Memorandum submitted by The Stage Musical
Appreciation Society
INQUIRY INTO PUBLIC SUPPORT FOR MUSICAL THEATRE
INTRODUCTION
1. The Stage Musical Appreciation Society
(SMASH) is an independent non-profit making organisation for those
interested in the musical theatre. Our aim is not just to "preach
to the converted" (ie those who already know a lot about
musicals) but also to "spread the gospel" to those who
would like to learn more and share their interest with others.
2. We were formed in 1997 and our newsletter
(Spotlight on Musicals) gives members the latest news about
shows, recordings and other events. We have a small, but devoted,
band of members and also have a number of high profile readers.
3. Neither the Society, nor its founder
and Secretary, David Thomas, have any connection with the professional
theatre or any formal relationship with any of the organisations
likely to give evidence to the Committee or be affected by its
deliberations.
4. What we offer therefore is a view from
an informed audience committed to the musical theatre.
MUSICAL THEATRE
IN THE
UNITED KINGDOM
5. The Society regards musical theatre as
an important element in the cultural life of the nation. Its unique
blend of music, lyrics, drama and dance calls for a wider range
of artistic skills than other forms of entertainment. The genre
can accommodate an astonishing range of shows: from very small-scale
offerings to vast, lavish productions; from serious works putting
across significant social or political messages to more light-hearted
shows whose objective is just to entertain or amuse. The range
of music can be equally varied in style—covering the whole
spectrum from pop to operetta; from jazz to quasi-classical.
6. Little wonder then that musical theatre
is one of the most popular forms of entertainment. Currently some
19 of the 35 theatres in London's West End are mounting musical
productions. As musicals tend to occupy the larger houses we conclude
that at least six million of the 10 million tickets sold each
year must be for musicals. At the same time there are around a
dozen musicals on tour throughout the UK—most playing to
packed houses.
THE IMPORTANCE
OF MUSICAL
THEATRE TO
THE UK ECONOMY
7. Those with access to official statistics
will no doubt draw the Committee's attention to the important
contribution that London theatres make to the economic health
of the capital. Clearly it is substantial. As West End theatres
are often dominated by musicals it follows that musical theatre
must take the major share of the credit for this contribution.
Over the past 20 years some British musicals have become world
famous, in the process becoming major tourist attractions as well
as contributing to invisible exports.
THE COMMERCIAL
THEATRES
8. But, of course, evidence of the economic
benefits of theatre-land does not necessarily justify support
from public funds. Many musicals (of the very sort which attract
visitors from home and abroad) have been financially very profitable
for the creative teams, producers and theatres concerned. In some
cases the marketing of shows worldwide has made fortunes for those
involved. For these reasons, and given the pressures on the public
purse, there can be little justification for general subsidy for
the commercial theatres.
9. However, the recent suggestion by The
Theatres Trust that outside help will be necessary if the fabric
and facilities of the older London theatres are to be improved,
raises new issues which should be considered separately. The Society
does not have the evidence or knowledge to comment on this issue
but regards it as less urgent than other matters which are being
considered by the Committee (and to which we turn later).
THE NEED
TO ENCOURAGE
NEW WORK
10. The commercial nature of most of London's
theatres has encouraged "long-running blockbusters"
and revivals (and, more recently, shows based on the well-known
back catalogues of pop and rock stars). In some ways those facts
should not cause concern. The long-runners have invariably been
either written or produced by British talent and their success
is something we should be proud of. Although the revivals have
usually been Broadway musicals, they have come from what many
consider to be the "golden age" of musical theatre and
it is right that their merits should be available to new and younger
audiences who did not see them first time around. The shows based
on well-known pop music can attract a new audience into the theatre.
In all three cases the shows have given much needed work and experience
to British performers, musicians and creative staff.
11. Regrettably however these trends—driven
by commercial considerations—have done a disservice to new
writers and composers who have found it difficult to find theatre
space to showcase their work or to persuade producers and theatre
managers to take the risks involved in presenting new or unfamiliar
musicals.
12. In these circumstances budding writers
and composers, and producers and theatre managements who are willing
to present their work, have a strong case for help from public
funds if musical theatre is to thrive.
THE CASE
FOR PUBLIC
FUNDING
13. Like all artistic and cultural endeavour,
musical theatre needs constant renewal and development. It is
essential that public funding should be available to support the
training and development of writers, composers and young performers,
and to encourage the production of new or little known musicals.
14. Public funding for the arts should remain
primarily the responsibility of the existing national and regional
arts bodies and local authorities. Normally musical theatre must
continue to make its case for its share of limited public funds
alongside other claimants.
15. However, everything possible should
be done to make sure that those dispensing public funds recognise
the artistic and economic importance of musical theatre. Despite
their popularity (or perhaps because of it) there is, we believe,
a tendency on the part of many involved in the arts to regard
musicals as somehow artistically inferior to other forms of live
entertainment. Evidence of this is difficult to come by. But the
impression is confirmed by stories of past complaints that the
National Theatre should not mount popular musicals; from current
murmurs that many regular patrons dislike the idea of the Royal
Opera House producing "Sweeney Todd"; and from a perceived
bias against musical theatre amongst the professional members
of the Olivier Award judging panels. We feel that there is a danger
of such elitism finding its way into those organisations which
have a responsibility to allocate public funds to the arts and
we hope that the Committee can address this danger in their report.
SPECIFIC SUPPORT
FROM NATIONAL
FUNDS
16. In addition to the normal arrangements
for grants and subsidies, however, we would like to see special
arrangements at national level which could offer support to those
organisations which, for various reasons, fail to get sufficient
recognition via the present system.
17. Two specific, and ring fenced, types
of support should be available:
(1) annual core funding for a limited
number of organisations which make a contribution to the development
of musical theatre which has an impact beyond the immediate geographical
area in which they are based (the grants being related to the
standing costs of buildings equipment and staff but not to the
costs of mounting individual shows or events); and
(2) financial support for individual
productions or events in the form of an investment rather than
an unconditional grant. The idea behind this should be to
underwrite the cost of staging new work (particularly by British
writers and composers) with the funding body having a financial
stake in the production. For successful productions the funding
body would get a return on its investment (to be ploughed back
into the fund and used for future projects). For less financially
successful shows the investment would be written off. Such an
arrangement would encourage writers and producers to strive for
work which is not only new, innovative and artistically worthwhile
but is also likely to appeal to audiences.
TWO URGENT
CASES
18. Grants such as those proposed above
are likely to be justified for only a relatively small group of
organisations and the effect on public expenditure is therefore
expected to be modest.
19. At present the Society feels that the
following organisations can make a strong and urgent case for
support on the basis of the contribution they make to the health
and success of musical theatre throughout the UK:
(1) The National Youth Music Theatre
in recognition of the unique work they do to encourage young performers
and musicians (and in doing so to attract younger audiences).
(2) The Bridewell Theatre which,
almost alone in London over the past 10 years, has encouraged
the performance of new or little known work; has put artistic
merit above commercial considerations and, with limited resources,
has achieved remarkably high standards of production and performance.
They are unfortunate in being located within the City of London
who, no doubt because of their very low night-time population,
do not feel they can offer significant support. But the Bridewell's
audience comes from a much wider geographical area than the City
and their work has, in the past, been of National significance.
20. In both cases it might be necessary
to attach certain conditions to any grants made from public funds.
One might be that they should give priority to musicals by British
writers and composers. Another, that they work closely with each
other (and with other non-commercial organisations like the Mercury
Musical Developments and the various stage schools).
OTHER ISSUES
21. In general terms we feel that comparisons
between the UK and the USA will not be helpful to the Committee's
considerations. Musical theatre is much more central to the American
culture and there is considerably more private and corporate sponsorship
of individual shows in the United States. We do, however, suggest
that in Britain we need a central resource on musical theatre
similar to that contained within the New York Public Library for
the Performing Arts. This would be an invaluable focal point for
research and information. Such a project would be unlikely to
attract private investment and is therefore a worthy contender
for financial support from public funds. It could be based on
an existing organisation such as the Theatre Museum or a major
library.
SUMMARY
22. Our views can be summarised as follows:
— Musical theatre is an important element
in the cultural life of the nation (paragraph 5) and one of the
most popular forms of entertainment (paragraph 6).
— Musical theatre makes an important
contribution to the economic life of the UK (paragraph 7).
— Successful musicals can be very profitable
for their creative teams and producers and there can be little
justification for general subsidy for commercial theatres (paragraph
8). However, the recent report of The Theatres Trust calling for
help on improving the fabric and facilities of London theatres
needs separate consideration (paragraph 9).
— The commercial nature of most of
London's theatres has favoured long running musicals and revivals
(paragraph 10). This has meant that new writers and composers
have found it difficult to get their work performed (paragraph
11).
— Like all artistic and cultural endeavour
musical theatre needs constant renewal and development. This deserves
an element of public funding (paragraphs 12 and 13).
— Everything possible should be done
to ensure that those responsible for dispensing public funds recognise
the importance of musical theatre and counter any suspicion that
musicals are regarded by some as inferior to other forms of live
entertainment (paragraphs 14 and 15).
— In addition to the normal arrangements
for grants and subsidies, special arrangements are necessary at
national level to support a limited number of organisations whose
contribution extends beyond the geographical area in which they
are based and who fail to get sufficient recognition under the
present system (paragraph 16).
— Those arrangements should include
core funding (paragraph 17.1) and support for individual productions
which should take the form of an "investment" rather
than an unconditional grant (paragraph 17.2). The cost is likely
to be modest (paragraph 18).
— The two urgent cases needing support
are the National Youth Music Theatre (paragraph 19.1 and the Bridewell
Theatre (paragraph 19.2). Certain conditions might need to be
attached to any grants (paragraph 20).
— Whilst comparisons with the USA are
not likely to be helpful, the UK would benefit from a central
resource for musical theatre along the lines of that provided
by the New York Public Library for the Performing Arts (paragraph
21).
17 November 2003
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