FQR Theatre – Kevin Spacey

Despite the economy, theatre in the UK can still expect to take a few bows, says Kevin Spacey

In the current economic climate I think there is even more need for people to go out and have a laugh, an entertaining evening to escape the troubles of everyday life, so I think people’s passion for going to the theatre should not be too badly affected by the credit crunch. The truth is that the West End, in terms of straight dramatic plays, always faces difficulty in getting audiences in unless there is a “name” in the play. That seems to be the trend, if not the history, of the West End. Despite the news of collapsing financial institutions, I have actually been encouraged on two major fronts. Firstly, at this particular moment, Bank of America has stepped forward to become our sponsor on the Bridge Project. This is our major new three-year venture with Sam Mendes and an alliance with Brooklyn Acadamy of Music where, for the next three years, Sam will direct two classic works, in rep, every year.

Bank of America wanted to send an important signal to its clients, shareholders and to the community at large that we are going to get through this particular current economic crisis, that we are going to come out the other side and that culture should not suffer in the meantime. I am obviously enormously pleased that it was able to see what an important international opportunity this is. It is not just going to be in New York and London but the project will travel to Singapore, Auckland, Milan, Germany and, ultimately, Greece. That will happen every year and, although it will go to different countries, it will always come to New York’s Brooklyn Academy and the Old Vic. Secondly, American Airlines has agreed to become our sponsoring airline, which is hugely important to this venture because, obviously, we are going to be flying actors and staff to all of these countries but, even more so, because the company is going to be made up of 50% American actors and 50% British/European actors. It is the first truly transatlantic theatre company to be created and supported in both countries, so to see these organisations stepping up at this particular moment is a very positive sign.

Overall, there is certainly a prevailing good mood in Theatreland. The Arts Council is in the process of reorganising itself on the back of all the difficulty and controversy that it faced earlier in the year. And I am very excited to see so much good stuff out there in performance.

You only have to look around to see it: Eddie Redmayne is giving great performance at the Royal Court in Now or Later; Sam West has just directed Waste at the Almeida, which has had tremendous reviews; David Tennant is Hamlet at the RSC; and you have No Man’s Land with Michael Gambon, directed by Rupert Goold – both great and exciting theatre talents. And that’s not to mention all the works at the Young Vic and the National, where Ralph Fiennes’ new production of Oedipus is showing. And, of course, we are excited about
Tom Stoppard’s new adaptation of The Cherry Orchard for us, which Sam Mendes will direct with Sinead Cusack and Ethan Hawke performing later this year. With the tremendous wealth of interesting, challenging and passionate work being created right now, I am extremely excited about this season.

Obviously, musicals are currently the dominant feature in the West End but my hope is that they will inspire people to go and see other kinds of theatre too. I think those who love theatre are being encouraged or, in some ways given, the opportunity to also go and see great dramatic performances at prices that are not exorbitant. One of the things I am very pleased about is the National’s £10 season, which I think is going even cheaper this year, and also the Aditya Mittal seats on offer at the Old Vic, where 100 tickets each night are sold to under-25s for just £12. What is more is that the government has just stepped up and granted £2.5m of funding for young adult seats so many theatres which did not previously receive subsidies are benefiting. All these things are really important because if we want to bring in a new, younger and more diverse audience, we have to make the theatre as inviting and affordable as possible. I think what musicals have done in bringing people into theatres is great. I love musicals, I grew up with them and certainly have no truck against them. I just wish that, on balance, there were as much coverage of and interest in dramatic plays as musicals.

We’ve just opened The Norman Conquests, which is Alan Ayckbourn’s trilogy of plays – on until December. I will then be directing one of the great actors, Richard Dreyfuss, in a new American work called Complicit and the first revival of Dancing at Lughnasa with Andrea Corr, to be directed by Anna Mackmin. Both productions will be in our new CQS in the round space, which has worked so well in giving our audiences a new perspective on the Old Vic. Sam Mendes comes next May until August to direct The Winter’s Tale and The Cherry Orchard. Beyond that, I am beginning to look quite seriously as to what will open our sixth season, but we are enormously excited about this season’s line-up. I am just honoured and delighted to have the chance to come to work every day on behalf of this lovely building.

I am also beginning to think about what I will do in five or six years’ time when it will be the right moment to pass on the directorship of the Old Vic – other than to have a long rest. I know that I want to continue doing the kind of work that I have been doing, particularly for young practitioners. That should enable me to continue to have a life here in England and expand some of the work I have been doing to the United States. I suspect I will want to direct some more film when I have the time to do it. It takes about a year to do that and, at the moment, I just don’t have a year to dedicate to it. I am beginning to think about it, but have made no solid decisions so far.

It is hard to pinpoint exactly what the highlight of my time over here has been but I continue to be so excited by London really becoming the cultural capital of Europe. I am inspired by the work that I have seen here, and I think it really has been – and still is – an extraordinary and vibrant time to be in this country. To be part of this community and to be welcomed the way I have been makes me feel very blessed.

– Kevin Spacey is artistic director of the Old Vic (0870-060 6628; www.oldvictheatre.com)

Would you like to comment on this article?

You must be logged in to post a comment.