Challenges of UK regional Theatre

 The growing challenges for UK Regional Theatre

Over the last nine months we have published a series of articles about the UK regional Theatre on West End Best Friend focusing on the challenges these community assets face in bringing Theatre to their local area. The economic case is very strong with a recent SOLT/UK Theatre survey indicating that there were over 1600 venues in UK, over 200,000 workers, over 30 million tickets sold and in total, generating nearly £4.5 billion of turnover . The SOLT/UK Theatre report argued the Gross Value added to a community is 2.4 times the value of tickets sold. 

Venue operation costs have risen due to general inflation, but specifically due to Utilities costs and the two recent upgrades to the  Minimum National wages. Venues report 100% increase in Utilities costs in last 3 years, and a over a  30% rise in National Minimum wage. The new Minimum Wage not only drives up the lowest paid salaries but inflates the whole payroll as the differentials have to be maintained for the higher paid staff. Now the new Labour Government has compounded this by increasing National Insurance, reducing the threshold that it starts at and banning zero hours contract, an essential part of running a venue where the programming varies week to week.

Overlay on this the economic pressures on regional theatres from local authorities cutting or eliminating subsidy for the non-statutory provision of live theatre in their boroughs, or worse still, an estimated 20% of local authorities expected to declare technical bankruptcy, and it feels inevitable that many more venues will close their doors or cut back their programmes over the next few years.

Manifesto for Sustainable Regional Theatre

In May we published our manifesto for change and support for these venues,

https://www.westendbestfriend.co.uk/news/a-webf-article-besties-manifesto-for-sustainable-theatre

We argued it needs all the interested parties to work together to solve the challenges. The Central Government needs to consider how these small valuable businesses are affected by the broad-brush changes they implement and what additional support might be required. The Arts Council of England needs to review its awarding policy and focus on how it can help these venues navigate the stormy waters. The latest £5million production funding loan scheme is a valuable first step as without product flow to the venues there are no tickets to sell and together with the previous governments enhanced TTR scheme, this funding should increase product flow as it reduces risk to the producers. 

Producers, Creatives , Artistes and Rights holders need to examine their terms of trade with venues as they benefit from the central funding and TTR to enable Venues they visit to operate on a sustainable basis. Large Guarantees or 80% share of the Gross Box Office leave very little for venue to retain to cover their rising costs. Venues need to collaborate creating their own product as co-producers (and ensuring they do benefit from the TTR) and perhaps sharing some of the back-office functions to improve efficiency. Small independent Trust running venues under 800 seats are very vulnerable to rising costs and disrupted product flows to fill their stage.

Audiences too need to appreciate the value of their local Venue by supporting in any way they can. As we saw with the successful campaign to reopen the Oldham Coliseum and are starting to see with the Beck, Hayes, local support can be galvanised in the name of the Venue remaining opening but this needs to happen across the country BEFORE the venue reaches the point of closure. 

Successful Models of Venue operation

We have looked over the six months at how some regional venues have addressed these challenges. Nottingham Playhouse is a good example 

https://www.westendbestfriend.co.uk/news/spotlight-on-nottingham-playhouse

It operates with a careful mix between own production, received productions and community activity, supported by ACE and a handful of key sponsors and benefiting from the investment in the infrastructure in the last decade. It demonstrates how the delicate balance of regional theatre ecology can be achieved. There is dedication, in every department, to making sure that Nottingham Playhouse serves its local community. It runs through everything they do, from programming to participation activities, to supporting local artists and engaging with local businesses.

Another success story of the last few years is the Hall for Cornwall in Truro.

https://www.westendbestfriend.co.uk/news/spotlight-on-hall-for-cornwall#:~:text=The%20Hall%20for%20Cornwall%20and,to%20entertain%20the%20local%20audiences.

Its brand-new Playhouse is a shining example of how old, listed buildings can be reinvigorated for the 21st Century to serve the local community, enhance and protect the local cultural heritage and attract Producers to tour their shows to entertain the local audiences. The change from a community venue into a key part of the Regional Touring network is wonderful.

It is not all doom and gloom as the Fareham Live opening demonstrates.

https://www.westendbestfriend.co.uk/news/spotlight-on-fareham-live

Fareham Live is an excellent  example of what can be achieved when a Local Council understands and supports the economic and social benefits that a vibrant arts centre can bring to the heart of a community. It officially opened its new door on Saturday 28th September 2024 after a £16.7 million- and 4-year makeover which has reimagined the building as a modern multipurpose cultural venue. The Council celebrated the opening with its partner operator Trafalgar Entertainment recognising it has created a wonderful community asset .

Another Council that understands the social and economic benefits of a vibrant Arts centre is  Dartford Council with its support for the Orchard Theatre.

https://www.westendbestfriend.co.uk/news/spotlight-on-orchard-theatre-and-orchard-west

Dartford Borough Council goal is to serve the residents and build the local economy and when Reinforced Autoclaved Aerated Concrete (RAAC) was discovered in the roof of the Orchard Theatre they took the quick decision to build a temporary venue to serve its local communities and the idea of Orchard West was born. The operating model with Trafalgar Entertainment is a partnership with the Council getting a profit share from success as well as the wider benefits to the local economy.

Norwich Theatre Royal is run by an independent charity and receives no public subsidy from the Arts Council or other revenue funding. Instead, it generates its own income through its share of ticket sales, plus commercial activities and fundraising.

https://www.westendbestfriend.co.uk/news/spotlight-on-norwich-theatre-royal#:~:text=This%20building%20was%20destroyed%20by,nighters%2C%20along%20with%20regular%20shows.

The Trust believes experiencing theatre has huge benefits, whether that’s social and language skills, cultural awareness or cognitive development. It is committed to ensuring that everyone has the best opportunity of coming to the theatre. Balancing the needs of audiences with the cost of creating great productions and funding charitable work in the local community is crucial. 

Lighthouse Poole is another venue that works in partnership with the Arts Council, the Local Authority, producers and nationally important companies, its resident orchestra and its audiences to deliver a varied programme on a sustainable basis

https://www.westendbestfriend.co.uk/news/spotlight-on-lighthouse-poole

The dialogue with the partners is critical to reinforce the value of culture to the community and region  and ensure that together the venue can continue to deliver across the full range of our programming.

A smaller venue working hard to meet the Financial challenges is the Lawrence Batley Theatre in Huddersfield  with a main House seating 459 people, the Cellar Theatre with up to 120 seats and the Attic Theatre with up to 60 seats.

Spotlight on...Lawrence Batley Theatre | West End Best Friend

Last year the average ticket price was a budget friendly less than £18. The Venue provides permanent secure jobs for 30 people and has an enthusiastic team of 80+ volunteer stewards. Through their outreach initiatives they are changing the perception that theatre is an elitist institution.

There are many examples of successful models for operating regional Arts Venues around the UK. which could be highlighted but many other regional venues under 600 seats will struggle to attract Producers and Community partners as well as funding partners to operate on a sustainable basis and will need Governmental and philanthropic support as well as the active involvement of their local community to navigate the years ahead.

Nick Wayne