The music press, and the media generally, is currently falling over itself to find the next big thing in music but the same enthusiasm doesn?t extend to other artforms. Stewart McGill thinks more attention should be paid to young people?s theatre.
Franz Ferdinand, Bloc Party or Kasabian; the debate rages freely over which young band represents the new voice of revived Britpop. These young artists are followed, encouraged, supported by their industry press and perceived as powerful commentators on life in 21st century Britain. At the same time, their contemporaries exploring theatre ? young people in their late teens and early twenties ? are ignored, downgraded and labelled amateurs by the critical press and much of the industry in which they seek a future role. Musicians are lauded while the theatre artists of the future are dismissed. It is a shameful trait in our arts infrastructure that pays lip service to the importance of young people, often cynically programming work hoping to bring in a young ? often school based ? audience, but will not give their work as artists more than a fleeting glance.
Theatre of dreams
Playbox Theatre Company?s Dream Factory, which opened in Warwick six years ago, is a dedicated space for young people to explore the power of theatre. Here, over the past twelve months, Ron Hutchinson developed his post 9/11 drama ?Believers? which later played in the USA; Sarah Woods began exploring a new epic drama focusing on a world threatened by climate change; and a baroque opera version of Purcell?s ?The Fairy Queen? has been given a circus-theatre production with a leading early music ensemble. In the studio, actors, dancers and martial arts exponents have begun to explore the potential of a new piece of theatre based on ancient Chinese legends. All this has been carried out alongside a repertoire of Shakespeare, Lorca, April de Angelis, Philip Ridley and George Farquar.
Despite the scale of this work, the critics largely stay away, key figures in the industry ? many claiming to be ?passionate? about young people?s work ? are often too busy and The Stage, theatre?s own trade paper, ignores innovation. Therefore the work, invention, concerns and passion of young people choosing theatre as a mode of creation and expression is marginalised, while their colleagues in contemporary music rocket ahead. Result: demoralisation. It?s hardly surprising that many young practitioners often take the decision to explore other artforms feeling their voices are unwanted.
Critical disdain
There are exceptions of course, The Shell Connections at the National Theatre annually places new writing for young people, performed by young casts on its stages. Recently, Bristol Old Vic?s Youth Theatre has developed ?The Passion? for its King Street auditorium. I do not necessarily advocate young people taking over our theatres ? though it could prove an exciting way of enticing new audiences. My cry is for an industry that is scarcely popular with the young to begin to value and validate their creative work as artists, or face the real danger of being ignored after school-leaving.
It amazes me that when a playwright as respected as Ron Hutchinson creates a new epic drama ? one of the first to respond to 9/11 ? no critics from national papers reviewed it as serious. This collage of text, multimedia and music was created in as much detail, analytical thought and professional input as any theatre work. Is one to conclude that the voices of young people regarding their world are not of the same importance as others? I guess so. Does a theatre industry believe that artists can only attain their voice post drama-school?
Morale in theatre writing for and with young people often sinks when thrilling work is overlooked and, of course, no one expects the Billingtons or Nightingales of this world to attend all first nights. However, it does make us smile when new developments in theatrical forms, the rise of multidisciplinary theatre, circus-theatre, the use of visual arts installations, etc, are saluted when they filter through to the mainstream. Many young performers were using these techniques years ago.
Future fears
It is time for theatre made by young people to be placed higher on the agenda and its writers, makers and collaborators taken seriously. Their professionalism and determination match that of colleagues in other companies, the theatrical adventure is as thrilling, their audiences as diverse and as vocal? we need our industry to validate and advocate the work of young people on stage. For too long this work has been seen as Social Engineering rather than ?arts? driven. If we ignore the voices rising on our stages, they will abandon the theatre and express their view of the world in other forms and our future theatre will be impoverished. Imagine if Franz Ferdinand or Coldplay launched a new album dealing with global issues ? one would be trampled on by industry and media desperate to cover the launch. Young people?s theatre is not cutting edge music but their voices should be heard. They are as provocative and compelling as their contemporaries in the recording studio and together represent a caring and passionate awareness of the world they inhabit.
?Wars of the Roses?, a new two-part version of Shakespeare?s Henry Vl trilogy, is playing at the Dream Factory in Warwick from 18?28 May. t: 01926 419555; e: info@playboxtheatre.co.uk