Memorandum submitted by Marita Phillips
ARTS DEVELOPMENT: MUSICAL THEATRE
I am a scriptwriter and lyricist with direct
experience of writing for the musical theatre.
The obvious difficulty of musical theatre is
that it is more expensive to produce than straight theatre. It
needs musicians and it needs a bigger cast.
This does not prevent musical theatre dominating
the West End. But it has led to productions being chosen purely
on the basis of their commercial value which in turn has led to
the lack of original material, the gimmicks, the celebrities etc.
However, it also shows the musical theatre is extremely popular.
There are two main reasons why musical theatre
needs supporting by the subsidised sector. Firstly, it would be
fair if new writers of musicals should receive some financial
encouragement which unlike classical composers and playwrights,
they currently do not do. Other than an occasional competition,
resulting in a showcase—there is not support for new works.
Secondly, because of the popularity of musical
theatre there is every reason to believe that regional theatres
would put on one or two musicals a year, if they could afford
it. This in turn would give a new musical the chance to make its
way to the West End, which currently is almost impossible. It
would also give performers of musical theatre the chance for experience
and work.
The only place consistently nurturing the musical
theatre is the Bridewell Theatre, and that is threatened with
closure. I have showcased a musical at the Bridewell and been
to many productions there. I cannot speak highly enough of the
way it is run and the role it plays in musical theatre today.
The knowledge, expertise, encouragement, quality of production
and support for musical theatre, at whatever stage of development,
is unrivalled. Its closure would be a catastrophe for new writers
of musical theatre.
I believe musical theatre should be treated
as a separate entity, like drama, opera, dance etc and have its
own specific public subsidy. I believe it will be an investment
in the future of Britain's writers, composers and theatre life.
8 November 2003
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