As co-productions are fast becoming the norm in the West End of London and other cities in the UK, Maggie Webster explains their attraction to venues and producers alike.
Theatre... a multi-million pound industry which (in the case of the West End) is a net currency earner for the UK, similar in size to the country?s entire advertising, accountancy and management consultancy industries. But even given this staggering earning power, it is also true according to the Society of London Theatre that out of all the shows that are staged in the capital, only one in five makes a profit, well over half fail outright, and the remaining number make just enough to cover their outlay. Little wonder that these days most producers choose to club together to put on a show ? a practice that has become increasingly common in the commercial sector, especially in recent years. Now in 2002, with trends beginning to indicate more static attendance figures in the West End, it is practically a given.
Production variations
Co-productions (or producing alliances) are, theatrically speaking, the way ahead in the non-subsidised sector. The more producing interests there are behind a show, the fewer the risks of financial exposure to each party. Technically, there is no limit to the number of co-producers who can be involved with a production, especially those who are putting up the financial backing. Get the mix right and the arrangement can play to everyone?s strengths. Perhaps the ideal is a lead producer with a good original concept and the wherewithal to assemble a top creative team, a proven producing venue which should bring with it experienced production, technical and administrative staff, plus further producers with financial clout to provide more backing. High-profile producers or producing venues also give kudos ? the resulting co-production is favourably branded through its association with reputable producing names.
There are different ways of putting together a co-production. If a producing venue (i.e. the theatre and its producer) is part of the mix, the lead producer (generally the one with the core idea) can exercise different options, all of which will be reflected in the deal. He or she can simply secure the four walls of the theatre, and the producer at the venue has minimal creative involvement in the production once the figures are worked out. Another option is to tailor the deal to the type of production being planned ? you have a musical in mind, so choose a venue which has a reputation for producing musicals, and then hand over the production to the expert at that venue. As a general rule, the partner making the biggest contribution is the one who calls the shots, but it is a process that can vary enormously and sometimes is down to different personalities involved in the deal.
A prolific producer
Together with its subsidiary companies, the Ambassador Theatre Group (ATG) is one of the UK?s most prolific producers. But even an organisation such as ATG prefers not to operate as a sole producer. Current West End co-productions include ?My One and Only? at the Piccadilly (brought in from Chichester),?Noises Off (a co-production with the Royal National Theatre) in the West End and on Broadway, and through its subsidiary Sonia Friedman Productions, ?Benefactors? at the Albery Theatre. The ten West End theatres managed by ATG host hit productions such as ?Art?, ?Stones in his Pockets? and ?The Woman in Black?.
Meryl Faiers is ATG?s Head of Production and is responsible for staging many of these shows, particularly the musicals. She is also the Producer at ATG?s leading producing theatre, the Churchill Theatre in Bromley, Kent. Meryl?s situation is an interesting one because she is sometimes both the lead producer and the venue producer in the same deal, which put simply means that she is co-producing a show with herself. Even in this situation both areas are distinct, however, and from Bromley?s point of view the deal is worked out in the same way as with a non-ATG producer. Another interesting factor is that Bromley receives annual subsidy from the local authority, so any co-productions initiated there are effectively a collaboration between the subsidised and commercial sectors.
The advantages to a commercial producer in approaching a venue like the Churchill Theatre are manifold. For many new shows, exposure outside the West End is helpful artistically. Bromley?s location near to, but not in central London means it can be a good place to start a show. The theatre is also fully equipped in terms of technical facilities and producing expertise, and has a dual role as a premier touring house, with potential links to the rest of ATG?s regional venues. One critical advantage that Meryl can offer is the precious commodity of time ? which in turn has key economic benefits for the production. She can structure a deal so that the show is not immediately dependent on box office income. The production can have a proper technical week, then play for a week and a half before moving on, fully ready for the next venue.
Take for example one of the co-productions that Meryl will be involved with later in the year: Matthew Bourne?s new production of ?The Nutcracker?. The show starts at Bromley, will tour, and is destined for Sadler?s Wells. The fact that the Churchill can offer a full technical week will enable the artistic and technical team to perfect it for subsequent venues. Starting at Bromley represents a cost-effective route for a production to take, as it can be more expensive to make large-scale technical adjustments in central London venues.
A successful formula
Given that co-producing is a way of life in today?s theatre, what we see on stage is the result of relationships, negotiation, co-operation, meticulous planning and calculations. Co-productions work for more reasons than purely financial, and when successful alliances are forged, resulting in successful shows, little wonder the pattern is repeated again and again.
Maggie Webster is Group Press Officer for the Ambassador Theatre Group. t: 020 8939 9228; e: maggiewebster@theambassadors.com