THEATRE by casts of mixed ethnicities, diversifying the offering no end, and ensuring the industry has remained buoyant throughout the recession, consistently breaking records for attendance and gross. “There’s no question that there’s a dramatic trend that’s taking place on Broadway, which is a diversity of shows,” reveals Charlotte. “This is a particularly diverse year for Broadway, but we’ve been moving towards more diverse casting, as well as more diverse shows, for at least eight of the last 10 years. We’ve really seen that change and there’s now something for everyone.” Of course, Broadway and the West End have faced their fair shares of challenges throughout the financial crisis. At a time that’s rife with budget and funding cuts, each setting has adapted its approach and made its repertoire as broad and appealing as possible. It’s this flexibility that’s led to such consistent box office success, as they’ve steered the ship and weathered the storm together. “We’ve been lucky and grown steadily every year through the recession,” Julian reflects. “That’s through innovation, making sure people of all ages can come and maintaining ticket prices at all
π SEVEN BRIDES FOR SEVEN BROTHERS
different levels. It’s never easy, but not for nothing are we the main theatre capitals of the world, so we’re excited that the way theatre has adapted and innovated has enabled us to continue to grow.” And as shows become increasingly more advanced, with stunning visual effects forging a truly immersive experience,
directors and producers are forever on the lookout for unique, exciting and inventive ways to tell their stories. But, as Julian maintains, it’s the stories themselves that will always come first when filling the seats, no matter how much ‘razzle dazzle’
† DOMINIC COOKE, WINNER OF THE OLIVIER AWARD FOR BEST REVIVAL, WITH JIM CARTER AND JULIA MCKENZIE
might accompany them. “In one sense, theatre’s very simple – it’s storytelling on an empty stage,” he says. “The thing that’s changed is how those stories are told. In a way, what we’re doing is very similar to how it’s always been, just sometimes with more bells, whistles and design elements. Productions and ideas evolve, but it’s great storytelling and great music that makes a production successful.” As for London and New York, their relationship is one that’s showing no signs of slowing anytime soon; on the contrary, it’s stronger than ever, as they consult on everything from labour issues to cross-marketing and educational panels. In spite of their achievements, however, they’ve never lost sight of what’s really important – spiriting their audiences away to a world of pure imagination. “We continue to see more shows going back and forth from both sides, so there’s great transferability,” concludes Charlotte. “Every performance is a little bit different and adds to the intimacy that an audience experiences. You escape from your everyday life into a little fantasy world, and that magic that occurs when you get into a show in a theatre just can’t be replicated.”
To find out more about SOLT, visit www.solt.co.uk or for more information on The Broadway League or American Theatre Wing, head to www.broadwayleague.com or www.americantheatrewing.org
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