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Wuthering Heights : Live-Broadcast dates ON SALE FROM TOMORROW!

Wuthering Heights

Bristol Old Vic today announced the Live Broadcast performances of Wuthering Heights will go on sale from 10am Fri 8 Oct, just ahead of the productions glittering first night next week.

Live Broadcasts will take place for this world premiere production from 4-6 Nov when you will be able to watch Emma Rice’s stunning adaptation of Wuthering Heights from anywhere in the world.

These four Live Broadcasts are part of the theatre’s ongoing digital commitment to make as many of this season’s productions available to watch live as possible, bringing the at-home audience together with the in-theatre audience for an extraordinary night of live theatre.

Tickets for the Live Broadcasts begin at £15 for a single viewer and £28 for a multi-viewer ticket t the Early Bird rate and will be available to purchase from today until just before the curtain goes up each night from 4-6 Nov. Early Bird discounts are available until midnight, Mon 1 Nov.

The Live Broadcast also offers the chance to be some of the first people to watch this production ahead of its UK tour.

The Yorkshire Moors tell an epic story of love, revenge and redemption. Rescued from the Liverpool docks as a child, Heathcliff is adopted by the Earnshaws and taken to live at Wuthering Heights. He finds a kindred spirit in Catherine Earnshaw and a fierce love ignites. When forced apart, a brutal chain of events is unleashed.

Shot through with music, dance, passion and hope, Emma Rice transforms Emily Brontë’s masterpiece into a powerful and uniquely theatrical experience. Lucy McCormick leads the company of performers and musicians in this intoxicating revenge tragedy for our time.

Cast Sam ArcherNandi BhebheMirabelle GremaudTJ HolmesAsh HunterCraig JohnsonJordan LaviniereLucy McCormickKandaka MooreKaty OwenTama Phethean and Witney White, with music performed by Sid GoldsmithNadine Lee and Renell Shaw.

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My 2020 Theatre Heroes & Villains

Theatre Heroes and Villains of 2020

AH, dear old 2020.

In mid-March Covid-19 prompted all British theatres and arts centres to close their doors.

From that moment onwards, the carnage, pandemonium, weirdness and misery barely let up; our world-beating £7 billion cultural sector, so savaged by lockdowns that it remains at risk of permanent decimation.

A socially distanced Watermill Theatre in Newbury, with select seats wrapped as presents for the future.

For the first time in its 70 year history, the Edinburgh Fringe was cancelled. Broadway shows are expected to remain closed through to at least May 2021.

There was, though, many great acts of heroism; not all heroes wear capes.

Let’s begin with the National Theatre. The NT at Home initiative was one of the biggest virtual triumphs of lockdown; it broadcast 16 productions for free on YouTube, clocked up 15 million views and reached 173 countries.

The one-off free streaming of Roy Williams and Clint Dyer’s potent monologue Death of England: Delroy – which had its live run cut short – was sensational.

The NT has today launched a brand new streaming platform National Theatre at Home – featuring a range of NT Live productions and, for the first time, some treasured plays from the NT archive.

For unlimited access to the catalogue on National Theatre at Home, a subscription will be £9.98 per month or £99.98 per year. For access to a single play in a 72 hour window, it will be £5.99 for an NT Archive title and National Theatre Live titles are available from £7.99.

I thought ITV’s three-part drama Quiz, written by James Graham – based on his stage play that began at Chichester Festival Theatre- was a masterstroke.

The dark irony was, though, that the ‘coughing major’ comedy was one of the few TV shows that was good enough to make us all forget the ongoing medical crisis for its duration. Graham donated his full commission to funds for freelancers.

Looking back now, one of my personal favourite moments involved a last-minute decision to throw open my Zoom on Friday evenings to anyone who wanted to take part in a theatre quiz. It was unexpectedly popular and rewarding and, in the chaos of lockdown, very moving.

ITV Quiz

During that first lockdown I came to a crossroads when I realised that the secret truth at the heart of almost all theatre is: Everyone’s Doing Their Best.

It’s hard to say why this revelation impacted me so deeply. Had I previously been under the impression that people were deliberately making terrible theatre, or simply being terrible at their jobs, just to annoy me? I came to realise that most things are simply bad by accident.

Anyway, this year, she closed 18 shows. Paused 10.

Sonia Friedman Productions continued its success at the 2020 Olivier Awards, scooping the coveted Best New Play Award for the fourth consecutive year with the intimate and epic Tom Stoppard play Leopoldstadt.

Incredibly, SFP was also responsible for a superb filmed stage version of Uncle Vanya starring Toby Jones. It was a hit in UK cinemas and will be screened on BBC Four this Christmas. This woman has been my idol all of my professional life, and I don’t think I’m alone in that.

Toby Jones and Richard Armitage, Uncle Vanya at the Harold Pinter Theatre

All year, producer Friedman used her clout to lobby government. Announcing comedy play The Comeback in the West End, she said: “Medicine saves lives, but culture makes life worth living.”

Looking back now, many of UK theatre’s producers and artistic directors rose to the challenges of the pandemic – combining laser-focus and decision making-authority with a real emotional feel for the creative workforce.

Of course, there are plenty of people in the industry who are simply phoning it in.

But so many took exciting digital work to audiences or streamed archive productions. Under Elizabeth Newman’s leadership, just one of a number of bright ideas, Pitlochry Festival Theatre set up a Telephone Club for vulnerable members of the community, Alan Lane and Slung Low continue to meet local needs distributing food and books to the people in south Leeds.

Artistic director Alan Lane, left, and The Slung Low team at the Holbeck.

The Unicorn theatre presented Anansi the Spider Re-Spun: fun virtual performances, created in lockdown, for children. Cultural organisations like this remain vital to communities, enabling young people’s creativity, whilst fighting for survival.

Throughout those initial long Covid months, there were modest acts of heroism from producer David Pugh and his touring production of Educating Rita at the open-air Minack Theatre in Cornwall. I loved it.

Pugh later made light of the fact that profits for investors were enough for ‘a meal at KFC’. The show has a week-long run at the Mayflower in Southampton in February.

To her credit, Nica Burns reopened the first West End theatres post lockdown – welcoming audiences back to the Apollo – for Adam Kay’s show about the NHS, This Is Going To Hurt. Burns will reopen the first West End musicals Everybody’s Talking About Jamie and Six and hopes this return will prove the sector is safe and ready to resume.

Staying with the heroes, film and theatre director Sam Mendes called on Netflix — who profited from the acting, writing and directing talent nurtured on stage during lockdown— to pour some of their COVID-19 cash into British theatre. Netflix obliged, with the Theatre Artists Fund for freelancers. Mendes’ practical suggestions included: increasing the theatre’s tax relief scheme from 20% to 50%, and inviting the government to become “theatrical angels”, by investing in productions.

Moreover, performers deserve huge credit for keeping us all entertained online: Rob Madge and Oscar Conlon-Morrey lift our spirits on Twitter during these difficult times.

Pick of the bunch, for me, is Kieran C Hodgson impersonating characters from The Crown – Season 4. Genius.

10-year-old ‘#CheerUpCharlie’ Kristensen released a charity single with some of his West End favourites to raise money for the Diana Award. Little legend.

The Bush theatre commissioned six black British artists to respond to the killing of George Floyd, the results, The Protest, were astonishing, disturbing, vital and offered urgent perspectives on Floyd’s death.

Wise Children’s Emma Rice and Bristol Old Vic’s Tom Morris on stage at Bristol Old Vic in September

Elsewhere, Black Broadway and West End stars performed an ambitious online charity concert, organised by Nicole Raquel Dennis and Ryan Carter, this event supported the Black Lives Matter movement: Turn Up! Live at Cadogan Hall , raised nearly £13,000 for four charities and picked up a Black British Theatre Award.

One of my biggest treats was visiting Bristol to see the Romantics Anonymous one-night only performance, with a live socially distanced audience.

In September, Emma Rice’s Wise Children and Bristol Old Vic’s Tom Morris were dazzlingly inventive, partnering with venues to present a “digital tour” of the musical – allowing individual regional theatres to sell tickets across specific nights.

The shows will go on – in some tiers. The government’s post-lockdown plans give the green light to productions fortunate enough to find themselves in Tiers 1 and 2. Boris Johnson has announced that theatres in Tier 3 will remain closed.

Oracle Cameron Mackintosh

Villains? (Deep breath)

It was the year when theatre vanished from our lives. And Cameron Mackintosh didn’t.

Disappointingly, the West End producer got rid of 850 staff early on in the crisis, said theatres that received financial aid were ones that “were going to fail”, allegedly mistreats his staff, declared himself an “oracle” for predicting disaster and has been snow-ploughing his way through the darker recesses of the pandemic ever since.

Mind you, compensation came in the form of Andrew Lloyd Webber – who took part in the Oxford Coid-19 vaccine trial – joining TikTok.

Take a moment. I know I just did.

Perhaps most importantly, Arts Council England did a good job of turning around the government’s Culture Recovery Fund and rescued struggling organisations of all shapes and sizes.

Overall, that £1.57bn rescue fund has protected our theatres, concert halls, arts centres and opera houses.

Slytherin culture secretary Oliver Dowden’s intervention was not enough to save every institution and although we were all thankful for the money, financial models are bust.

Indeed, the government continue to do the bare minimum for an estimated three million self-employed workers. At one point, Pantomime dames marched to Parliament Square.

Slytherin Oliver Dowden and Rishi Sunak

Find another job, said the surefooted chancellor Rishi Sunak. By forgetting our workforce and dismissing an entire sector, the chancellor has begun to reveal his true ideological colours. But our sector is key to our national identity, provides hope – and billions for the Treasury.

On top of that idiocy, the suggestion from the government seems to be that arts jobs aren’t viable. They are, Mr Sunak, and when the time comes, the powerhouse theatre industry will play a crucial part in the nation’s recovery.

Above all, I was appalled by The Ambassador Theatre Group (ATG) who failed to inform customers how they could obtain cash refunds instead of hopeless credit vouchers. With countless shows axed or postponed, many found it impossible to get money back – not only that, ATG were not automatically refunding transaction fees, claiming this was in line with the industry’s Code of Practice (newsflash: it definitely wasn’t).

Birmingham Rep, The #LightItInRed campaign involved more than 500 buildings

At least, though, there has been some last-minute redemption for ATG; the operator has now furloughed its 2,500 casual staff and is gifting tickets for pantomimes to NHS workers this Winter, which is a Christmas miracle.

If we’re really looking for the individuals who’ll push theatre forward through the sheer force of their own imagination, in my opinion, they are more than likely to be creative freelancers. We must protect them.

And the self employed may be more widely visible through the Freelancers Make Theatre Work group, #thescenechangeproject and The Freelance Task Force. But they must never be taken for granted again.

The Theatre Artists Fund was set up to support UK theatre workers and freelancers falling into financial difficulty while theatres remain largely closed. Many freelancers have lost everything and we are losing thousands of highly skilled theatre-makers.

Saving buildings is pointless without protecting the people who make art. For now, I have financial security. That is why I plan to donate 50% of my December salary to Theatre Artists Fund.  If you are able to, so should you.

As I say, everyone has been doing their best. Stay present, thanks for reading this year, and Merry Christmas.

 

 

An incomplete guide to mainstream

mainstream

After a week of discussion around mainstream, this afternoon I have taken the step of shifting the Mainstream Level to Critical status. I was having trouble getting my head around what exactly this whole mainstream ‘thing’ is. Then it twigged. People cannot conceive of detachment as being part of artistic appreciation: this criticism is practical, active and positive. There is no reason that critical detachment must result in a negative approach. As far as I see it regional theatre has been *rightly so* punching above its weight for years.

This week I took a trip to Bristol to watch Iphigenia in Splott. On the way home I visited Salisbury to watch Hedda Gabler. Both of these fine shows are being performed outside of London. What struck me was the geography of two excellent producing venues (Bristol Old Vic and Salisbry Playhouse) and the exceptional production values on display. It would be moronic to suggest that Iphihenia in Splott might be too challenging for any regional audience because it is ‘alternative’. Regional theatre is often real value for money.

It’s a tricky one – if The Almeida were to go bust, it would be quite sad. But ultimately people would go to another of the many venues in town. If Salisbury Playhouse were to dissapear what provision would there be on that level?

We need a fundamental rethink.

I suppose at a push I like extremely and quite unfashionably traditional productions, yes. We all understand the artistic manouverings that are a fact of life for every subsidised arts organisation in England. Bums on seats etc. But there is a bigger thing going on here. This is a monumental time for British theatre.

Well i’m going to give the mainstream thing a rest… for now. Matt Trueman will do another blog soon, there’s bound to be something funny in that.