows themselves are, of course, central. Hampstead theatre's argument that it was doing great educational work under its last artistic director was not strong enough because it couldn't deliver out front; what's happening in every part of the building should ultimately be connected to that one crucial thing.
In the 21st century, however, we perhaps need to look at other ways to assess value. In a world where cuts are imminent, theatre organisations need to be assessed not just on the quality of their work but also on the relationships they form with artists, other companies and audiences. An institution that hogs money and resources has no excuse for not making brilliant work, but all organisations need renewal. How much better and more exciting the work might become if they are open to new talent and new relationships. Because, for all the talk of creativity, theatre is as prone to becoming institutionalised as any other sector.
One of our most successful regional theatres is the Theatre Royal and Drum in Plymouth, a venue few critics visit, and one that probably wouldn't figure highly in a discussion of the UK's most important centres for drama. But Plymouth's finest possesses crucial expertise, experience and resources, and shows a willingness to share, support and develop in work with practitioners from Complicite to Frantic Assembly and ATC to Chris Goode. It's a theatre that doesn't try to own but to facilitate. Generosity is its middle name. That's not always the case in theatres, many of which are too concerned with top billing. We need more like the Theatre Royal York, which has performed excellent and magnanimous work with companies such as Pilot and Belt-Up and through initiatives such as Take Over.
There are signs of change. The Lyric under Sean Holmes is forming all kinds of relationships � not just with other theatres but also, through its participatory work with young people. At the Bolton Octagon, David Thacker is putting together a superb body of classical work as well as creating a real relationship with his audience that goes far beyond the old idea of educational outreach. Twenty-five miles away in Merseyside, the successful Made in Liverpool brand is likely to be boosted further by the collaboration currently under way with independent company Slung Low. Their Anthology takes the audience off around the city to see one of seven stories inspired by the Everyman's fine revival of 'Tis Pity She's a Whore and composed by regional writers.
Gemma Bodinetz, the Everyman and Playhouse's artistic director, is taking a real risk with Anthology, but it's a canny one that makes both aesthetic and economic sense. Slung Low offers the kind of work most regional buildings find a bit scary, but Liverpool has the expertise and resources to put it on � in the process giving audiences a taste of something different and nurturing independent artists within the mainstream. If Anthology is a success, it may signal to other theatres that there's no need to avoid experimental work when it can cost the same as a traditional production, get the same media attention and play to similar house numbers. The beauty of Anthology from a venue's point of view is that, because there are seven stories but only one can be seen per evening, audience members who enjoy themselves are bound to return. Accordingly, ticket prices are geared towards repeat visits, with a sliding price structure that culminates in a complimentary seventh show.
October's spending review will bring substantial cuts to theatre. However, a real danger of the impending funding crisis is that, in our rush to save the arts, we simply end up defending the status quo, rather than using it as an opportunity to realign the landscape. The value of a theatrical institution no longer hinges simply on how it uses funding to benefit itself, but also on its willingness to use that funding in service of the wider theatre ecology. For some, that will mean a real cultural shift. It's one that's long overdue.
Source: The Guardian
