Rufus Norris is stepping down in 2025 as artistic director of the National Theatre
What will his legacy be?
As you may by now have read, The National Theatre’s artistic director, Rufus Norris, announced his departure this week; he had been an associate director at the NT since 2011.
When Norris took over the NT in 2015, it felt like an institution at the height of its powers. It was also the heady days pre-Brexit, social media was not such a cesspool and there was plenty of cash in the reserves.
This week, low-key Norris, who has also served as chief executive of the NT since 2015, described his time in charge as the “greatest privilege” of his career but also “the most challenging in our history”.
Having steered the NT through the pandemic and Brexit, Norris, has been dealing more recently with an £850,000 DCMS budget cut by Arts Council England.
Norris made his feeling known that Levelling-up in the arts should “not be at the expense of London.”
He added: “What London contributes to our economy and creative status in the world is enormous and outweighs the small amount of money we are talking about”.
Point of fact, the six artistic directors in the theatre’s history have all been white men: Sir Laurence Olivier (1963-73), Sir Peter Hall (1973-88), Sir Richard Eyre (1988-97), Sir Trevor Nunn (1997-2003), Sir Nicholas Hytner (2003-15) and Norris.
You wonder, then, if the NT may explore dual leadership, like the recent appointment of Daniel Evans and Tamara Harvey as co-artistic directors at the RSC. Perhaps the first person of colour will take the reins.
Indeed, Norris also made a handful of structural changes that will have a legacy.
First up? Norris has actively championed environmental sustainability (the NTs energy bill has gone up from £800,000 a year to £3.5 million per year) and a green agenda.
During the pandemic and at a time of great uncertainty, Norris appointed brilliant Clint Dyer as deputy artistic director to oversee the theatre’s creative output.
The absolute highlight of Norris’s entire tenure for me, though, saw him oversee The National Theatre Collection, set up in 2019, that is now streamed in 85% of secondary state schools, for free.
Let’s not forget National Theatre at Home, too.
Furthermore, on stage the NT has had success on the increased diversity, and gender equality front.
And over the next 12 months, 19 out of the NT’s 21 productions will be by living writers and 60% of the directors at the NT over the past eight years have made their debut.
Of course, hits included Small Island, Jack Absolute Flies Again, The Lehman Trilogy, Mosquitoes, and current play The Motive and the Cue.
But did we get a mega hit like War Horse? No, sadly.
Personally speaking, I found a lot of the artistic commissioning during his tenure indifferent. Norris regularly failed to introduce a basic level of quality control. See: wonder.land, Macbeth, Salomé, Saint George and the Dragon, Manor, Common, Cleansed, When We Have Sufficiently Tortured Each Other, and Kerry Jackson.
In fact, a journalist I was sat next to at a First Night summed up his tenure perfectly: “It’s not that Rufus has bad taste, it’s that he has no taste.”
Recently, he was also accused of “blatant nepotism” by employing his wife Tanya Ronder as book writer on baffling musical Hex.
Yup, what it needed, of course, was a decent producer to tell him: “Do not remount this (again), or employ your wife at a time when creative freelancers are struggling, you’re ruining Christmas.”
Opinions, I understand, will differ on that one, as they do on nearly all matters in the theatre. It’s a tough gig.
But look, in terms of Norris’s opening mission statement, his mission to make the NT for everyone has served its purpose and more if we judge him by these words: “I think it is very important that we reflect the city and the country we are in. We have to be national in terms of what we are debating, the subjects we are looking at, and particularly the people and stories we are representing.”
Mission accomplished. Mostly.
