At a time when the future of our theatre spaces are looking less secure than ever, the impact upon those who create the productions to fill our theatres is enormous.
My friend and colleague ANTHONY FIELD was a passionate advocate of new talent, and, as he writes here, had been since the early days of his career. He recalls some of the many initiatives he founded. It is impossible to tell at this distance how many aspiring creatives his initiatives supported, but we can say with some certainty that without his passion and dedication, a fair number of the plays that have entertained you across the last fifty years may never have seen a stage. This article is from his writings in 2011.
The Arena Stage in Washington, not particularly noted as a hotbed of American theatre in the same category as Chicago or Seattle, has opened its new 200-seater space christened the Cradle. Thus, the Cradle will be a home in which to nurture new plays and playwrights.
In these days when investment in new work and young artists is difficult to attract, artistic directors are more inclined to revive classics than risk world premieres and even more important, second or third productions of new plays. But without talent we risk losing all creativity, not only in our theatres but also in our films, radio and television programming.
Over fifty years ago, when the Arts Council of Great Britain cared about creativity, it had evolved numerous schemes for investing in drama companies. There were annual grants, guarantees against loss, touring guarantees, transport subsidies to help bring audiences into theatres, training schemes, guarantees for new plays, guarantees for second and third productions of new plays, guarantees for neglected plays, grants for young peoples’ theatre, capital grants….the schemes were endless and constantly evolving. [Editorial Note: All these initiatives had stemmed from Anthony Field himself, as Finance Director of the Arts Council for 27 years, but -for the record- he was too modest to say that in this article!]
In 1960 I proposed that the Council might consider establishing a theatre in London which would be available for new work. There were at that time so many fringe theatres going out of business like the New Lindsey, the Boltons and the Irving, and other fringe theatres being run by artistic directors that it was becoming increasingly difficult for new, young producers to find a home for new plays.
In New York there were literally hundreds of off-Broadway, off-off-Broadway and even off-off-off-Broadway venues for rent. They were not run by artistic directors with their own programmes but by landlords simply asking for a weekly rent for a 100-seater space for an open-ended run. Thus, I thought it would be productive for the Arts Council to fund one such space in London. After some consideration the Drama Department came back to me with a proposal to purchase the Shaftesbury Theatre (which was then called The Princes Theatre). I pointed out that it was completely the wrong size and configuration, with a 1400-seat capacity across three levels, which had completely the wrong ambiance for new work. Unfortunately, the whole scheme collapsed after that.
Now a small theatre in Washington has launched a new space to foster the craft of playwriting and the careers of playwrights. Further, it has rented a house with four bedrooms for playwrights to live and work close to the Cradle. Already one playwright who has spent time there has a new drama, THE MOUNTAINTOP, scheduled for Broadway, and another whose LEGACY OF LIGHT has been produced at a number of other regional theatres.
Arena Stage, which has fostered the Cradle, has already benefitted financially from the musical NEXT TO NORMAL which has just closed after a two-year success on Broadway.