The majority of the population is working class, and they are willing to spend money on seeing sport, comedy, gigs and commercial theatre – so what are the subsidised arts getting so wrong, asks Javaad Alipoor.
From Edward Bond’s generation of working-class writers to the flowering of companies that relied on enterprise allowance in the 1980s, theatre is often at its best when there is a broadening in the backgrounds of those who are making it. The majority of artistic directors, producers and chief executives in British theatre are still white, privately educated men. A hugely disproportionate number of directors, writers and actors come from privileged backgrounds... Keep reading on The Guardian
From Edward Bond’s generation of working-class writers to the flowering of companies that relied on enterprise allowance in the 1980s, theatre is often at its best when there is a broadening in the backgrounds of those who are making it. The majority of artistic directors, producers and chief executives in British theatre are still white, privately educated men. A hugely disproportionate number of directors, writers and actors come from privileged backgrounds... Keep reading on The Guardian