I remember, during my Drama degree, sitting in a class where my teacher sadly told us that Peter Brook's categorisation of 'The Deadly Theatre' could best be exemplified by the work that takes centre stage on Broadway and in the West End. His argument being that whether due to financial reasons or alterations in attitudes to art, the only shows people are willing to spend their money to see, and so the only shows theatre producers are willing to take a risk on, are large scale, unambitious projects featuring big name actors, dependent on expensive sets or technical effects and favouring old stereotypes in the styles and story lines rather than making a go at inventing something new. The only option, he said, was for some sort of theatrical apocalypse to take place so we could start afresh.
I have always been far too in love with both Broadway and the West End, and adoring of lots of these tried and tested productions and styles anyway, to take this sentiment seriously. I suppose I'm not even sure how seriously he took it. I still think that a lot of demanding, outstanding, risk taking performances do take place on these stages and even if the majority of concepts employed aren't necessarily ground-breaking they are, usually at least, incredibly perfected versions of something tried elsewhere. When you're in these large theatres, producing the show will always be expensive and naturally you need something that will appeal to a large enough number of audience members to fill these theatres nightly for long runs. It's only natural that you get as close to a 'sure thing' as you possibly can.
As I'm London based it's harder for me to cast aspersions on what happens in the US but over here I have to admit that lately even I've noticed that the array of shows brought to the West End stages are starting to get a bit predictable. That's not to say that some, or many, are not enjoyable or well put together but having paid over-the-top prices to be disappointed with too many celebrity led, bland or lazy mass appeal productions I was starting to understand where he was coming from. Again, while I'd never embrace fully that all theatre on the West End stage was 'Deadly', it's true that fringe theatre was impressing me more and more, daring to present ideas that actually mattered to me and depending more on the words and their presentation rather than fancy lighting or sets. Plus, as an actor and playwright, there seemed to be such a chasm between the unpaid fringe theatre that was just about accessible to me and the oft longed for West End. It seemed to be that this, potentially, could be part of the reason why the gap between the newer, fresher work being created and that which actually made it to the West End was so wide. Some of the things I've enjoyed the most have been those that have come from subsidised backgrounds such as the National Theatre's production of Curious Incident of the Dog in the Night Time but it's rare, with notable exceptions (Stones in His Pockets, 39 Steps, Handbagged, Kat and the Kings), that anything comes from anywhere smaller and only one of those 'noted exceptions' is recent.
Which is why I'm so delighted, for so many reasons, about Mischief Theatre's production of The Play That Goes Wrong which opened last week at the Duchess Theatre in London's West End. It's a sort of rags to riches story, now routinely rattled off in press coverage of the show, but no less impressive a tale for it's repetition. While the company behind the show have now been working together for over five years performing their work at theatres and festivals around the UK and abroad, they're still relative newcomers in the world of theatre and it's a testament to their hard work and the quality of their show that, in a mere 19 months, it has made it's way from a sixty seater pub theatre to sell out shows in the West End. No one has pulled strings for them or given them preferential treatment. Quite simply their work has spoken for itself. Having said that, kudos must go to producers Mark Bentley and Kenny Wax, both for watching what's being produced on the fringe and for taking a risk on a group of completely unknown writers and actors. Admittedly, although something so significant is taking place and happening to our talented friends within touching distance, for the rest of us plodding along on the fringe a similar outcome for our work still seems out of our reach. However, if nothing else, The Play That Goes Wrong taking its rightful place in the West End signifies an important potential moment in theatre history and practice. Not only has this play been on an unprecedented journey but so much about the way in which this has been managed is important. The fact that no actor or director was replaced with a 'name' actor, the way in which Mischief Theatre and it's directors have been allowed to remain very much a part of the production team learning from, and working alongside, the more established industry members and the fact that so much of the original, tiny production still remain are all so important. It's stories like this that make a difference. That make the West End, such a central part of our industry change from something we were starting to resent, to something we can fall in love with all over again and still hope to be a part of one day. Because, finally, it's starting to represent theatre that's being created right now, shows that our contemporaries want to make and, obviously, that audiences long to see.
I think my former teacher will be pleased to see that there's nothing deadly about the West End at least. It's alive and kicking!
