British Theatre Guide Blog

I’ve just been reading Mark Shenton’s Blog in The Stage, or rather, a comment by one Mark W on what Shenton was talking about (which was, incidentally, the success of musicals such as High School Musical - which Lyn Gardner describes as a “product”, not a “production”: wish I’d thought of that!).  Mark W wonders if it’s time for the formation of a National Musical Theatre, seeing that the National Theatre is “now (shamefully) neglecting this art form”.  This, he says, “could be an excellent catalyst for nurturing UK talent in musicals, push the boundaries of the art form, stage the best new productions from around the world that otherwise would never be seen in the UK, and occasionally revive forgotten gems.”

It’s an interesting idea, particularly in view of the claim (made in pre-Nick Hytner days) that a National Theatre should not produce “commercial” musicals. But, of course, that is not what Mr W is suggesting.  As he says, we get musicals from, for example, the Donmar occasionally and from the Menier, and, of course, he instances Marguerite at the Haymarket. He doesn’t mention the “Lost Musicals” seasons at Sadler’s Wells, nor does he refer to Mercury Musical Developments, which is devoted to helping British music theatre writers. And that, in itself, is significant, for although all the things he believes a National Musical Theatre should do are actually being done, they are being done in a fragmented way and, generally, without any kind of public subsidy.

There is, then, a pretty good argument for bringing all these strands together under, as it were, one roof.  There is also, I think, a pretty good argument for public subsidy for non-commercial (or “non-coach party”!)  musicals development.  My only reason for hesitation is the obvious one: where is the money to come from?

We’ve already had Lottery money raided (and there is no other word for it) for the Olympics and Lord Lloyd Webber (who we now hear is richer than the Queen) continues to  press for public money to refurbish decaying West End theatres (what was RUT’s profit last year? If Cameron Mackintosh can do it, why can’t the Noble Lord? - But that’s another subject)…

On the other hand, we have the very successful National Theatre of Scotland model: a commissioning body which is not building-based.  It would still be expensive but nowhere near as much as a new building.

Food for thought, Mr W, and well worth raising.