Leave it at the door

       Hello, lovelies. 

         I just love the theatre. It is everything to me. It’s not just an excuse to get all dressed up, pack a goodie bag full of sweets, and head off for an evening of music and laughter. Live theatre can open our hearts, push our thoughts and ideas past our comfort zone and stir us in a way we never thought imaginable. There is something so magical about sitting in a seat that has had thousands of people sit in it before, waiting for the lights to go down, and step forward on a theatrical journey that we have no idea where it will take us. From the classic golden oldies to the ground-breaking new productions. Every evening you could visit a different theatre, playhouse, church hall or room above a pub and see something new. But is it the arts responsibility to teach us anything? Should shows always be pushing the boundaries? Isn’t the entertainment industry a safe place for the tried and tested productions? Or should they be pushing even harder, leading the world in a much needed new direction? 

         Okay, so I may or may not have just spent my monthly allowance on theatre tickets. It took mere seconds for me to buy six tickets for six different shows. And I think it’s very safe to say that I shouldn’t be allowed anywhere near the App - Today Tix. But with tickets going for as low as £13, how could I say no? And hot off the heels of last week, where I managed to squeeze in three different shows, I cannot wait to visit so many different venues and see such an array of productions. But one of the shows I watched last week has had a question buzzing around my head all week. Now, you may be wondering what show has had such an impact on my life, and to my utter surprise, it was The King and I. But how could that classic have me asking so many questions as to why my beloved theatre has let me down so very badly.

          Okay. So, the questions may have become louder after watching the Rodgers and Hammerstein classic, but they didn’t start there. It started back in January, when I went with my daughter to see George Takei in Allegiance, that he not only stared in but also penned himself. It is running at the Charing Cross theatre, formally known as the Players. I had no idea what to expect, but wow! Just WOW. Upon entering the auditorium via the stage area itself, I took my seat and what followed left me speechless. The sheer talent of the performers blew me away. Everyone was exceptional, with no third wheels holding the show back. I laughed. I cried like a baby. And then my heart swelled with a smorgasbord of emotions. And then, to make the night even more perfect, I happened to be standing by the stage door as Mr Takei left the building. And to my utter horror, as he pasted me by, I actually curtsied to him. Yep. I placed one foot behind the other and bobbed as he pasted me. And then, just to make sure that I had embarrassed myself enough for one night, as one of the main performers, Aynrand Ferrer, walked past me I blabbered on and on about how amazing she was. And I don’t just mean normal amazing. No. It goes, talented, super talented, mega talented and she was so much more than that. She was stupid talented. Like. I defy anyone to have performed as well as she did. And I told her so. Then I asked why I hadn’t seen her in anything else. She should be playing Elphaba in Wicked, she was that good.

         And that was the question that has had me thinking all week. Why hadn’t I seen her in anything else? I work in one of London’s foremost receiving theatres, but I have never seen her in anything. But why? She is clearly talented enough to be playing any role she wanted, and yet she hasn’t been. And then with the King and I, I was left asking the same questions. Why hadn’t I seen any of these performers before. It’s not like I don’t go to the theatre all the time. But it was my daughter who gave me the answer. It’s because they are not white. 

           I am well known for putting my foot in it. And I mean right in it. So, it wouldn’t surprise you to hear that I had done just that when I went to see the 30th year anniversary performance of the Woman in Black a few years ago. It is one of my favourite plays. It is so very clever, with only two male performers. But with some very clever lighting and a stella script, the show is London at it’s finest. At the after-show party, I managed to chat with the producer and asked when could we see a more diverse cast. And was stumped to hear that it wouldn’t be in-keeping with the time. Um? What? Why not? There are so many diverse performers, why not cast the best actor, and not someone who may or may not fit with the period. 

         Am I wrong? Should theatre always play it safe? Keeping things the way they always have been? But then looking at the audience of both Allegiance and The King and I, the mix and diversity of the audience spoke volumes. The auditorium was alive, and I couldn’t have been happier. 

        Theatre should not be a safe place. The building, yes, of course. But not what we see on stage. It should be like holding a mirror up and showing us things that we might like about ourselves. Playing it safe may have worked in the past, but we need to be better than that. We are better than that. We cannot keep holding on to what we think the audiences would like to see, and start casting people, whatever they look like, on their talent and talent alone. 

      It may have taken the BBC a while to figure it out with their new Dr Who, but unless the arts start pushing for more, and not settling on what has been, then we will never see the very best that the world has to offer, leaving our prejudices at the door.  

       I will spend the rest of my life in the theatre world, but I will always keep asking those questions that may be uncomfortable. But that’s never stopped me before. And I hope that you will do the same. Diversity makes us all so much better, on and off the stage.