Is Theatre being led by the wealthy elite? Do audiences really care about diversity?

ACT FOR CHANGE 2015

Hosts- Danny Lee Wynter, Daniel Evans & Kobna Holdbrook-Smith
Panel Chair- Shami Chakrabarti
Panel- Adrian Lester, Phyllida Lloyd, Cush Jumbo, Mark Lawson, Jenny Sealey, Chris Bryant

Diversity. Inclusion in the arts. 

It's a biggie. 

And the basis for Act For Change's debate at the National Theatre on 2nd June 2015. I was lucky enough to be there, and live tweeted through he event (RSI calling) - but here is a shortish summary of the event.

The event is launched with actors reading anonymous testimonials of rather shocking experiences within the theatre industry, relating to all manner of diversity & inclusion. We're talking racism, sexism, homophobia, and disregard for disability in the most blatant of senses, and proof, that there's work to be done.

UK Theatre

First off, let's remember, that diversity within theatre is ahead of diversity on screen. Marginally, but still ahead. It's a sentiment echoed by critic Mark Lawson. A silver lining at least.
However, I suspect that's as far as we'll get (for now)

Kobna interviews Rufus Norris (NT AD) on how he thinks the NT do at diversity. Rufus mentions that the NT needs to reflect its London and UK audience, but when it comes to putting quotas in place (onstage and backstage), he's more undecided. 

Phyllida Lloyd (director) argues that quotas are needed, because if they're not- the "white men won't miss us". Further she mentions that if the same classical repertoire is dominating the theatre scene, then it sets the notion that plays can only be done & viewed in a certain way. 

It's a sentiment echoed by MP Chris Bryant, that we can't keep doing the same cannon of theatre in the UK. 

The Race Factor

But when we're looking at diversity in theatre, in reference to race, where do we start? 

Actor Adrian Lester points out that BAME people have existed in the UK since 1800s, so the constant churning out of "white" costume dramas just isn't realistic, going on to add- that when you don't show that realism, then writers, directors and casters are working within a "myth". One TV writer even mentioned, through Mark, that unless you specify the race of a character, then directors don't get the point.

Startlingly Mark also mentions that another friend once reckoned that "costume drama is popular because the audience prefer watching white people only"  

Perhaps in theatre responsibility lies with the artistic directors, that they should stop hiring associate directors who are their "mirrors"- the "keys to the building" need to be given to more diverse hands, as Phyllida states. 

As some may say, responsibility for change begins at the top. Or perhaps more diverse stories are needed to be told. Either way- the race factor of diversity in theatre, isn't quite there yet. 

Disability

And how about disability in theatre, does that fare better? 

Graeae AD Jenny Sealey says that it's a real fight for inclusiveness, not only on stage but also in existence. She quotes as someone stating that "people don't go to the theatre to be reminded of the tragedy of being handicapped" A real lack of access to work, makes it all the more difficult for performers with a disability. Where are the funds to help?

Audience members follow on with the issues, being given a fair chance to get into drama schools. If they're not able to get in, then how can they be "excellent"?  We're reminded that disability transcends race, gender or class. As one person mentioned to me- "anyone can become disabled at any point of their life" 

But it's not all bad news, as Rufus announces plans to have a show on at the NT that will be "very focussed on disabled issues" 

I guess with both race and disability, the more we see it, the more we learn & the less we "fear"

Education 

What's the solution?

Actress Cush Jumbo, mentions education-  let's make new TV and theatre shows that not only educate, but re-educate.  Audience members agree- stating that education needs broader stories/plays in the classroom rather than just the classics. Diversity in theatre begins in education. 

Phyllida gives the example of taking one asian actress into a bangladeshi school, where the kids had never had that sort of exposure, of seeing someone as they were, on stage. It inspired them. 

Education should be able to show all children, that people like them, do exist/work and are successful in the arts. As Chris mentions, the "arts are the spiritual NHS" of the UK

Political

And what about the political support?

Chris states that we haven't even started with diversity in the arts. More needs to be done. There is a fear that future cuts will hit theatres outside of London, the hardest cuts are coming & the BBC licence fee needs to be kept- it funds so much opportunity. Ed Vaizey, sat in the audience, mentions that there have been changes made. 

Although it seems, those changes might not be in the right direction.

Summary

What now?

Well the frustration at the lack of change is evident, but things can be done, starting with the individual. "Theatre is the most glorious way of changing perceptions, but not enough of us are doing it. That's boring" 

Cliche i know, but if at first you dont succeed, then try again. Write. Take action. Network. Tell your story. Inspire others.

Shami Chakrabarti, chair of the panel, let's us know that we have a power in theatre & the arts, & we need to use it well.  A statement I wholeheartedly agree with.

Is theatre being led by the wealthy elite? There's a sense that perhaps, it really is.

Do audiences care about diversity?- Well lets show them diverse, and let them decide.

Lets not be having this same debate again in 10 years time. We're stronger now together than we ever have been.