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Post by Jan on Apr 29, 2024 20:06:35 GMT
There has always been a strange lack of diversity amongst senior theatre directors in the subsidised sector and it continues to be so. There are a disproportionate number of privately educated and/or Oxbridge graduates amongst them. For example here’s an incomplete list of directors who studied English at Cambridge: Peter Hall, John Barton, Trevor Nunn, Richard Eyre, Nicholas Hytner, Simon Godwin, Max Webster, Rupert Goold, Robert Icke, Tom Littler, Christopher Luscombe, Josie Rourke. A single (non-theatrical) course at a single university yet look at how many theatres they ran and for how long.
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Post by Jon on Apr 29, 2024 20:17:06 GMT
Change is always slow especially in theatres but with Indhu Rubasingham's appointment as the AD of the National, it's happening, Lynette Linton is another AD who I can see running one of the main London theatres after the Bush.
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Post by oxfordsimon on Apr 29, 2024 22:57:19 GMT
Tom Littler was Oxford not Cambridge...
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Post by parsley1 on Apr 29, 2024 23:52:52 GMT
There has always been a strange lack of diversity amongst senior theatre directors in the subsidised sector and it continues to be so. There are a disproportionate number of privately educated and/or Oxbridge graduates amongst them. For example here’s an incomplete list of directors who studied English at Cambridge: Peter Hall, John Barton, Trevor Nunn, Richard Eyre, Nicholas Hytner, Simon Godwin, Max Webster, Rupert Goold, Robert Icke, Tom Littler, Christopher Luscombe, Josie Rourke. A single (non-theatrical) course at a single university yet look at how many theatres they ran and for how long. Of course your point is valid and correct And I thank you for raising this But at the same time it’s quite obvious The same inequality exists in all industries at the top I also think within many minority groups The arts or theatre are not necessarily seen as a serious or viable or respected career path Many factors |
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Post by scarletmood on Apr 30, 2024 0:04:56 GMT
A lot of top actors and comedy performers were also Oxbridge but not so much was made of that. Interesting point though to consider. I'd like to know the diversity of artistic directors compared to directors of plays/musicals.
We have got a lot more female directors in recent years both running theatres, their own companies or directing major shows. But there is a lack of BAME directors generally from what I've noticed but hopefully the likes of Kwame Kwei-Armah and co can encourage more people from this sector to take on such career paths.
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Post by parsley1 on Apr 30, 2024 9:38:58 GMT
Perhaps it is a career path they don’t necessarily want to take or value
It’s very interesting when values and beliefs of others are superimposed
What is the likelihood a non white director will be given an AD role on their merits and talents?
Very small
You are more likely to have success in other fields other than the arts as minority and make it to a more senior position
As I said it’s not a career many people will take that seriously in the grand scheme of things
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Post by coffeeee on Apr 30, 2024 10:01:08 GMT
Change is always slow especially in theatres but with Indhu Rubasingham's appointment as the AD of the National, it's happening, Lynette Linton is another AD who I can see running one of the main London theatres after the Bush. You also have Nancy Medina at Bristol Old Vic, Kwame Kwei-Armah at the Young Vic, Amit Sharma at the Kiln, Matthew Xia at ATC, Nadia Fall at Stratford East, Justin Audibert at Chichester. And there is also the band of Associate Directors coming through. All of which is very exciting. |
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Post by Jan on Apr 30, 2024 10:25:43 GMT
Tom Littler was Oxford not Cambridge... But was lecturing in the English department at Cambridge while also AD of Jermyn Street. |
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Post by Jan on Apr 30, 2024 10:34:44 GMT
Another barrier is seems to me is the fact that many ADs, directors, playwrights and actors are represented by the same agents. It has the potential to influence programming and casting.
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Post by max on Apr 30, 2024 18:42:24 GMT
Change is always slow especially in theatres but with Indhu Rubasingham's appointment as the AD of the National, it's happening, Lynette Linton is another AD who I can see running one of the main London theatres after the Bush. You also have Nancy Medina at Bristol Old Vic, Kwame Kwei-Armah at the Young Vic, Amit Sharma at the Kiln, Matthew Xia at ATC, Nadia Fall at Stratford East, Justin Audibert at Chichester. And there is also the band of Associate Directors coming through. All of which is very exciting. I think things are the healthiest they've been - though it's worth everyone being vigilant at the reaction these ADs get if/when they make a misstep or even a seriously bad decision. I can think of a writer or two who gets chance after chance on major stages, and can't help but think that if they came from the pool of talent seen as 'diverse' one failure might be the end. But on progress: Theatre Royal Stratford East & The Kiln are now two ADs away from when they were run by someone without a second heritage to draw from. Add The Arcola to coffeeee 's list, above. Donmar Warehouse, Hampstead Theatre had female ADs but now don’t (Hampstead has a programmer/line producer (female) more than traditional Artistic Director since Roxanna Silbert left). |
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Post by coffeeee on May 1, 2024 11:21:58 GMT
You also have Nancy Medina at Bristol Old Vic, Kwame Kwei-Armah at the Young Vic, Amit Sharma at the Kiln, Matthew Xia at ATC, Nadia Fall at Stratford East, Justin Audibert at Chichester. And there is also the band of Associate Directors coming through. All of which is very exciting. I think things are the healthiest they've been - though it's worth everyone being vigilant at the reaction these ADs get if/when they make a misstep or even a seriously bad decision. I can think of a writer or two who gets chance after chance on major stages, and can't help but think that if they came from the pool of talent seen as 'diverse' one failure might be the end. But on progress: Theatre Royal Stratford East & The Kiln are now two ADs away from when they were run by someone without a second heritage to draw from. Add The Arcola to coffeeee 's list, above. Donmar Warehouse, Hampstead Theatre had female ADs but now don’t (Hampstead has a programmer/line producer (female) more than traditional Artistic Director since Roxanna Silbert left).
Yes and obviously Tamara Harvey at RSC with Daniel Evans. Kate Wasserberg at Clwyd - I'm sure there's lots of great people I'm missing. I agree we are in quite a healthy place. In terms of missteps, I agree that AD's should be given time but I think that is also true of writers. I think there is a case of genorisity when it comes to re-commissions. It's very rare to nail it first time, or for critical and commercial reaction to be unanimous and theatres should be in the business of developing artist's careers not just giving people one shot and then you're out. Part of the reason why I think new writing is in the duldrums is that theatres aren't recommissioning enough so most plays are emerging artists with all the strengths and weaknesses of a first time play. It creates a buzz but there is sometimes a lack of maturity to the work which can only come from through trial and error over years of being properly produced and supported.
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Post by lynette on May 1, 2024 11:57:16 GMT
The term ‘diversity’ is a slippery one, no? These guys from Oxbridge might or might not have had some difficulties in their pasts. And plenty of non English heritage. They might be gay or something else. Names don’t always say a lot. As for the obviously varied heritage ones, they may have come from what we call a ‘privileged’ background, have wealthy in laws and be throroughly “british’ in their education and outlook. So what are we looking for? Talent, hard work, imagination, open mindedness ( and in my opinion, no sticks in Shakespeare - if you know , you know)
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Post by n1david on May 1, 2024 11:58:39 GMT
In theatre? Nooooooooooo......... |
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Post by TallPaul on May 1, 2024 12:39:17 GMT
If we were to compile a list of who is, and has been, AD of every subsidised theatre in the country, I'm sure we would actually find plenty of diversity.
The world-famous Crucible Theatre has, to my knowledge, had two female ADs so far, stretching right back to the Dark Ages of 1981; the last four, I think, have all been former or current actors. The first AD of the then West Yorkshire Playhouse was a woman. John Godber's roots couldn't be more humble: son of a miner, Bretton Hall, teacher at his former school, AD at Hull Truck.
The case, M'lud, is not proven.
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Post by lynette on May 1, 2024 18:16:58 GMT
In theatre? Nooooooooooo......... Well in the past in the industry and the movies, it wasn’t a good idea to be gay so one thing we have sorted out, I hope. |
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Post by jakobo on May 1, 2024 20:51:19 GMT
7 out 10 Tony nominees this year are female. 0 out of 4 Olivier nominees this year are female. What a stark contrast  |
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Post by aspieandy on May 1, 2024 22:01:19 GMT
edit: no comment. don't get involved. move on.
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Post by max on May 2, 2024 10:36:05 GMT
I haven't copied the previous bit of conversation, but you're so right coffeeee , a problem for writers is that they are often picked up for the excitement of the new, but there needs to be real attention given to next steps and development. I know in BBC Radio Drama for a while (and may still be the case) they were mindful of second commissions - to ensure they weren't getting so intoxicated by what's shiny and new that last year's discovery was treated as old news. The industry needs to keep faith with new ADs and new writers, with at least the same degree of equanimity that sometimes gets afforded to some well established names who have a wobble in judgement or achievement. |
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