'Inclusivity' seems to function more as a code word marking theatre insiders than as a principle towards which concrete advances are made, says Sarah Ditum. So could a "wave of creative destruction" be just what it needs?
Going to the theatre is its own small performance. A nice dress, a G&T in the bar, the anticipation of what the stage will hold. This used to make me anxious (Will I enjoy it? Will I enjoy it in the right way? Will I enjoy it to the value of £35?) until a friend explained the life-changing magic of leaving in the interval. And though I’ve never quite shaken the hope that a duff first half will turn into a magical second, this advice made me realise that I was under no obligation to be delighted.
The point is to be there, to see drama erupt in front of you, to feel whatever you feel — bored, irritated, hysterical, awed — because of what real, quick-pulsed, accident-prone people are doing in same room as you. This is why recorded or even streamed theatre has never seemed enticing to me. Why watch something on a screen that can only be a flattened version of the living play?.. Keep reading on UnHerd