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Rising production costs threatening viability of UK theatre, says report

Rising production costs threatening viability of UK theatre, says report

The cost of running and creating theatre has soared, rising 'significantly faster than inflation', according to a report into the state of British theatre in 2025 from the Society of London Theatre (SOLT) and UK Theatre.
'The economics of theatre are finely balanced. Without strategic support and investment, rising costs threaten the viability of even the most commercially successful productions,' it said.
The report outlines potential threats to the sector's financial sustainability, including the cumulative effect of rising inflation, heightened international trade tensions and the potential impact of new US tariffs.
On Wednesday official figures revealed that UK inflation surged to its highest level for more than a year last month after households were hit by a raft of 'awful April' bill increases.
In spite of growing costs, members of the SOLT and UK Theatre welcomed more than 37 million audience members in 2024, with the West End surpassing 17.1 million attendees, generating more than £1 billion in revenue for the first time in history, according to the organisations.
The report estimates that the average price of a West End ticket is 5.3% lower in real terms than in 2019 and says that 'most theatre tickets remain affordable'.
Another issue is investment, with one in five UK venues requiring at least £5 million over the next decade simply to remain operational, according to a 2024 survey from the organisations.
Out of the 65 venues surveyed, it was found that nearly 40% of them could close or become unusable in the next five years without substantial capital funding.
Rising costs in transport, accommodation, freight and staffing are also affecting domestic touring and the report said these financial pressures are 'straining the viability of touring models that rely on lean margins and collaborative delivery'.
At the same time, audiences are facing their own cost-of-living challenges and this means that 'simply raising ticket prices is not a viable solution if theatre is to remain accessible to all'.
The report said higher-priced tickets help 'cross-subsidise lower-cost options, enabling more people to attend while preserving financial sustainability'.
It also said the Government needs to make a 'sustained investment in infrastructure, skills, access and innovation'.
International productions can also face complex issues, such as trade uncertainty, but the report added that 'UK theatre continues to punch above its weight globally'.
Six The Musical, which has toured across the world, is an example of 'the power of UK theatre as a world-leading cultural export', according to the report. Jarneia Richard-Noel, Millie O'Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed attending the premiere of Six The Musical Live! (Yui Mok/PA)
SOLT and UK Theatre co-chief executives Claire Walker and Hannah Essex said: 'From the West End to regional stages, our members are working harder than ever to keep theatre accessible and inclusive, even as costs rise and funding declines.
'But the reality is stark: theatres are doing more with less – and the strain is showing.
'Rising costs, shrinking support and ageing infrastructure are putting the sector under unsustainable pressure.
'We are seeing world-class organisations forced to cut programmes, delay maintenance and scale back outreach.
'If we want to maintain the UK's position as a global leader in theatre – and continue to inspire the next generation of actors, writers and technicians – then Government must act.
'That means restoring public investment, investing in infrastructure and ensuring that every child can experience the life-changing power of live performance.'
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Oasis set incredible 20-year record with Edinburgh gig – and it even tops Taylor Swift
Oasis set incredible 20-year record with Edinburgh gig – and it even tops Taylor Swift

Scottish Sun

time4 minutes ago

  • Scottish Sun

Oasis set incredible 20-year record with Edinburgh gig – and it even tops Taylor Swift

Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) OASIS hold an incredible 20-year record for one of their Murrayfield gigs - beating the likes of Taylor Swift to top spot. Noel and Liam Gallagher are set to return to Scotland this Friday as they kick off a run of three shows in Edinburgh. Sign up for the Entertainment newsletter Sign up 3 Liam and Noel are back and they're heading to Scotland this week Credit: Getty 3 Liam during Oasis' last performance in Scotland in 2009 Credit: Michael Schofield - The Sun Glasgow The brothers will perform to more than 200,000 fans across Friday, August 8, Saturday, August 9 and Tuesday, August 12. The buzz has already been ramping up ahead of their return to the capital, with fans flocking to the city this week to bag exclusive merch for the Oasis Live '25 reunion tour. But it's emerged that the Supersonic rock legends hold an incredible record from the LAST time they performed in Scotland. The band's performance at Murrayfield in 2009 has ranked top for the most "ground-shaking" concert of the past 20 years at the venue, according to analysis of seismic data. The June 2009 Oasis gig beat the Red Hot Chili Peppers in June 2004, Kings of Leon in June 2011 and Taylor Swift in June last year. The Manchester icons came out on top after experts measured the peak earthshaking power of each event, the British Geological Survey (BGS) said. The measurements were taken from a nearby seismic monitoring station, some 4km from the venue. At peak power of 215.06Kw, the Oasis gig was more than twice as powerful as the next strongest one by the Red Hot Chili Peppers at 106.87Kw. The power output is not related to the volume of the band or the crowd, rather it is the movement of fans jumping and dancing in time to the music, with the height of the jumping and weight of the crowd also potential factors. And scientists believe fans could smash that previous record when the band hits the stage this weekend. Oasis fan plunges to his death 'from upper tier' of Wembley stadium during reunion gig as witness reveals horror BGS seismologist Callum Harrison said: "In 2009, seismic signals generated by Oasis fans were consistent with a crowd energy of 215kW at its peak - enough to power around 30 of the scooters featured on the iconic Be Here Now album cover. "Our network of sensors around the country is sensitive enough to pick up ground movement from a source miles away that may not be detectable to humans - and precise enough to register exact timestamps for when the events occur. "The peak energy reading was recorded around 8.30pm on that June evening back in 2009, which correlates to the time the band first took the stage and performed Rock 'N' Roll Star, which couldn't be more fitting in terms of topping our seismic music chart." The BGS keeps an archive of continuous ground motion recordings from seismic sensors around the country, dating back several decades. 3 The Oasis Live '25 tour will see more than 200,000 fans flock to Murrayfield Credit: PA Mr Harrison added: "In this instance we are only looking back over 20 years, however geological processes occur over vast time scales that can be difficult for humans to comprehend. "Improving our understanding of historical earthquakes is an important part of BGS research in trying to understand and mitigate the seismic risk around the country." Mr Harrison said it is "certainly possible" they could top the previous gig's output in 2009, adding: "We'll just have to wait and see." He said: "The main contributing factors are going to be how energetic the crowd is. "If they're jumping along with the music, how high or how fast are they jumping?" Noel and Liam's reunion tour has been a roaring success so far with gigs performed in Cardiff, Manchester and London. But the run of Wembley shows were hit by tragedy after one fan fell to his death from the upper tier of the stadium on Saturday, July 3. Fans heading to Murrayfield were alerted to a Ticketmaster update this week over concert rules and essential items they need to bring with them to get in. It's estimated Oasis will spark an £80million boost with their gigs in Scotland. ScotRail bosses confirmed extra train services will be running in a bid to made the demand from the huge number of fans descending on Edinburgh. But the city council became embroiled in a public spat with singer Liam after he blasted them for branding their fans "fat", "rowdy" and "middle-aged men".

Rattigan's films are as important as his plays
Rattigan's films are as important as his plays

Spectator

time16 minutes ago

  • Spectator

Rattigan's films are as important as his plays

A campaign is under way to rename the West End's Duchess Theatre after the playwright Terence Rattigan. Supported as it is by the likes of Judi Dench and Rattigan Society president David Suchet, there's evidently a desire to right a historical wrong. Author of classics such as The Browning Version, The Winslow Boy and Separate Tables, Rattigan was known for his poise, melancholy and restraint, all of which put him at odds with the coterie of upstart writers of the 1950s – still amusingly known as the Angry Young Men. It's an oft-repeated chapter of theatre history that arch-kitchen-sinkers such as John Osborne made the environment virtually impossible for Rattigan to work in. Rattigan joked about it at the 1956 opening of Look Back in Anger. It was as if Osborne were saying, 'Look, Ma, I'm not Terence Rattigan!' he quipped. However, the Rattigan-bashing was always an empty indulgence. Osborne himself admitted as much on these very pages in 1993, writing: 'I have been intrigued by the success of the current revival of Terence Rattigan's The Deep Blue Sea. Rattigan was under the general frown when I first joined the Royal Court Theatre in 1956, and both George Devine and Tony Richardson were appalled when I confessed to being moved by the play.' Perhaps a Rattigan Theatre would indeed lay some of the ghosts to rest. But on first hearing news of the campaign, another thought occurred: Rattigan deserves a cinema as well. Film was arguably much kinder to him than theatre ever was in the low ebbs of his career. It supplied him with constant work, saw some of his best adaptations, and allowed his writing to weather the storm. Without his breakout play French Without Tears (1936), British cinema wouldn't have acquired one of its classic rogues, Rex Harrison, whose name it thrust into the spotlight. But French Without Tears was chiefly important because its adaptation in 1940 was Rattigan's first collaboration with director Anthony Asquith – and the first success of his screen career. Few could match Asquith's ability to adapt stage classics for film. The son of liberal prime minister Herbert, Asquith junior had directed an Oscar-nominated Pygmalion (1938), with Leslie Howard and Wendy Hiller, as well as the most celebrated version of The Importance of Being Earnest (1952), with Edith Evans as the definitive Lady Bracknell. Like so many British artists, Rattigan and Asquith were drafted into propaganda duties during the war. And it resulted in their first truly great work, The Way to the Stars (1945). The film had a Who's Who cast – Michael Redgrave, John Mills and Trevor Howard, all of whom would return to work with Asquith and Rattigan – and in its quieter moments, observing the grin-and-bear-it times of a British bomber base, hinted at their true creative potential. Postwar, Asquith returned to Rattigan's stage work with an adaptation of The Winslow Boy in 1948. It perfectly captured the it's-just-not-cricket mentality of the original play with its story of a boy unjustly expelled from naval college. Rattigan would take up these themes again (to lesser effect) in The Final Test (1953), but The Winslow Boy had the advantage of Robert Donat in the lead role at the height of his powers. Asquith's take on The Browning Version was another great example of his refusal to follow the growing spectacle – albeit much of it magnificent – of contemporaries such as David Lean and Michael Powell. Refraining from visual tricks or even much of a musical score, Asquith allows Rattigan's poise and melancholy to speak for itself. It may be one of the most quietly devastating English films ever made. And as the retiring classics teacher who may or may not be missed by his pupils, Michael Redgrave gives one of his most heart-wrenching performances as Crocker-Harris. Rattigan was not tied to Asquith, and pursued multiple projects outside of his preoccupation with upper-middle-class England. He created the original screenplay for Brighton Rock (1948), for example, Graham Greene's story of wide-boy knife gangs directed by John Boulting. It was reworked before reaching the screen but Greene crucially retained Rattigan's vision of the work as a thriller rather than an intellectual treatise. The Boultings kept Rattigan's change of ending, too, in which a gramophone recording of Pinkie (Richard Attenborough) jams on 'I love you…' before he lays into his love interest. Rattigan didn't generally shy away from the brutality of romantic relationships. The Deep Blue Sea (1955) is testament to that. Influenced by the relationship between Rattigan and actor Kenneth Morgan, the play's curtain-twitching portrait of a squalid postwar London is still one of his most unflinching of love stories. Vivien Leigh was cast as Hester, the spurned lover of RAF pilot Freddie, played by Kenneth More, who had transferred from the original play. More suggested that Leigh brought too much glamour to the part. Yet with Leigh's mental health deteriorating and her personal life crumbling, she appears in hindsight to have been all too right for The Deep Blue Sea. Rattigan then teamed up with Leigh's husband Laurence Olivier on The Prince and the Showgirl (1957), but Rattigan's last great screen work was his collaboration a year later with Delbert Mann on the Oscar-nominated Separate Tables. Another of his tragic ensemble pieces, the film saw a wealth of stars gathered in a run-down Bournemouth hotel, all forced to examine their lives after the revelation of a scandal involving the retired Major Pollock played by David Niven. Niven has the film to thank for the only Oscar win of his career, and Rattigan for his second nomination. (He received his first in 1952 for scripting David Lean's The Sound Barrier.) What happened next might have been the apex of Rattigan's screen career yet turned out to be the beginning of the end. In 1960 he had started working with the Rank Organisation to adapt his T.E. Lawrence play Ross. It was to star Dirk Bogarde and Asquith was slated to direct. But there was a problem: another Lawrence film was already in the works. Out of respect to David Lean – and under some pressure from Lawrence of Arabia producer Sam Spiegel – the studio pulled the plug on the project. Bogarde called it his 'bitterest disappointment'. Rattigan and Asquith ploughed on, assembling star-studded casts for two further movies, The V.I.P.s (1963) and The Yellow Rolls-Royce (1964), with all favours from friends called in. But even with Rattigan's work finding new audiences on television, the 1960s were relentlessly unforgiving. His last screenplay of note was the wonderful musical adaptation of Goodbye, Mr Chips (1969), with Peter O'Toole, before he fled into creative (and tax) exile to Bermuda. A knighthood in 1971 and a minor reconciliation with the theatre industry before his death in 1977 did little to remedy his unhappiness. The West End rediscovers Rattigan's work almost every decade. But the screen never forgot him. Terence Davies's hypnotic version of The Deep Blue Sea (2011) with Rachel Weisz and Tom Hiddleston converted a whole new generation. Rattigan no doubt deserves a theatre. His contribution continues to enrich the British stage – especially in its deeply English themes, its styling and restraint. But his dedication to the screen suggests a Rattigan cinema wouldn't go amiss either.

The terrifying charisma of Liam Gallagher
The terrifying charisma of Liam Gallagher

Spectator

time16 minutes ago

  • Spectator

The terrifying charisma of Liam Gallagher

You'd have thought Wembley Stadium was a sportswear convention, so ubiquitous were the three stripes down people's arms from all the Adidas merch: veni, vidi, adi. Pints drunk: 250,000 a night, apparently. All along the Metropolitan line pubs noted an Oasis dividend. At a corner shop, I was sold an official Oasis Clipper lighter. It's surprising Heinz hasn't yet offered an Oasis soup; you get a roll with it. Plainly, an awful lot of people have missed Oasis. And an awful lot of people – Noel and Liam Gallagher included – saw the chance to make an awful lot of money from their reformation. I don't think any of them – neither fans nor entrepreneurs – will have been disappointed. At Wembley, the atmosphere was remarkable. Not least because it wasn't the beery, coked-up event one might have feared. The main spectacle on view was an unusual one: a sea of loved-up men. Wherever two men or more stood alongside each other, arms were draped around one another, faces raised to the sky to holler one more chorus. On stage, backed by video screens that for once were being terrifically deployed, the two Gallaghers, plus their four accomplices, were hailed as though they had come to return the world to happier times. You don't need to be a genius to work out why Oasis work in stadiums. Their songs are huge, simple, and not meant for dancing to. Dancing is something one does as an individual, and Oasis songs are meant for the collective: it's why their tempi are so sluggish – they are a surprisingly slow band. Their songs are meant for the vast bounce of a crowd pogoing in unison, or waving phone cameras to. The majority of the set was made up of ballads that are around 80 beats per minute on record or mid-paced chuggers that clock in at around 110: the exact amount of time between beats needed to spring up, land, and spring up again. It also helps that Noel Gallagher's lyrics are designed to be hollered. They are mostly nonsense, of course, but the occasional diamond shines out, hitting all the harder for being surrounded by doggerel: 'Is it worth the aggravation/ To find yourself a job when there's nothing worth working for?' He has a gift for words that sound profound when sung, but mean nothing – he could have had a thriving career making up imaginary proverbs. The night was brought to life by Liam, who remains a star of terrifying charisma. Even stock-still, bucket hat pulled down, cagoule pulled up, he was extraordinary. Age has done nothing to dim his apparent rage, and it's the anger that he throws into his singing that makes the band compelling and gives the songs meaning. But that anger reflects something else. When Oasis broke through in the early 1990s, I was only a few years out of school, where I had been badly bullied. The Gallagher brothers were bullies: it was there in the cruelty they casually meted out in interviews to rivals, peers, anyone who had crossed their sights, even each other. And they were funny with it, as bullies often are. Even now, deep into middle age, the two of them – but Liam especially – sometimes sound as though they're itching to stomp on someone. When I'd been a kid, independent music had been my escape from people such as the Gallaghers, who were plentiful at my Slough state school. And when Oasis became the biggest band not just in independent music but in Britain, it felt as though the school bullies had taken over indie. At the time of their success, I truly resented them – and I resented all those bands who previously wouldn't have said boo to a goose but suddenly, in their wake, affected a charmless swagger. It's an uncomfortable truth that an edge of tension, the slight threat of something, makes rock exciting. But it does. At 56, I'm old enough not to care any longer that they're bullies. And to the vast number of young people who turned up, it's irrelevant. Oasis aren't an indie band. They're the Rolling Stones for my kids' generation: famous old men who sing very famous songs. They're not even a band any longer; they're holy relics.

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