Industry Pro Newsletter: SAG-AFTRA Close to a Deal, Only 6% of Women in Theatre in the UK Feel an Increase in Opportunity
Cara Joy David Remembers Producer Bill Kenwright, TCG Announces a New Program Designed to Get Dramatic Literature More Accessible
By: Alex Freeman Oct. 30, 2023
Some of our more significant stories this week come from across the pond: the first being that a new survey indicates that the vast majority of women working in theatre don’t feel like they are seeing an increase in opportunities. While the data comes from the UK, I think we would find a lot of anecdotal agreement in the US industry as well. In the UK, we also see yet another move away from the traditional Artistic Director model, and the impact of a new green travel initiative on theatregoers carbon emissions.
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Industry Trends
Actors Strike: Deal in Final Stretch as Negotiations to Halt For Today
Actors' unions, after intensive negotiations, are in the final stages of getting to an agreement. The negotiations have focused on working conditions, compensation, and other critical issues for actors. The temporary halt aims to allow both sides to regroup and continue discussions in good faith.
Amid strikes and labor negotiations in the entertainment industry, Broadway Cares has made a substantial $1 million grant to the Entertainment Community Fund. This financial support is intended to aid workers affected by the ongoing strikes, especially those from SAG-AFTRA and the Writers Guild of America (WGA).
Broadway/New York
Industry Trends Weekly: Bill Kenwright: There Will Never Be Another by Cara Joy David
Since the start of my career, I’ve heard a lot about the rise of the so-called “investor producer.” That’s the pejorative term for people who are viewed as solely money people but serve as lead producers. However, we definitely have always had people in our midst who are much more than that. Bill Kenwright, who passed away last week, was an old-school dedicated leader. He committed totally to his projects. He knew more about them than anyone. And he often knew more about other people’s projects than even the people involved with those projects.
About fifteen years ago, I was working on a New York Times story (that ended up not running) on the difference between tours in America and Europe. Someone suggested I speak to THE Bill Kenwright. The man was busy—he had several productions at the time and he was also chairman of the Everton Football Club. I managed to schedule a 30-minute phone interview. That one lasted over an hour and had to be continued another day. At one point, I dropped a B-movie reference that, as soon as I said it, I assumed he wouldn’t get, but somehow he got it. He had an enormous knowledge of popular culture, which informed, but didn’t dictate his choices
“Bill had an unerring instinct for promoting the unexpected,” said journalist Mark Shenton, a longtime friend of the producer. “He revived Blood Brothers after its original short-lived West End run under a different producer—and turned it into one of the longest-runners in West End history. He also took the show to Broadway—and turned it around, after initially unwelcome reviews, into a long-running success there, too. He was notably eclectic in his choices, ranging from being producer for Peter Hall’s company in the West End and on Broadway, to RSC transfers and star-led classic revivals in the West End and on Broadway of plays from Tennessee Williams to Ibsen, Wilde and Euripides.”
He produced hundreds and hundreds of shows. He took chances. Some didn't pay off, but many did.
“He was a huge influence and I will be forever thankful to him for believing in my work and giving me a platform that exceeded all my wildest dreams,” emailed Rob Madge, whose Broadway-bound show My Son’s A Queer (But What Can You Do?) was produced by Kenwright in the West End. “Not many men would proudly produce a show that celebrates the LGBTQ+ community whilst also chairing a football club!”
He was the ideal person for me to talk to about tours because he probably produced more than anyone ever. He was dedicated to spreading theater—to producing it everywhere. As part of that effort, he took over a number of regional theaters throughout the years, helping them survive. It’s hard to measure a contribution like his. It’s more than one show or another. It’s a legacy of commitment.
Kenwright was known in the industry as a shrewd businessman, but also one with a kind heart. Before I decided to write this story, I chatted with a few folks, no one famous, and they all told me of periodic gifts—a bouquet here, a bottle of champagne there—that Kenwright would send. Famous folks have those stories too, but it says something that they aren't the only ones that do.
“He would always say he could not afford to employ us all, but yet he did,” stated Here We Are star Tracie Bennett, who appeared in multiple Kenwright productions. “I will forever be grateful to this human being for telling me how the industry works. He gave me confidence when I had none as a kid moving to London on my own. He made me stronger as a performer and a better friend and person in terms of paying this forward to others now. He was loved and is sorely missed by so many, including me.”
American Theatre Magazine: Roberta Pereira to Leave Playwrights Realm to Lead NY Performing Arts Library
Roberta Pereira, the visionary leader of Playwrights Realm, is set to leave her role to head the New York Performing Arts Library. Her tenure at Playwrights Realm was marked by innovative programming and a commitment to supporting emerging playwrights. As she transitions to her new position, Pereira's extensive experience in the theatre world and her dedication to fostering the arts are expected to bring fresh perspectives to the library, which plays a vital role in preserving and promoting performing arts history and culture in New York.
Regional
American Theatre Magazine: TCG Announces Plays for the People in the Stacks
Theatre Communications Group (TCG) has unveiled "Plays for the People in the Stacks," a new initiative to bring theatre to public libraries across the United States. This program aims to make plays and theatrical resources more accessible to diverse communities. It's a collaboration between TCG and the Open Access Digital Theatrical Library, offering free, downloadable plays, allowing libraries to host readings and performances. The initiative seeks to engage audiences, encourage community participation, and provide access to the arts. By uniting theatre and libraries, "Plays for the People in the Stacks" promotes the democratization of theatre.
International
MARY POPPINS Makes Significant Impact on South Australian Economy
The stage production of "MARY POPPINS" has had a substantial impact on the South Australian economy. The show, which ran in Adelaide, generated millions of dollars, providing a boost to the local economy. This financial impact demonstrates the power of successful theatre productions in attracting tourism and business to a region.
The Stage: Only 6% of Women in Theatre Feel Opportunities Are Increasing
A recent survey in the UK reveals that just 6% of women working in the theatre industry believe opportunities for them are on the rise. The study suggests that despite ongoing discussions about gender equality in the arts, progress has been slow in providing equal opportunities for women. The survey highlights the need for more inclusive practices and policies in theatre to address gender disparities in hiring, directing, and creative opportunities.
The Stage: Theatregoers Reduce Carbon Emissions by 41% in Three Months Under Pilot Travel Scheme
A pilot travel scheme conducted by UK theatre venues has shown that theatregoers can significantly reduce carbon emissions. The results reveal a 41% decrease in emissions by patrons who utilized sustainable transportation options. This initiative demonstrates how the arts can contribute to environmental sustainability and encourage greener travel choices
The Stage: Royal Exchange Scraps Artistic Director Model After 47 Years
The Royal Exchange Theatre in Manchester, UK, is abandoning its artistic director model after 47 years. This shift aims to decentralize decision-making and foster collaboration with artists. It marks a significant change in the theatre's structure, with plans to appoint an executive director and several artistic associates to shape its future artistic direction. The move reflects a broader trend in theatre organizations reevaluating their leadership models for increased inclusivity and innovation.
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October 23, 2023 - Earlier Curtain Times, New NEA Data on Adult Participation in the Arts
With The National Theatre announcing experimenting with an earlier evening curtain time, Cara Joy David explores whether a similar experiment will be making its way to Broadway. New leadership at the Raven Theatre in Chicago, and New Rep in Boston has announced that they will be closing their doors after 40 years. The Repertory Theatre of St. Louis also announced fiscal troubles this week, resulting in the replacement of their traditional Christmas Carol, and the cancellation of two other previously announced productions. Meanwhile, new data shows that regional arts centers in Connecticut contributed more than $1 Billion in economic activity in the last year.
From the start of this newsletter in the pandemic, we’ve been covering the evolution of the performing arts industry, and the articles we’ve compiled this week underscore that evolution in a big way. The first of those articles being the very question on if the nonprofit model is still working for arts organizations anymore. Then, in England, we have a story of how drama schools are adapting their curriculums to adapt to the wide changes that are occurring across the industry. What is abundantly clear is that we are still in the middle of the transformation, and that the industry that will ultimately emerge in the post-pandemic world is going to be very different than the one we had going in.
This week, we’re looking at a few different crises facing theatres across the globe - from Pittsburgh, a story on staff turnover causing many organizations to raise wages, causing a new kind of financial strain. Data from Colleen Dilenschnieder suggests that many patrons of performing arts organizations might not realize that the organization is a non-profit, and in the UK, National Theatre Wales is at risk of closing following cuts to their governmental support.
BroadwayWorld Resources
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