Memorandum submitted by Mr Robert Berry
RESPONSE TO INQUIRY INTO "ARTS DEVELOPMENT:
MUSICAL THEATRE"
The funding problems currently being faced by
the NYMT and the Bridewell Theatre, while of immediate and obvious
concern are also significant as warning signals for an industry
which if allowed to continue on its present course will be in
severe jeopardy in ten years time. Although your inquiry highlighted
many pertinent issues, there are further matters which should
be considered.
Robert Cogo-Fawcett's talk of the relationship
between subsidised and commercial theatre demonstrated some of
the essential problems, especially with regard to the contrasts
between our set up and that of New York's. I would like to tell
you something of my own situation, as I believe it is relevant
to this.
As a young writer of musicals, I moved to London
from Scotland, last year. (I graduated in Music from Bristol University
two years ago and then worked full-time on a musical). I moved
to London, as having written the musical, had it performed in
Bristol and re-written it, I felt it was ready for development.
I also felt London was the place to meet other writers of my own
age. (I was wrong—there are very few people my age writing
musicals.)
Two institutions have been of particular interest
to me, since moving here. The first is Mercury Musicals Development.
The personalities involved (in particular Georgina Bexon and Caroline
Underwood) have been very accessible and helpful. The organisation
has provided me with the majority of the contacts I now have,
as well as useful advice and information. I feel very fortunate
to have joined them. However, they do not have the resources to
properly help develop work. Despite having the support of an extensive
network of important industry figures who are all too happy to
have their names attached, there is not a great deal of financial
support.
Like most other musical writers, attempting
to find somewhere to help develop this material has proved difficult,
owing to the lack of theatres, which deal with this. The general
lack of support both in the development and performance of new
musicals in this country is something that is deeply worrying.
The West End Producer's motivation at the moment
seems to be geared towards exploitation of pre-existing fan-bases.
This is totally understandable, at a time when the tourist market
is so unpredictable. However, this results in the appearance of
musicals which tend to fall into the following categories: revivals
of musicals from 1940s onwards; musicals focusing on the back
catalogues of successful rock-bands; and musicals, which have
been adapted from popular (often musical) films. While each of
these aforementioned categories is perfectly valid as a means
of keeping box-office revenues ticking over, new musical material
in the last ten to fifteen years has hardly had a look in.
The lack of developmental support means that
all too often, producers—who bother to turn up to showcases—see
work that is not complete and either write it off, because they
are unable to see the potential or will say "Come back, when
it has been fully developed", but are not willing to support
that development. I have not show-cased my material, but I have
been to 25 in the past year and not a single one seems to have
led anywhere. (Most of them were not ready for show-casing, but
some of the writers could not get help developing it, so thought
they would showcase it to get cash for development.)
I have only met a very few people my age writing
musicals, even though I know plenty of talented young song-writers.
The perception is that it is totally unfeasible and unrealistic,
given that the developmental support is not there and there are
no new musicals being promoted. (I have been extremely fortunate
to be able to give it a proper shot, as I had a bit of cash just
to live on, unlike most my age.)
The second institution I am particularly interested
in is the Bridewell, as it actually offers the opportunity to
develop material. (It is also in a great location for targeting
potential investors, who work in the city.) While it is great
that this theatre gives audiences an opportunity to see American
work that might otherwise not be seen, ironically the crucial
significance of the Bridewell is for commercial theatre.
Producers' lack of commitment to the life-blood
of their industry means that the Bridewell is almost alone in
helping realise a full development of something, which might prove
to be a commercial hit. Although it is a rather lonely effort—and
especially when compared to what is going on in New York—at
least it is one channel, which will allow the next Lloyd-Webber
to come along with musicals, which could be national institutions/cash-cows
in ten years time. Shut this door and it is another nail in the
coffin, which leads to musical writers transferring their skills
to other mediums like pop songs or just going to New York, where
people have the commercial sense to treat new musical writing
as an investment in the future.
The way things are going, in ten years time,
if there is a new musical on the West-End, it is highly likely
that it will come from New York, (with some money going back to
new American musical writing.) People will realise then that sitting
back and watching the Bridewell struggle and then close was an
appalling act, which was more than symbolic of the shallow grave
made for decent new musical writing and development in this country.
19 November 2003
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