National Theatre Under Fire: David Hare Criticizes Shift from Repertory Theatre
The National Theatre risks losing its cultural heritage by veering away from its founding principles and favoring “semi-commercial” productions designed to attract West End audiences, according to renowned playwright David Hare.
The Evolution of the National Theatre
Established in 1963 under the direction of Laurence Olivier, the National Theatre was envisioned by George Bernard Shaw and Harley Granville-Barker. Granville-Barker’s influential ‘Blue Book’ from 1904 called for a repertory system featuring a core acting company rotating through a variety of plays. This concept, integral to the theatre’s identity, aimed to foster a deeper connection between audiences and the performing arts.
The Shift Towards Semi-Commercial Productions
However, financial constraints and the impact of the COVID-19 pandemic have prompted the National Theatre to adopt fewer, longer-running shows, often centered around well-known actors. This strategic shift, while potentially more financially viable, has sparked significant concerns among critics and artists, including David Hare.
In an interview on BBC Radio 4’s This Cultural Life, Hare expressed his alarm, stating, “Once the National Theatre drops repertory, which it appears to have done, you really are eroding the culture in a profound way.” He laments the loss of diverse offerings, comparing the current model to a series of semi-commercial runs rather than the vibrant repertory experience envisioned by foundational thinkers like Shaw and Granville-Barker.
Artistic versus Commercial Priorities
Hare’s critique hinges on the perceived shift from art theatre to commercial enterprises aimed at securing West End transfers. He paints a vision of the National Theatre as once dedicated to presenting a wide array of the world’s drama, a role now overshadowed by the pursuit of short-term financial gains. According to Hare, this approach not only dilutes the cultural richness of the institution but also stifles artistic risk-taking.
“The National Theatre is meant to present the world’s drama, and it doesn’t at the moment. It does semi-commercial runs, angling for the West End, one play after another. That’s not repertory theatre. That’s not art theatre.”
The Role of Artistic DirectorsHare draws parallels to his own experience, noting the pivotal role of a supportive artistic director. Sir Peter Hall’s decision to champion Hare’s play Plenty against board resistance exemplifies the kind of commitment that can lead to groundbreaking works. “By the end [of the run], it was full to standing ovations because he allowed the audience to get at it. Who curates plays like that now? Who is able to have the money to curate plays?” Hare questions.
Regional Theatres and Future Voices
The playwright’s concerns extend beyond the National Theatre, with similar caution about regional theatres. He warns against the risk of misspending opportunities to nurture emerging voices, comparing the current climate to the bold backing once given to seminal playwrights like Harold Pinter, John Osborne, and Edward Bond. For Hare, there is a need for greater financial support in regional theatres, enabling them to take risks and curate works thoughtfully.
“It’s very hard for artistic directors in the regions to risk failure. Subsidy to the regions would go some way to addressing this,” Hare argues.
National Theatre’s Response
The National Theatre has issued a rebuttal to Hare’s critiques, emphasizing its commitment to new plays and diverse voices. The institution claims that it now presents more new works by a broader range of playwrights across its three venues than ever before. They also highlight that the transition to “straight runs” was necessitated by post-pandemic financial challenges, though they maintain that the number of productions and overall commitment to writers and new writing remain steadfast.
Conclusion: Balancing Art and Finance
The debate surrounding the National Theatre embodies a broader conversation about the role of performing arts institutions in the digital age. While financial stability is crucial, so is the preservation of cultural richness and artistic integrity. As the National Theatre continues to evolve, finding a balance between these priorities will be essential for its ongoing relevance and impact.
We invite fellow theater enthusiasts, critics, and performers to share their thoughts on this vital discussion. Comment below, subscribe for more insightful articles, or share this piece on your social media channels to contribute to the conversation.
