Curtain call for commissions: Is British theatre in crisis?
A study from the BBC has found that last year, the 40-top funded theatre companies put on 229 original commissions, a 31% drop from the 332 productions put on in 2014.
For the research, it analysed the showings from 2014 and 2024 at the UK's top 40 venues, festivals and touring companies that have the highest annual grants from Arts Council England (ACE), the country's government's culture funding body, and counted the number of professional productions over an hour that ran for at least a week.
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The steep decline in original commissions demonstrates the severe state of the UK's theatre industry. At the other end of the financial spectrum, theatres are struggling to keep their doors open.
A 2024 study found that one in five theatres need at least £5 million (€5.8 million) to remain open in a decade. Without significant financial investment, 40% could close within the next five years.
With the top theatres not staging as many plays and the lower-earning theatres facing closure, concern has also been raised about the youth pipeline for theatre-makers. Drama is declining as an available school subject across the country, while major drama schools are shutting down, with the Bristol Old Vic theatre school closing its doors after nearly 80 years of training actors.
Responding to the BBC's investigation, Leeds Playhouse chief executive and artistic director James Brining said that his theatre's decision to cut their original shows from 12 to eight a year is due to increasing expenses.
'We love making work. So it's heartbreaking that the amount of work you can make is reducing, and it is reducing the pipeline opportunities for artists at the beginning of their careers,' Brining said.
If it is costly for theatres to stage work, it is near impossible for the freelancers behind the productions to make ends meet in the UK's current cost-of-living crisis. Responses to a 2024 Freelancers Make Theatre Work showed that over a third of freelance theatre-makers earned under the National Living Wage.
'Although freelancers feel valued, respected and uplifted by their colleagues, they feel there is a lack of support from arts organisations, politicians, and funding bodies. Whilst there is an evident love for the job and the craft of theatre-making, as one freelancer aptly put it: 'love is not enough',' the executive summary of the survey said.
Theatre-maker and blogger Carl Woodward wrote on X: 'of course, a big drop in plays staged by theatres, is a big drop in writer commissions, a big drop in director opportunities, a big drop in designer gigs, a big drop in stage management jobs – on it goes – there is clear and present danger for regional theatre in Britain'.
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Many of the major theatre productions in the UK are now co-productions between theatres. This splits the financial investment, reducing the risk and allowing productions to tour across the country.
While this creates opportunities for bigger productions, it has meant a reduction in smaller shows that are often the breeding ground for new talents.
These larger productions – often musicals – are also more likely to be aimed at crowd pleasing over challenging theatrical works. 'When money is tight, people want a good night out and they don't want to take a risk,' Salisbury Playhouse artistic director Gareth Machin said.
'They're probably not coming out as much as they were, so when they do come out they don't want to take a chance on something they're not sure is going to be entertaining and a fun experience,' he added.
In 2022, ACE was heavily criticised when its five-year funding plans for institutions revealed that funding had been cut from many key establishments in the UK's culture scene. Of these, two theatres that specialised in producing new writing, the Hampstead Theatre and Donmar Warehouse, were cut entirely from the funding list.
As cuts rampage across the theatre industry, there are some shreds of hope. In response to Arts Council Wales slashing £1.6 million (€1.9 million) from the National Theatre Wales's budget, forcing its closure, actor Michael Sheen has set up a new Welsh National Theatre.
'Welsh theatre makers, Welsh stories and Welsh actors' will be put at the forefront of the venture, Sheen said. 'I want it to be something that represents the rich culture that we are and always have been in this country.'
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Geek Girl Authority
6 hours ago
- Geek Girl Authority
DOCTOR WHO: 5 Jaw-Dropping Moments From the Season 2 Finale
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Now, she's the manager at the Time Hotel, living and working in 4202. She has a child on the way with a man named Ricardo from HR. Anita has grown accustomed to living in the distant future and has even become familiar with the vernacular surrounding our titular Time Lord (Gatwa) and his adventures. RELATED: TV Review: Doctor Who Season 2 Episode 4, 'Lucky Day' She saves the Doctor right before he presumably would've fallen into the Underverse with, well, the whole world. Then, Anita makes another valuable contribution to our heroes' efforts in battling the Rani (Archie Panjabi), Mrs. Flood (Anita Dobson) and Conrad (Jonah Hauer-King). She opens the portal to the Time Hotel and leaves it open, allowing the flow of actual reality to wash over Conrad's wish world. Reuniting with Anita in 'The Reality War' is an absolute highlight. I'd watch the hell out of a Time Hotel spinoff with her at the helm. The Rani Becomes Lunch DOCTOR WHO Season 2 Episode 8, 'The Reality War.' Photo credit: James Pardon/BBC Studios/Bad Wolf This one stings. I've fallen head over heels for Panjabi's take on this iconic character in the Whoniverse. She's wholeheartedly (whole- hearts -edly, if you will) Shakespearean here and fits the theatrical vibe of this series well. Panjabi squeezes the figurative juice out of every syllable and never wastes a word — or a charged glance. The Rani's objective to split open the skin of reality to unleash Omega and rebuild Gallifrey is compelling. Personally, I would've loved to see her get closer to bringing her vision to fruition and the narrative obstacles this creates. RELATED: TV Review: Doctor Who Season 2 Premiere However, Omega, now a skeletal monster creature, emerges from the Underverse via the Seal of Rassilon with the intent of becoming the God of Time. He'd rather feast on the remaining Time Lords and the world at large than help the Rani achieve her dream. Hence why she, unfortunately, becomes lunch. RIP to a queen. Well, I don't entirely believe she's gone. At the very least, Mrs. Flood is still out there. I enjoyed seeing our favorite Time Lord use the Vindicator — a device he constructed in episode two to bring Belinda (Varada Sethu) home — to send Omega back from whence he came. Lucky Number 13 DOCTOR WHO Season 2 Episode 8, 'The Reality War.' Photo credit: James Pardon/BBC Studios/Bad Wolf I love a good pleasant surprise . Jodie Whittaker reprises her role as the Thirteenth Doctor in 'The Reality War.' She and Gatwa boast an easygoing, vibrant chemistry despite their brief scene aboard the TARDIS. Thirteen imparts wisdom to Fifteen regarding his departure and impresses the importance of getting it right — rupturing the Time Vortex with all that regeneration energy could be detrimental to all creation. RELATED: Doctor Who : 11 Easter Eggs in 'Boom' Fifteen tells Thirteen he loves her, and it's a profound, resonant moment of self-love for the Doctor. I especially love Thirteen contemplating telling Yaz (Mandip Gill) she loves her. Fifteen informs Thirteen that she doesn't, but Yaz knows. Oof. Talk about a punch to the gut. Thirteen's remark about not liking Fifteen's redecorating is a fun dig, as is Fifteen's line about being surprised Thirteen isn't 'the other guy.' He's always turning up. Friendly shots fired at David Tennant, y'all. The pair also has an exchange about how stuck in their ways they are ('timey-wimey,' anyone?), which is interesting considering how many different faces the Doctor has had. Yet, there's always a desire to cling to a particular visage for a bit longer as the inevitable regeneration takes effect. Even our eponymous Gallifreyan hates change and fears the unknown. Getting Home to Poppy DOCTOR WHO Season 2 Episode 8, 'The Reality War.' Photo credit: James Pardon/BBC Studios/Bad Wolf Who knew Captain Poppy (Sienna-Robyn Mavanga-Phipps) from 'Space Babies' would have so much narrative importance? After her debut in Fifteen's first season, she reappears in Season 2 Episode 5, 'The Story & the Engine,' but only to Belinda. Then, she's Belinda and the Doctor's (aka John Smith) daughter in the Season 2 penultimate episode, 'Wish World,' before becoming Belinda's actual daughter. RELATED: Geek Girl Authority Crush of the Week: Doctor Who 's Ruby Sunday Of course, Poppy's eventual disappearance following the undoing of Conrad's wish world activates Ruby's (Millie Gibson) Spidey senses. Fifteen is known for risking it all to save one person, which he's done for Ruby, Belinda and even Susan Triad (Susan Twist). Naturally, when he learns he has a daughter, our Doctor springs into action and willingly sacrifices himself to shift all of time so Poppy exists again. Before he regenerates, though, the Doctor reunites with Belinda and Poppy. This time, we learn that Poppy is the reason Belinda wanted to go home so badly at the start. We see a collection of scenes from past episodes in which dialogue about Poppy is retroactively inserted, from Belinda believing she's dying in 'The Well' to after she and the Doctor meet young Conrad in 'Lucky Day.' RELATED: 6 Doctor Who Episodes That Show the Eleventh Doctor's Personality Real Heartbreak Sure, this gives us a new perspective on those scenes. The plan was always to return to Earth on May 24, 2025, at 7:30 am, for her daughter. While the choice to end Belinda's arc with motherhood is strange, given she's never mentioned it before (although it does call into question how much of actual reality we've seen this season), the real heartbreak is in the Doctor realizing he doesn't have a child. That's the meat of it all. Oh, Hello DOCTOR WHO Season 2 Episode 8, 'The Reality War.' Photo credit: BBC Studios/Bad Wolf As much as I don't want Fifteen to go, I enjoyed his pre-regeneration moments while he's alone in the TARDIS. He decides to regenerate in open view of space, with Joy (played by Nicola Coughlan before she turned into a star) twinkling before him. Joy to the world, indeed. Fifteen lands on 'joy' as the descriptor for his experience with this face and body — an 'absolute joy.' And it feels fitting for this Doctor to leave with joy in his hearts and a smile on his face. He simply radiates optimism and a buoyant, effervescent energy. RELATED: Read our Doctor Who recaps Who Is She? So, after looking like a star himself as he regenerates, the Fifteenth Doctor transforms into … Billie Piper, who seemingly breaks the fourth wall to greet us. Now, I have thoughts. I don't think Piper is the Sixteenth Doctor. Firstly, she's not introduced as such in the closing credits, whereas Gatwa and Whittaker are credited as the Doctor, respectively. Secondly, the new Doctor is usually announced well in advance of the current Doctor's regeneration. Thirdly, there's an intriguing shot of the TARDIS console while Fifteen regenerates. Could this familiar face have sprung from the TARDIS, considering how inextricably linked it is to Rose Tyler? Could she be The Moment? An alternate Rose? Or perhaps she's the TARDIS herself, having taken on a new face (the TARDIS was previously played by Suranne Jones in 'The Doctor's Wife'). What if Billie Piper is meant to be someone else entirely? That said, if she really is the next Doctor, it wouldn't be the first time our Time Lord has regenerated into a familiar face from the series. Regardless, I hope Russell T Davies has something exciting in store for us. Let's not retread old ground, please. Although I highly suspect that Piper is a placeholder, as it were, and will transform into the Sixteenth Doctor, whoever they might be. Seasons 1 and 2 of Doctor Who are now streaming on Disney+. DOCTOR WHO: Our Favorite Easter Eggs From 'Lux' Contact: [email protected] What I do: I'm GGA's Managing Editor, a Senior Contributor, and Press Coordinator. I manage, contribute, and coordinate. Sometimes all at once. Joking aside, I oversee day-to-day operations for GGA, write, edit, and assess interview opportunities/press events. Who I am: Before moving to Los Angeles after studying theater in college, I was born and raised in Amish country, Ohio. No, I am not Amish, even if I sometimes sport a modest bonnet. Bylines in: Tell-Tale TV, Culturess, Sideshow Collectibles, and inkMend on Medium. Critic: Rotten Tomatoes, CherryPicks, and the Hollywood Creative Alliance.


New York Times
11 hours ago
- New York Times
The Washington Post Plans an Influx of Outside Opinion Writers
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Yahoo
13 hours ago
- Yahoo
Sony's Wayne Garvie Roasts 'Ridiculous' Channel 4 In-House Plan: 'It Could Be Potentially Disastrous'
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