Month: August 2021

Posted on

VIEWS: Fifteen-month late government insurance scheme denounced as not fit for purpose

The live theatre sector has consistently been given less support than other business areas to survive the ravages of Covid – and that neglect continues.

Just look at the evidence – the government leaps to help industries like the aviation industry, with EasyJet doled out a whopping £600million of taxpayers cash within a month of the start of the UK-wide shutdown in 2020. Two months later the TV and film industries get a comprehensive insurance-backed scheme to allow them to restart and claim for Covid-related shutdowns in their supply chains. But what about theatre and other live events? It has taken over one year later until the government announced something similar for the live entertainment sector.

As soon as it was announced, as a Lloyds-backed scheme valued at $750million operating for a year from September, it was clear to see that it was not going to be much help.

Why? Because the offered insurance is heavily front-loaded, meaning that most (if not all) producers will simply find it too expensive to even contemplate. And therefore of zero help.

Leading producers have criticised the scheme, describing it as too little, too late and not fit for purpose. If Sir Cameron Mackintosh considered it “prohibitvely expensive”, then you can immediately imagine what other producers might think of it.

Mackintosh added “(the) insurance on offer explicitly excludes some of the protection the theatre desperately needs, namely for cancellation of performances caused by illness or enforced isolation and the negative effect of the reintroduction of limited capacities, which would make most shows financially unviable”. Another leading producer, Sonia Friedman, described the insurance as adding £750,000 of cost onto a twelve-week run, which even the public can see is utterly unviable.

Rather than support the theatre and live events industries by talking to them about what they need and then fashioning support accordingly, the government has once again evidenced that they do not understand the sector, nor do they have the slightest interest in educating themselves to understand it. It’s just another piece of the government mess born of disinterest, idleness and incompetence.

You can read more about the scheme via the Guardian newspaper here

STATEMENT FROM SOLT AND UK THEATRE about the offered insurance scheme

Society of London Theatre, representing over 230 producers, and UK Theatre representing over 240 theatres, made this statement when this announcement was made in August:

“Today’s announcement of a government backed insurance scheme for the live performance and events sectors, which is accessible also to theatres and productions is a welcome demonstration of the need for insurance to protect against the severe impacts of the pandemic. These have led to costly cancellations of theatre productions, and a major inhibition to producers, venues, and external investors from making the commitments necessary to bring our world leading theatre sector back to normal levels of activity, with all the employment which that creates, right the way across the UK.

Theatre generates £1.4bn in revenue annually and we estimate that as a sector our total economic impact including to the hospitality, travel and the tourism markets, coupled with the vibrancy theatre brings to our city centres, is worth at least treble this number to the economy as a whole. We also provide critical international earnings as our high quality productions are exported around the world. The sector will not be able to flourish and return to pre pandemic levels without an effective insurance scheme in place, that provides cover for Covid-19 related risks.

Currently commercial insurers are unwilling to offer such crucial cover without government backing. We therefore welcome government intervention to help plug the gap left by this market failure – especially in relation to possible future national or regional lockdowns.

However today’s proposal addresses only some, and not all, of the major risks that theatre faces. Self- isolation regulations have been forcing the closures of shows at short notice. Social distancing audience number caps have been a constant burden to an industry which requires high audience occupancy levels to be economically viable. The threat of their possible reimposition represents a major risk, that we need to obtain insurance cover for – especially if larger, high cost productions are going to resume at normal levels. Theatre productions need long term sustainable cover for shows running daily over a considerable period of time. These risks and requirements are not addressed properly by the proposal. For any scheme to be effective it has to be comprehensive, and it also has to be affordable.

We recognise the considerable engagement that has been made by DCMS and HMT, over the past year, in working closely with the theatre sector on the issue of insurance. It is important that we continue those negotiations and discussions as we work through the specific detail of the proposal announced today, but also to find ways to mitigate cover to include more of the risks that the sector is facing due to the pandemic, and to making the costs involved significantly more viable.”

Posted on

London Open House 2021 goes longer and hybrid!

As September approaches, we look forward to the time when some of London’s hardest to see buildings throw open their doors to eager visitors for this once-a year opportunity.

In a change to previous years’ events, which have been ridiculously crammed into one weekend, this year’s Open House extends across two weekends and the week in between, from 4th to 12th September, with a wide range of events that can be selected both in-person and online, which will certainly help broaden access to the many interesting events in the programme as well as allowing audiences to take part in more visits. A win-win!

There are usually a handful of performance buildings included in the programme, and when the details are released on August 11th you can search on “Theatre” to locate them..

You can find full details when they are unveiled on Wednesday 11th August at midday at the Open House website which you can find by clicking here

Posted on

VIEWS: #BackOnStage – the comebacks – and the dilemmas

So, the London biggies are back. PHANTOM, LION KING and several others have joined HAIRSPRAY and LES MIS: THE CONCERT in taking the plunge and are now #BackOnStage, open for business, to capacity (or near) audiences (Scotland opens to capacity from August 9th). And their audiences are responding emotionally, understandably. It’s great to have them back.

But in many ways, things are not the same. We have seen shows switch theatres due to colliding incomings and rental expiries, shows cancel performances due to Covid positives in the cast, big shows taking on extra performers to cover Covid-related absences, and so much more. The ever-changing impact on the financials is almost incalculable. It must be like trying to build a house on a trampoline. Currently THE PRINCE OF EGYPT is on an extended stand-down, planned to return on 12th August.

In terms of productions themselves, PHANTOM has a refurbished production, with stylistic alterations and a simpler, slightly less cunning set which is not as changed as some panicky social media lead people to believe. Further, it has had its orchestra almost halved (modern technology enables more pre-recorded tracks to augment and enhance the live musos). The theatre’s refurbishment of the auditorium has thrown up one surprise in that there are new, extra seats filling what was once a handy centre half-aisle in the stalls, adding a couple of dozen top (or near top)-price tickets to the capacity.

This has happened not only at Her Majesty’s, but also at the beautiful (and otherwise very positive) refurbishment at the Theatre Royal Drury Lane, where the stalls cross-aisle has gone. Both of these will be causing more problems for FoH staff trying to get guests and VIPs in and out as quickly as possible for entertaining (although granted at age 35, PHANTOM is unlikely to have many more VIPs (professional or paying customers) needing entertaining). And, it should be noted, reduced aisle space results in slower evacuation times in case of emergency. Perhaps ways in which VIPs are to be accommodated are changing too. It might be wise for them to consider this.

The story at Theatre Royal Drury Lane is more complex. The positive changes in the auditorium on each level have significantly raised the rake of the seating, enhancing sight lines which can only be universally welcomed, especially for the youngsters soon to be swarming all over FROZEN when its starts previews later this month.

Its not just large theatres who have battled with Covid. Small theatres such as the Turbine and Hope Mill Theatre have both had to cancel performances this week due to current draconian Covid isolation rules which further jeopardises their financials and future operations.

In the absence of across-the-board-government regulation, the West End has had to find its own way, still lacking any insurance system that would protect shows in the same way as film and TV production. Aiming to show some leadership, now we have confirmation that ATG Theatres and Delfont Mackintosh Theatres are now requiring Covid certification for attendees to their shows. Ah, but…. Except for under 18s, who can “just say” that they haven’t got Covid. Like the Scouts’ promise. Hmmm….And there is now the “suggestion” that you wear a mask inside the venue, not a requirement.

I wonder, how different would the death tolls on our roads be today if all those years ago, motorists had been “requested” but not required to wear a seat belt, and “advised” not to drink and drive?

This in comparison to New York, admittedly not yet back itself, but where last week the Broadway League announced all audience members must have been vaccinated before entering any of the 41 Broadway theatres, bolstered a few days later by Mayor Bill de Blasio issued a mandate requiring proof of COVID-19 vaccination to gain entry to performance venues. Concerted action of the like we have yet to see.

Unlike New York, ours is not as robust a system of management; although I quite understand theatres have to be seen to be doing something. They are clearly in an utterly impossible position, sandwiched between the incompetence of the government and its “nicely-nicely” guidelines (which most will ignore without a second thought) and the cold, hard fact that a deadly, global pandemic is still raging amongst us. Yes, the case numbers have more or less halved – but so has the quantity of testing!

And in amongst all of this, let’s think about things from the point of view of those who make it all work – the audiences. After 18 months of fear and caution, it is unreasonable to expect audiences to simply snap back to acting (and reacting) the way they did pre-pandemic. Pandemic habits are the new normal for many millions of people, and that includes many previous theatregoers, and I suggest they will take many more months to adapt. Box office figures are very mixed right now, and it will take time for audiences to return to full confidence. Theatres that listen carefully to their audiences are more likely to succeed; those offering socially-distanced performances in their mix will help to encourage the anxious to return in a measured and compassionate way.

Audiences have their own internal dynamics, made infinitely more complex by Covid. Who has had it as opposed to those who have not; those who willingly wear masks against those who will not; those who are older as opposed to those who are younger; the potential for clashes are manifold.

Let’s remember that audiences come to theatres for escape. Sadly the one thing no-one can fully escape right now is Covid. And the connection between people’s innermost feelings of safety and security and their potential to be compromised in a crowded place where they do not feel fully in control will take a long time to play out.

Finally, an unfortunate piece of timing, I truly feel for parents, that in this month of Kidsweek, when kids are rightly longing to get back to normal, they are the ones who have to navigate all this confusion in a way that doesn’t disappoint their little ones and doesn’t also trigger their own anxieties and uncertainties. Added to the facts that a significant proportion of Covid is being spread unwittingly by youngsters who haven’t even had the chance of vaccination. And when you get to that theatre, at the appointed time, can you imagine going to and from your seats for ice cream, or to take that sudden trip to the loo you hadn’t planned for? I sincerely wish all you parents well, as well as the valiant front of house staff at all open theatres, who are doing a great job trying to enforce the unenforceable.

Posted on

London’s best pre-theatre restaurant is CÔTE St Martin’s Lane

As an audience member, it’s often a challenge in London finding a great restaurant near enough to your theatre to be able to enjoy a meal without too much stress about timings.

Perhaps you, like me, have previously had a skin-of your-teeth pre-theatre meal that arrived too late or too cold, leaving you frantically trying to get your bill paid and ending up running to the theatre, leaving you with indigestion that lasts through the first half of your show. Not a good start to your expensive evening of relaxation! Perhaps like you, I vowed never to have this happen to me again- and since 2012 it never has. Let me share with you my secret.

Having worked in the theatre business for 35 years, I have many people calling me and asking about good pre-theatre restaurants- and how to get into them. I have also organised many hundreds of meals on behalf of clients, individuals and theatre groups. Since their opening in 2011, CÔTE St Martin’s Lane has been the TheatreLand restaurant that I have recommended exclusively, and they have never let me – or my many guests – down.

Pre-theatre dining is a fine art in itself, and the highly-experienced CÔTE St Martin’s Lane team have it down to a tee. Being at the heart of Theatreland, just a few steps away from The Coliseum (currently with HAIRSPRAY), the Noel Coward (currently with 2.22), the Duke of Yorks (currently closed), Wyndham’s (shortly to reopen with LEOPOLDSTRADT), the Garrick (currently with BILLIONAIRE BOY) and the Cambridge (reopening September 16th with MATILDA).

Anyone going to any of these shows will find CÔTE within easy walking distance, and another bonus is that the restaurant is just two minutes from Leicester Square tube station.

CÔTE is a warm and welcoming French bistro with a monthly-changing menu of specials and fixed price menus which are renowned for their quality and excellent value. That’s before we talk about the buzzy atmosphere which adds to a great night out, and the warmth of the gold-leafed and mirrored walls, with an authentic French feel of attractively tiled floors and dark wood furniture which exudes simple sophistication. You can relax at CÔTE, knowing everything’s taken care of.

I well remember chatting to a couple of gentlemen who used to dine at a very fancy French restaurant before finding out that their favourite wine was at CÔTE for half the price they were paying previously. Lured by the wine, they grew to enjoy the service, attention to detail and quality of the food at CÔTE, and, like many others we have encountered, have since become regular visitors.

Some of the friendly, helpful and highly-efficient Cote St Martin’s Lane team in the restaurant’s intimate, quieter rear room

Regular customers are, along with word-of-mouth recommendations, the lifeblood of restaurants, and CÔTE is the recipient of much customer loyalty. When the restaurant recently reopened after a period of closure, the place was fully booked from opening until closing – mostly, I am told, by their regulars celebrating their return. Including me!

Theatregoers love its proximity to their theatres, and you can always rely on the staff being up to date with theatre information, as they take a keen interest in the theatres and the shows around them, keeping up to date with shows opening and closing, special events – whatever may affect their footfall. Every one of the team, from the management to floor team to kitchen team are exemplary at what they do.

There is another theatrical connection that CÔTE St Martin’s Lane enjoys. Apart from the huge number of theatregoers, a good number of creative theatre people including producers (both established and emerging) can be seen here, whether with guests pre-theatre or enjoying a leisurely lunch meeting to discuss new production and collaboration plans.

When you prefer to enjoy al fresco dining on a warm Summer evening, CÔTE has the perfect answer! (and it’s just two minutes from Leicester Square tube)
The theatrically decorated outside space (The road is currently pedestrianised)

Since they reopened , CÔTE has acquired outside dining space due to the lower part of St Martin’s Lane being pedestrianised, which makes the street very attractive for an al fresco meal rendezvous. This is thanks to the hard work of local businesses and placemakers like Placemaking London’s brilliant Daniel Johnson who have encouraged Westminster Council’s initiative which will be in place until at least next year, and hopefully will be made permanent after that.

If you are reassured by seeing safety and sensible health procedures, you’ll be glad to hear that CÔTE has thoughtfully managed safety procedures to put diners at our ease with hand sanitiser gel generously sited around the restaurant for your use.

So if you’re looking for a pre-theatre restaurant with the warmest welcome in London, the best service, scrupulously clean environment, and fabulous food at brilliant prices, you’ll want to book CÔTE St Martin’s Lane to guarantee your perfect pre-show meal.

Have a wonderful time!

CÔTE Brasserie, 50, St Martin’s Lane , London WC2N 4EA

To browse menus and make reservations, click here

Posted on

KIDSWEEK is back with bargains galore!

The first sign of a proper return to theatre appears in KIDSWEEK, the misleadingly-titled month (!) of August when children can get to see one of a range of top West End shows Free when they visit with a full-paying adult.

Promoted by Official London Theatre, the promotion happens across the whole month, with lots of shows to suite every taste being available.

This year there are no add-on activities as in previous years -owing to the continuing caution over Covid -but there are online activities that your youngsters can engage in instead.

You can find out more at the Kidsweek page here