Latest news with #Manville
The Independent
13-04-2025
- Entertainment
- The Independent
Is this the final curtain for regional theatres?
When Lesley Manville was working as an actor in the 1980s, there was ample opportunity for her to work on stage and plenty of choices of shows for audiences to watch. But slowly, over the decades, she has sadly watched theatre after theatre close. It comes as theatre owners across the country have told The Independent of how they are worrying every day about underfunding putting their theatres at risk. As they struggle to keep their venues afloat, regional theatre might be facing its final act. Ms Manville called for better funding for theatres around the UK as she accepted Best Actress at the Olivier Awards for her role in Oedipus at the Wyndham Theatre, London. 'There is not enough money thrown into regional theatre,' she said as she picked up the award. She would later tell BBC's Today programme: 'It's tragic because those theatres serve their communities. Sometimes, travelling to go see a play, or a ballet, or an opera, might be prohibitive. 'And certainly from a performance point of view, there's less opportunity to work. When I was younger, you went anywhere to do a play. It's going to be a diminishing discipline because there's not always the amount of stage work available for them to go and do. The arts has to be, for our sanity, continued to be funded.' The two-time Olivier winner isn't the only actor concerned about the demise of regional theatres. Shereener Browne, soon to appear at Chichester Regional Theatre in The Government Inspector, said regional theatres are vital to the ecosystem of the arts. 'If we do not fund them properly and allow them to flourish, then actors emerging, and more established actors too, do not get the opportunity to flourish - to take risks with their arts and their creativity, which then is fed up the ecosystem to the larger theatres and the West End,' she told The Independent. 'I think the risk is that we will have a reduced number of creatives to feed the West End machine, which is huge. 'But more importantly and more potentially disastrous, we will lose the stories. we will lose those people who tell the stories that connect what's going on onstage to the audience. I mean, it's all very well and good for us to have Mamma Mia, but really what people want to see are stories that resonate with them and are relatable. And those will reduce massively in numbers if we do not fund the writers, producers, directors, and actors to make and create in these smaller spaces. It's all connected.' A survey by the Society of London Theatre (SOLT) and UK Theatre in 2024 warned that without urgent investment, nearly 40 per cent of UK theatre buildings risk closure. Meanwhile, there are 43 theatres currently at risk of closing in 2025 - an increase of five from the year before, according to the Theatres Trust. Kathy Bourne, executive director of Chichester Festival Theatre, said: 'I worry about it every day.' Underfunding has meant her theatre has had to be far more selective when it comes to taking on new work, she said, asking: 'How much risk can we take with new work? '[Regional theatres are] brilliant organisations to deliver new work because we are here to support the development of it.' Ms Bourne's biggest fear is that if funding is cut, Chichester Festival Theatre will have to cut its learning, education and participation work. It currently runs the largest youth theatre in the country for more than 900 children. 'They're the audiences of tomorrow,' she said. 'If we lose them, we're nowhere.' The theatre is being forced to fundraise and campaign to continue bursary funding for 23 per cent of the children in its youth theatre who would not otherwise have the opportunity to be a part of that group. The UK ranked among the lowest in Europe for government spending on culture in 2024, according to the Campaign for the Arts and the University of Warwick in 2024. It was one of the few nations to cut per capita funding between 2010 and 2022. SOLT and UK Theatre reported in February that if theatres could access the investment they need, 54 per cent could provide more jobs for their local communities and 62 per cent would increase or improve their outreach for work. Stephanie Sirr, president of UK Theatre and chief executive of Nottingham Playhouse, said current underfunding could lead to an 'existential situation'. 'I think the theatre sector is so inventive and creative and able to do more with less, that people have forgotten that there will be a bottom point where nothing can be done,' she added. 'It's risking an awful lot for a tiny proportion of public spending, and that's my worry. It's a lot of benefit for a tiny investment, and what you would lose if you lost it [theatres] is absolutely extraordinary.' Chris Stafford, chief executive of Leicester Curve, has said the 'standstill' in public funding has meant theatres are unable to build reserves to invest in their theatre. For the Curve Theatre, he warned: 'There's only so long that we can carry on without a real urgent injection of cash that will be required, and I look over the next five years, we need at least five million pounds to put into this building. 'I look at our theatre, it is a community hub. It's a hub for many people who live, work, and learn on our doorstep, and it's my responsibility to make sure that I keep this theatre standing as tall and strong as it can.' SOLT and UK Theatre have called for the government to invest £500 million over four years in theatre buildings and venues to address urgent repairs in order to prevent closures. They said it would unlock at least another £500 million in additional private investment, delivering value for money and creating jobs. Mr Stafford said: 'I really do believe it's real investment because there is absolutely the public purse is getting bang for its buck in terms of the economic impact of what we do.' A DCMS spokesperson said:"We're under no illusions about the financial issues facing the culture sector and are committed to supporting them during this difficult time. "More than £150 million of lottery and tax payer money went to theatres last year alone and we are ensuring that theatres are able to thrive across the country through our recently announced £85 million Creative Foundations Fund, which is part of the £270 million Arts Everywhere Fund, and will support urgent capital works at theatres and venues across England."
Sky News
06-04-2025
- Entertainment
- Sky News
Olivier Awards: US actor says 'special relationship firmly intact' despite Trump's tariffs
British star Lesley Manville and American actor John Lithgow have won the acting categories at this year's Olivier Awards, which recognise excellence in London theatre. Lithgow, 79, played Roald Dahl in Giant, which is about the children's author wondering whether to make a public apology. While accepting his award he appeared to reference the current controversy over Donald Trump's second term as US president. The Conclave star quipped: "It's not always easy to welcome an American into your midst, and at this particular moment, it's probably a little more complicated than usual." He also told the audience at the Royal Albert Hall that the "special relationship is still firmly intact", despite Mr Trump imposing tariffs on British exports to the US. His co-star, English actor Elliot Levey, took best actor in a supporting role. Giant was also named best new play. Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham's Theatre. She said she felt "emotional" while accepting her statuette because it was a production she had "felt very strongly about being" in. Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting "much sleep tonight". Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux. Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant. Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly! The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award.
BBC News
06-04-2025
- Entertainment
- BBC News
Olivier Awards 2025: Lesley Manville and John Lithgow score top acting prizes
Lesley Manville and John Lithgow were among the big winners at the Sunday's Olivier Awards, the most prestigious event in UK theatre. Lithgow won best actor for his portrayal of Roald Dahl in Giant, which he described as "one of the best experiences I have ever had on stage".Manville was named best actress for her performance in the Greek tragedy Oedipus, dedicating the award to her grandson who was born during the show's run. Three shows were tied with the most wins at the ceremony - with Fiddler on the Roof, Giant and The Curious Case of Benjamin Button each winning three prizes. Other winners included Imedla Staunton, who won best actress in a musical for her leading role in Hello Dolly! Scroll down to see the winners list in full. 'The special relationship is firmly intact' US actor Lithgow, who will also play Dumbledore in the forthcoming Harry Potter TV series, said in his acceptance speech: "I want to thank all of you for welcoming me and my wife Mary so thoroughly to England. "It's not always easy to welcome an American into your midst, and at this particular moment it's obviously a little more complicated than usual," he continued."But for me, for Mary, and for all of our countrymen and countrywomen, I want to assure you that the special relationship is still firmly intact."The victory marks the first Olivier Award for 79-year-old Lithgow, who also recently starred in the Oscar-winning film Conclave. Lithgow's co-star, English actor Elliot Levey, took best actor in a supporting role, while Giant was named best new play. "To get an award for having this much fun is wrong," he joked. Romola Garai was also nominated for Giant, one of two nods she had in the supporting actress category, but she won for her other performance in the stage adaptation of Annie Ernaux memoir The Garai joked that she had a "terrifying thought" while standing on stage that she was "maybe accepting the award on behalf of the wrong play, which was kind of like a fever dream I've had for the last few weeks".The Years, which also won best director for Eline Arbo, sees five actresses play a woman at different stages of her life. In her speech, Garai said it was "the greatest privilege of my life to be part of this piece of theatre that has changed me and so many people". Manville's win marks her second Olivier, following her 2014 triumph for her performance in a revival of the Ibsen play her award, Manville said: "I knew on day one of this play that we were on to something good."She paid tribute to the show's "great director" Robert Icke, and her co-star Mark Strong. "Mark, you were the most perfect partner," she said. "We had some difficult scenes to do, and inch by inch, slowly slowly, bit by bit we built up this very complex relationship, to say the least."She concluded: "While we were doing Oedipus, our little family got a little bit bigger, my son and his wife had a baby. It was during the run, so one day, this [trophy] will definitely be yours, my sweet." Imelda Staunton received the fifth Olivier Award of her career, winning best actress in a musical for Hello, Dolly!"If I may say something to my late mum, whose name was Bridie McNicholas," she said. "Great name, must renew [my] Irish passport."Mum, I'm here at the Albert Hall, I've got a prize, but more importantly, I'm about to do a play with your granddaughter, I wish you were here." 'I won an Olivier for playing an iceberg' Celine Dion musical Titanique won two prizes, best new entertainment and comedy play and best supporting actor in a musical for first-time nominee Layton Tye Blue said the win was "astounding and overwhelming", reflecting how the show had gone from "the basement of a fledgling grocery store in Manhattan, all the way to the glorious Criterion Theatre in London".In his own speech, Williams joked: "I just won an Olivier for playing an iceberg!"He concluded: "If this can happen to me, a little boy from humble beginnings, it can happen to you too." A stage adaptation of The Curious Case of Benjamin Button, based on the short story by F. Scott Fitzgerald which was previously also made into a film starring Brad Pitt, was named best new Dagleish won best actor in a musical for playing the titular role, 10 years after his first Olivier win for The Kinks musical Sunny Afternoon."Last time I got one of these, my mum was my plus one. She's no longer with us, she would've loved this show," he said. "This is for her." Fiddler on the Roof won best musical revival. Accepting the award, director Jordan Fein said: "There was a question as to whether a new production of Fiddler on the Roof was appropriate for this moment."It's a musical about love, not in the romantic abstract sense, but active love, brave and rebellious love that demands empathy and compassion, and that seems to be what we desperately need right now." The winners in full Best new musical - The Curious Case Of Benjamin Button Best revival - Oedipus (Wyndham's Theatre production)Best musical revival - Fiddler On The RoofBest new play - GiantBest new entertainment or comedy play - Titanique Best new opera production - FestenBest actor - John Lithgow for GiantBest actress - Lesley Manville for Oedipus (Wyndham's Theatre production)Best supporting actor - Elliot Levey for GiantBest supporting actress - Romola Garai for The YearsBest actor in a musical - John Dagleish for The Curious Case Of Benjamin ButtonBest actress in a musical - Imelda Staunton for Hello, Dolly!Best supporting actress in a musical - Maimuna Memon for Natasha, Pierre & The Great Comet Of 1812Best supporting actor in a musical - Layton Williams for TitaniqueBest director - Eline Arbo for The Years Best new production in affiliate theatre - Boys On The Verge Of TearsBest new dance production - Assembly HallBest family show - Brainiac LiveBest theatre choreographer - Christopher Wheeldon for MJ The Musical Best lighting design - Paule Constable & Ben Jacobs for Oliver!Best sound design - Nick Lidster for Fiddler On The RoofBest costume design - Gabriella Slade for Starlight ExpressBest set design - Tom Scutt for Fiddler On The RoofOutstanding achievement in dance - Eva Yerbabuena for her performance in Yerbagüena Outstanding musical contribution - Darren Clark and Mark Aspinall for The Curious Case Of Benjamin ButtonOutstanding achievement in opera - Allan Clayton for his performance in Festen The ceremony was hosted by Beverley Knight and Billy Porter and included live performances from shows including Why Am I So Single?, MJ The Musical, Fiddler On The Roof, Oliver!, Starlight Express and a 40th anniversary performance from Les Misérables.
Yahoo
06-04-2025
- Entertainment
- Yahoo
Olivier Awards: US actor says 'special relationship firmly intact' despite Trump's tariffs
British star Lesley Manville and American actor John Lithgow have won the acting categories at this year's Olivier Awards, which recognise excellence in London theatre. Lithgow, 79, played Roald Dahl in Giant, which is about the children's author wondering whether to make a public apology. While accepting his award he appeared to reference the current controversy over Donald Trump's second term as US president. The Conclave star quipped: "It's not always easy to welcome an American into your midst, and at this particular moment, it's probably a little more complicated than usual." He also told the audience at the Royal Albert Hall that the "special relationship is still firmly intact", despite Mr Trump imposing tariffs on British exports to the US. His co-star, English actor Elliot Levey, took best actor in a supporting role. Giant was also named best new play. Manville, 69, was honoured for her performance in the Greek tragedy Oedipus at the Wyndham's Theatre. She said she felt "emotional" while accepting her statuette because it was a production she had "felt very strongly about being" in. Manville, who played Princess Margaret in The Crown, added that she was taking an early flight to Dublin on Monday to do some filming, and would not be getting "much sleep tonight". Best actress in a supporting role went to Romola Garai for her performance in The Years, based on a memoir by French writer Annie Ernaux. Garai, whose film credits include Scoop and Atonement, was nominated in the same category for Giant. Dame Imelda Staunton won a fifth Olivier, for best actress in a musical for the London revival of classic musical Hello, Dolly! The Curious Case Of Benjamin Button won best new musical, a best actor musical award for Lark Rise To Candleford actor John Dagleish, and the outstanding musical contribution award. The annual event was co-hosted by British singer Beverley Knight and Pose star Billy Porter.
The Guardian
06-04-2025
- Entertainment
- The Guardian
Lesley Manville calls for better funding for UK regional theatre
Lesley Manville has called for better funding for theatres around the UK, saying her biggest 'bugbear' with the stage industry was 'there is not enough money thrown into regional theatre'. Manville was speaking on Sunday night at the Olivier awards in London, where she was named best actress for her performance as Jocasta in Oedipus at Wyndham's theatre. The Oliviers honour London productions but, talking to the Guardian, Manville put the focus on theatres outside the capital. Early in her career, she performed with the Royal Shakespeare Company in Stratford-upon-Avon and, in 2016, she appeared at Bristol Old Vic with Jeremy Irons in Long Day's Journey into Night. 'Repertory theatres are not funded properly any more,' she said. 'There still is a bit of a north-south divide. I'd love to see regional theatres given more funding. When I was starting out, it was amazing. You could go anywhere. It was a real training ground.' Oedipus was also named best revival at the awards, and Manville praised adapter and director Robert Icke for his version of Sophocles' tragedy, about what she called 'a complex relationship … to say the least'. Manville added that she was saddened that 'some young actors are not encouraged to go and do plays anywhere. Just do it!' Theatre, she said, was a vital training ground and offered opportunities unmatched by screen work. 'You will learn more by stepping foot on stage, where you can't be edited,' she said. 'Nobody's going to hold your hand, you're on your own, and you've got to make it work.' Earlier this year, the charity Theatres Trust published its annual register of buildings 'at risk', with 43 facing threats including closure and severe decay, but which have the potential to be revived for their communities. In December, analysis by the Campaign for the Arts alliance revealed that local government culture spending per person in England had been cut by more than 50% since 2009-10. In February, the government announced a £270m Arts Everywhere Fund for arts venues, with more than 85% dedicated to urgent building works and infrastructure upgrades.
