But seriously. I wonder if this tribalism hurts both plays and musicals. My ideal theatre would be fifty-fifty and would show audiences how vital and life changing both can be.
I spend lots of time trying to convince "play audiences" that there are musicals for them. Shows that are mature and thoughtful and life changing. But I spend just as much time wondering why "musical theatre audiences" don't watch more plays.
All new musicals would be better if more musical theatre writers had watched more Caryl Churchill plays.
Two weeks ago I had quite major surgery. Today I got on a bus for the first time since then. With my blue badge. It was very full and I found myself standing initially near the priority seats holding on firmly to the hand rails.
A few stops in someone vacated a priority seat. A nearby mother with two kids ushered her kid toward the available seat. I intercepted and said I had recently had surgery and needed to sit down. I showed my blue badge.
She said her son was on his way to that seat and was on the bus before me. I suggested that this was not the purpose of priority seats which were for people who had difficulty standing.
I just want to say that I am done defending digital theatre. If you can't see the virtue of it or the value of it then fine.
I'm so over people telling me it's boring, it doesn't hold their attention, it's not real theatre.
It has given me and a lot of writers the chance to share their work in situations and times when traditional methods wouldn't have allowed that. It has allowed people all over the world to watch it.
While I'm delighted for everyone who was accepted for the @royalcourt writers group I can't help but feel sad that there will probably never be a subsidised theatre with an open submission writers group for musical theatre writers. Please support musical theatre career artists.
If any UK subsidised theatre wants to start one drop me a line. I promise if we nurtured career musical theatre writers properly we would not only make beautiful art but would also all get really rich. (CF @PublicTheaterNY)
Career progression for musical theatre writers is nearly impossible in the UK. Compare it to all of the systems, awards, writers groups etc for writers of plays.
So back in May I was meant to direct Merrily We Roll Along for the @CSSDLondon MA Musical Theatre students. But of course it got cancelled. This left a year of students having never completed their one big public musical.
It seemed for months that the year would just be cancelled but gradually I became aware that due to the hard work of the course leader Paul Barker the year would be able to come back. However they would only be able to be in groups of six.
This meant that a year of 22 needed to be divided up into groups of 5 and 6 and that they could never rehearse in the same room. Moreover we knew the shows couldn't have an actual audience so would need to be able to be legally filmed.