OLIVIER AWARDS 2016: Gary Naylor's Views

I have no doubt that the Society of London Theatre does a great job for its members and for the wider public in supporting and developing London's theatres. Or rather, I should say, some of London's theatres, as only some can get past its membership rules:

"In order to apply for membership a producer should contact SOLT in the first instance, and will then need to seek two Board members who are willing to propose and second the application. Subject to Board approval the application will then go to a ballot of the whole membership where a simple majority will secure election. A producer will need to place four deposits with the LTC (see section 2.3) and establish a good track record of meeting obligations to Equity members before being granted 'non-deposit' status." (from http://stageone.uk.com/media/files/downloads/The_Society_Of_London_Theatre.pdf, the best source I can find).

That rather longwinded process has been completed by 59 theatres according to this list.

Now it's very much the right of a private organisation to admit whom it wants to admit according to whatever criteria it wishes to apply, but I do have a problem when it comes to awards. Though there are lots of others around (too many, some would say), by virtue of its name, its venue and its history, the 40th Olivier Awards at the Royal Opera House is very much seen as the creme de la creme (and marketed as such).

So it's a shame that so much good work in London theatres doesn't even get to the starting line, excluded from the race through no fault of its own. How many London theatregoers know that? And how many care whether their theatre of choice one evening is a SOLT member or not? A good show is a good show wherever it is and the highest accolades should be awarded through inclusive and not exclusive competition.

What do you think? Let us know by commenting - or tweet your thoughts @BroadwayWorldUK!

We'll be covering the Olivier Awards LIVE this Sunday, April 3!