A little over six months into his first year as Artistic Director at the National Theatre, the jury is still out on Rufus Norris and whether or not he has lived up to the large expectations left by his predecessor, Nicholas Hytner. Critically, Norris’ first few productions have been a mixed bag, with his more experimental choices such as Everyman, starring Chiwetel Ejiefor, receiving a far more lukewarm reception than classics such as The Beaux’ Stratagem or Three Days in the Country. It’s worth noting that nobody would begrudge Rufus for having had more success with these revivals were it not for his promise to only present works by living playwrights, perhaps more intended as a jab at the National’s more elitist, dare I say stuffy programming, that Trevor Nunn or Peter Hall could be accused of. However, lukewarm as his critical reception has been, it seems Rufus Norris has led the National into a new low in terms of financial viability.
Truthfully, the summer months aren’t the most exciting for West End Theatre. With families celebrating the summer holidays and holidaymakers overwhelming London, the most successful productions are either tourist trap shows (think The Mousetrap or Phantom) or big family friendly productions (Lion King or either of the Dahl Musicals). While everything artistic, innovative and original dashes up to Edinburgh for the fringe, along with a whole handful of critics and producers eyeing up potential off west end transfers, London falls into something of a lull, and the market for a straight play decreases. For this reason, there’s usually one play that becomes THE summer flop, with almost half of its audience at each performance admitted for no charge. This year’s was a notably unsuccessful B-list star vehicle from an overproduced playwright and was featured in a less than cryptic article on whatsonstage written by that theatre’s box office manager, who conveyed the struggles of working front of house for a flop. However, even in London’s slow summer, nobody expects such audience unavailability from the National.
But it would seem August is defiantly the low point in terms of financial success for Rufus Norris and the team at the National, with three different National Theatre Productions offering free tickets through popular west end papering services in order to fill seats. On one occasion, a closing night performance was giving away tickets, while more recently, a press night performance in the Olivier auditorium of one production was offering free seats to audience members, most likely in an attempt to give the impression to the opening night audience that the show was financially successful. For the really thrifty theatregoer, there was even a day in early September when you could see two National shows in one day without spending a penny.
Of course, as with many unsuccessful productions before, audience figures don’t speak to artistic merit, but it certainly indicates that the current programming isn’t drawing in the crowds, even enough of the National’s army of subscribers and the blue rinse brigade. Even the National Theatre Live broadcasts don’t seem as exciting, with a long pause between Everyman and The Beaux’ Stratagem bereft of a summer hit akin to last year’s phenomenal Skylight broadcast. What could Emma Freud possibly be doing with her time besides repeatedly asking an increasingly frustrated Peter Morgan how he could know what the Queen and her various prime minister’s had spoken about? In any case, the powers that be at the National can hardly be impressed and are likely hoping the new season brings in more interest, with some intriguing programming choices alongside some more mundane, not unlike the programming that we’ve already seen from Norris. One wonders how Mr Norris and his team will respond to this summer.
Truthfully, the summer months aren’t the most exciting for West End Theatre. With families celebrating the summer holidays and holidaymakers overwhelming London, the most successful productions are either tourist trap shows (think The Mousetrap or Phantom) or big family friendly productions (Lion King or either of the Dahl Musicals). While everything artistic, innovative and original dashes up to Edinburgh for the fringe, along with a whole handful of critics and producers eyeing up potential off west end transfers, London falls into something of a lull, and the market for a straight play decreases. For this reason, there’s usually one play that becomes THE summer flop, with almost half of its audience at each performance admitted for no charge. This year’s was a notably unsuccessful B-list star vehicle from an overproduced playwright and was featured in a less than cryptic article on whatsonstage written by that theatre’s box office manager, who conveyed the struggles of working front of house for a flop. However, even in London’s slow summer, nobody expects such audience unavailability from the National.
But it would seem August is defiantly the low point in terms of financial success for Rufus Norris and the team at the National, with three different National Theatre Productions offering free tickets through popular west end papering services in order to fill seats. On one occasion, a closing night performance was giving away tickets, while more recently, a press night performance in the Olivier auditorium of one production was offering free seats to audience members, most likely in an attempt to give the impression to the opening night audience that the show was financially successful. For the really thrifty theatregoer, there was even a day in early September when you could see two National shows in one day without spending a penny.
Of course, as with many unsuccessful productions before, audience figures don’t speak to artistic merit, but it certainly indicates that the current programming isn’t drawing in the crowds, even enough of the National’s army of subscribers and the blue rinse brigade. Even the National Theatre Live broadcasts don’t seem as exciting, with a long pause between Everyman and The Beaux’ Stratagem bereft of a summer hit akin to last year’s phenomenal Skylight broadcast. What could Emma Freud possibly be doing with her time besides repeatedly asking an increasingly frustrated Peter Morgan how he could know what the Queen and her various prime minister’s had spoken about? In any case, the powers that be at the National can hardly be impressed and are likely hoping the new season brings in more interest, with some intriguing programming choices alongside some more mundane, not unlike the programming that we’ve already seen from Norris. One wonders how Mr Norris and his team will respond to this summer.