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Jerusalem returns

If life does indeed come down to just a single moment, mine probably arrived last week on Easter Monday when I witnessed Mark Rylance on stage as Johnny ‘Rooster’ Byron in Jerusalem. His combination of theatricality and verbal vivacity is extraordinary.

First staged at the Royal Court in 2009, Jez Butterworth’s seismic play about national identity has returned to the West End for a limited 16 week engagement. Following record-breaking runs in 2009, 2010 and 2011, as well on Broadway in 2011, this stint is set to rake in £14 million.

Mark Rylance in Jerusalem on Broadway

Sonia Friedman’s globe conquering revival tells the story of a freewheeling man that faces eviction for unauthorised encampment in a Wiltshire wood on the day of the local fair.

Butterworth said that when he first saw Rylance as Rooster it was “the closest thing to magic I’ve ever seen”. Reader, I can corroborate this claim, Jerusalem is the purest form of theatre gold and Rylance is hypnotic. Underneath the rich and decaying leafy Brechtian design by ULTZ live chickens, a tortoise, a goldfish, and various lost souls. It is a totally spellbinding, haunting and unforgettable evening. 

Jerusalem at the Apollo

A tatty 30ft St George’s Day flag drop curtain greets you as you take to your seat. Butterworth’s epochal writing, it’s fair to say, hit me with the same force; in the character of “Rooster” Byron, we find an emblem of both England and the English language, like Falstaff on acid. “I dreamt all night of waterfalls,” Rooster says at the start, “Riches. Fame. A glimpse of God’s tail… Comes a time you’d swap it all for a solid golden p— on English soil.” 

Theatre’s all about timing, and with enthusiastic audiences flocking to auditoriums, Ian Rickson’s extraordinary production has returned just at the right time. Rooster’s bonkers tales about giants on the A1 take on a spiritual believability under Rylance’s stagecraft, but they’re also very, very funny. In any case, ambivalence is the key word here, I think. 

There is something mesmerising about a man living in a wood who hasn’t woken up yet to the tragedy of his predicament, who is still left beating the same old drum. Literally, culturally, and politically. 

The elephant in the room here is, of course, Rooster’s Romany heritage – the “gypo” slurs, the gold jewellery, the fair, the violence, the caravan in the woods and the drugs. (Butterworth’s play owes much to the time he spent with a retired Romany builder called Micky Lay). Stronger efforts to improve outcomes and representation for these severely disadvantaged communities are overdue. To this end, and following minor tweaks, Rylance’s portrayal never feels offensive or clumsy. 

Real-world politics cast a subtly different light on proceedings; this restaging reveals a yearning for a bygone Britain that never really existed. The Englishness which Jerusalem supposedly explored is now an even knottier concept than it was in 2009. 

Ian Rickson and Jez Butterworth

And anyway, Butterworth is adamant that critics still miss the point. “If this is any way a state-of-the-nation play, then I have failed abjectly,” he said at a recent event. 

He added: “You know how much I give a monkeys about the ‘state of the nation’, adding that Englishness was not a concern of his, explaining: “I don’t feel very English… The reason it is back is my daughter Bel never got the chance to see it.” 

Amazing. 

We need to celebrate and enjoy Jerusalem now so we can remember there was a time, before the cripplingly dull, joyless, and inflexible wave of new writing that engulfed everything, when going to the theatre used to be so much fun. 
Jerusalem is old-fashioned (3 hours, two intervals) and its return wonderfully sticks a bonfire under the problematic theatre echo chamber that caused the great British sense of humour failure of 2012-2020

Mark Rylance in Jerusalem

A theatre moment to cherish for ever. 

Jerusalem is at the Apollo theatre, London until 17 August.

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Normal has walked the plank & theatre is in flux

January 2022

As we await the known unknowns of Omicron, one’s sanity becomes an object of speculation among one’s acquaintances. 

I am fed up. Jaded. Exhausted. None of this is normal. Normal has walked the plank.

Life of Pi

I tell you this not as aimless revelation but because I want you to know, as you read this, precisely who I am and where I am and what is on my mind.

Alas, The Music Venue Trust, which represents grassroots music venues around the country, has warned of combined losses of £22 million by the end of January – effectively undermining “the entire ecosystem that is the bedrock of a £5 billion world-leading music industry”.

Crisis management, particularly in a health emergency, demands leadership that’s firm, fast, decisive and calm. This government have failed us.

More than 150,000 people in the UK have now died within 28 days of a positive Covid test since the pandemic began 22 months ago. Every one of those 150,000 lives lost leaves its own story, and grief, behind. 

Unfortunately, hopes of building a fairer society and improving the lot of key workers are being trumped by a wish to return to normal.

The winter has been a disaster for hospitality and entertainment venues. Christmas – the time that institutions rely on for 40% of their annual income – was a wash out for the second year on the trot for most UK theatres. Omicron and Plan B turmoil emptied our auditoriums as audiences stayed home and creative teams self-isolated.

The industry continues to face insurmountable challenges. 

Nightclubs are shut in Wales, with limits on hospitality, sports events and who people can meet.

Meanwhile, in Scotland, the government has ordered capacities for seated indoor performances are cut to 200 and social distancing is back for at least three weeks.

In the past month, theatre producer Sonia Friedman has cancelled more than 158 shows and lost more than £4 million because of the continued uncertainty. “We are seeing drops in our box office of 25 and 50 per cent. There’s fear, despair and confusion all round,” she said in an interview with the Sunday Times. “The government think we are OK but we are not.” 

Still, in ‘normal times’ live events are estimated to be worth £70 billion a year, yet the Culture Recovery Fund largely failed to reach freelancers, who do the work. The government continues to stand by. 

Pride and Prejudice* (sort of*

Last week, critic Dominic Maxwell presented a vital summary of the state of play, with producer of Pride and Prejudice* (Sort of*) David Pugh stating: “I don’t know how long we can keep going. Some people are giving the impression that everything is fine. It really isn’t. It’s beyond serious.” The production will close in London next month and hopefully tour.

Meanwhile, in the same article, artistic director of the National Theatre, Rufus Norris admitted that the institution will have to dip into reserves after the covid-cursed musical Hex was cancelled multiple times and will end the current run without a press night. “We are recognising that it is going to be grim over the next couple of weeks. But we will do whatever we can to keep open.” Norris says. 

In London’s West End Daily Mail’s Baz Bamigboye states that the lack of a robust central, unified voice of information is leaving audiences and the industry beleaguered and baffled. “The West End has a body, the Society of London Theatre (SOLT), that’s supposed to represent theatre owners and producers. But it has been hopeless at communicating the changes that are affecting show schedules daily basis…” he says. “Come on, people, get organised! You’ve had two years. Productions are on a precipice. Thousands of jobs are on the line.”

Indeed, Julian Bird, the current chief executive of the SOLT and U.K. Theatre, has acknowledged his own gathering irrelevance by announcing he will step down from the position, effective May 2022.

Hex

Bird, who has been with the organisations since 2010, said: “It had always been my intention to think about moving on around the 10th anniversary of my time in the role, which would have been in November 2020. As with so much, the pandemic intervened in that.” 

Well, quite. 

Off West End, emerging work and young talent is once again under serious threat. Also last week, as you might have seen, The Vault Festival, an annual London fringe event was cancelled for the third year in a row. 

The Vaults is an essential part of the theatre ecology – roughly six hundred shows, featuring over 2,500 performances over several months – and is often a calling card for young, underrepresented, and diverse artists. The other benefits of appearing at the festival are incalculable. 

The official statement reads: “We have to make brave and proactive decisions to prioritise and protect the mental health, wellbeing and safety of our staff, artists, and audiences. We work with a lot of vulnerable people, for whom participating in the festival is no longer viable in light of the ongoing developments.”

The VAULT Festival sign above one of the underground venues

Nevertheless, the generosity and offers of advice to those affected from some sections of the theatre community have been nothing short of inspiring. More please, folks.

I have been buoyed by scenes of understudies, swings and covers saving the day – and everyone who has kept theatre going against all odds in recent weeks. Pandemic heroes.

Anyway, let us hope that new medicines and stronger vaccines are reasons for real optimism. Spring will come around and *there is a chance that* 2022 will be the year we live alongside the virus – a hope for an industry so savaged by lockdowns and government abandon. 

If you or your show have been affected by anything mentioned in this blog, need advice or help do not hesitate to contact me: mrcarlwoodward@gmail.com

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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.

 

 

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