This article is from the source 'guardian' and was first published or seen on . It last changed over 40 days ago and won't be checked again for changes.

You can find the current article at its original source at http://www.theguardian.com/stage/theatreblog/2014/oct/27/national-theatre-must-become-a-truly-national-service

The article has changed 2 times. There is an RSS feed of changes available.

Version 0 Version 1
Why the National Theatre must make itself a truly national service Why the National Theatre must make itself a truly national service
(5 months later)
The National Theatre's annual report makes interesting reading, particularly for anyone interested in regional touring and the increasing contribution that NT Live makes to the National's coffers. At a time when theatre must face up to the distribution challenges and opportunities of the 21st century, NT Live has been ahead of the game. It's also making a growing income contribution to the NT bottom line: £6.7m in 2014, against £2.4m in 2013, making it the fastest growing area of operation (although costs remain high). Markets such as Asia that remain relatively untapped may yet substantially increase profits.The National Theatre's annual report makes interesting reading, particularly for anyone interested in regional touring and the increasing contribution that NT Live makes to the National's coffers. At a time when theatre must face up to the distribution challenges and opportunities of the 21st century, NT Live has been ahead of the game. It's also making a growing income contribution to the NT bottom line: £6.7m in 2014, against £2.4m in 2013, making it the fastest growing area of operation (although costs remain high). Markets such as Asia that remain relatively untapped may yet substantially increase profits.
So everyone's a winner. Or are they? I've always been a supporter of NT Live, but the argument that it offers wider access to audiences across the UK only holds up as long as it doesn't dilute the NT's commitment to touring and, rather, that it fuels it. A further look at the figures for the 52 weeks ended 30 March 2014 shows that the NT undertook 33 weeks of touring in the UK and toured for 99 weeks abroad. If you live in Detroit, Jacksonville or Fort Lauderdale you could have seen more of the National Theatre than if you live in Wales, Northern Ireland or the north-east of England.So everyone's a winner. Or are they? I've always been a supporter of NT Live, but the argument that it offers wider access to audiences across the UK only holds up as long as it doesn't dilute the NT's commitment to touring and, rather, that it fuels it. A further look at the figures for the 52 weeks ended 30 March 2014 shows that the NT undertook 33 weeks of touring in the UK and toured for 99 weeks abroad. If you live in Detroit, Jacksonville or Fort Lauderdale you could have seen more of the National Theatre than if you live in Wales, Northern Ireland or the north-east of England.
Of course, the NT's two weeks in Cleveland, Ohio, can't simply be swapped for two weeks in Newcastle or Sunderland. It's not a case of doing one or the other. There may also be good reasons why particular shows do not tour to particular places. The NT's Nick Starr tells me that the National would have liked to have taken War Horse to Newcastle, but the production wouldn't fit. Such issues will arise all over the country; you can't just stick a pin in the map and say we'll go there.Of course, the NT's two weeks in Cleveland, Ohio, can't simply be swapped for two weeks in Newcastle or Sunderland. It's not a case of doing one or the other. There may also be good reasons why particular shows do not tour to particular places. The NT's Nick Starr tells me that the National would have liked to have taken War Horse to Newcastle, but the production wouldn't fit. Such issues will arise all over the country; you can't just stick a pin in the map and say we'll go there.
But you can prioritise regional touring. With the funding imbalance between London and the regions under scrutiny and the Hard Facts to Swallow report suggesting that this is likely to worsen, it is crucial that the NT, with its £17.5m of annual public investment, is seen to be reaching all theatregoers in the UK, not merely those who live within easy reach of London's South Bank. That means the NT needs to make available much larger parts of its repertoire to theatre lovers in all parts of the country, not only sure-fire commercial hits such as War Horse, One Man, Two Guvnors and Curious Incident. But you can prioritise regional touring. With the funding imbalance between London and the regions under scrutiny and the Hard Facts to Swallow report suggesting that this is likely to worsen, it is crucial that the NT, with its £17.5m of annual public investment, is seen to be reaching all theatregoers in the UK, not merely those who live within easy reach of London's South Bank. That means the NT needs to make available much larger parts of its repertoire to theatre lovers in all parts of the country, not only sure-fire commercial hits such as War Horse, One Man, Two Guvnors and Curious Incident.
These hits swell the NT's coffers, of course. The 33-week UK touring that generated £10.1m for the National provided a much bigger revenue stream than the 99 weeks of international touring, which generated £2.1m. The latter is far lower in part because the NT does not get box office from such international tours, only management fees and royalties because somebody else is taking the risk and underwriting the costs. When all arts organisations are feeling the squeeze – the National included, which Starr says has suffered a 30% drop in real-terms subsidy – theatre is always going to have one eye on the bottom line. There's nothing wrong with that. But the NT, which remains funding-rich compared with most other arts organisations, must also must live up to its name. It must make regional touring to all parts of the UK a core part of its activities, as core as what happens in its South Bank auditoria. That may not be what it has felt it should do in the past, when a few touring weeks was felt to be enough, but a national theatre must move with changing times and changing sensitivities. It cannot be a silo that protects its own interests above all else: it must be part of a much wider theatre ecology where everybody – big and small – helps each other.These hits swell the NT's coffers, of course. The 33-week UK touring that generated £10.1m for the National provided a much bigger revenue stream than the 99 weeks of international touring, which generated £2.1m. The latter is far lower in part because the NT does not get box office from such international tours, only management fees and royalties because somebody else is taking the risk and underwriting the costs. When all arts organisations are feeling the squeeze – the National included, which Starr says has suffered a 30% drop in real-terms subsidy – theatre is always going to have one eye on the bottom line. There's nothing wrong with that. But the NT, which remains funding-rich compared with most other arts organisations, must also must live up to its name. It must make regional touring to all parts of the UK a core part of its activities, as core as what happens in its South Bank auditoria. That may not be what it has felt it should do in the past, when a few touring weeks was felt to be enough, but a national theatre must move with changing times and changing sensitivities. It cannot be a silo that protects its own interests above all else: it must be part of a much wider theatre ecology where everybody – big and small – helps each other.
That means it must use all means of distribution at its disposal. That may sometimes mean putting everything in the back of a truck and taking it to Swansea or Southsea, and it might include broadcasting or free live-streaming to audiences within the UK and, crucially, reciprocal streaming of work made in venues across the UK. Such initiatives would be not substitute for live performance, but would maybe lay down a marker of intent. Yes, it would put a dent in the revenue, but it would vastly widen access and generate a lot of love.That means it must use all means of distribution at its disposal. That may sometimes mean putting everything in the back of a truck and taking it to Swansea or Southsea, and it might include broadcasting or free live-streaming to audiences within the UK and, crucially, reciprocal streaming of work made in venues across the UK. Such initiatives would be not substitute for live performance, but would maybe lay down a marker of intent. Yes, it would put a dent in the revenue, but it would vastly widen access and generate a lot of love.