UK Theatre's Struggle is Real: Why Are We Afraid of New Plays?
The UK theatre scene has been under scrutiny lately, with a recent report highlighting the decline in new play production since the pandemic. However, despite this downward trend, audiences seem to be flocking to see new plays more than ever. The question remains: why are theatres so hesitant to produce and promote new work?
On one hand, it's true that many theatres are stuck in a rut, relying on familiar classics like Arthur Miller or Anton Chekhov to fill their seats. But is this really the best way to keep audiences engaged? Research suggests that people are eager for something new and exciting, whether it's a comedy, a musical, or even a Christmas show.
In Glasgow, where I run A Play, a Pie and a Pint (PPP), we've seen firsthand the power of new plays to captivate audiences. Despite producing over 300 world premieres since our inception, we continue to attract packed houses of 150-200 people per performance, six days a week. It's not just about the food or the craic – it's about the thrill of discovering something fresh and original.
The data supports this trend: new work attendance accounted for over 40% of all productions in 2023, up by almost 50% compared to 2019. The numbers are clear – audiences want new plays, and they're willing to pay top dollar for them.
So what's behind this seeming paradox? Is it a case of theatre being out of touch with its audience? Perhaps it's simply a matter of marketing and promotion. Whatever the reason, one thing is certain: theatres need to start taking more risks and embracing new talent if they want to stay relevant.
As playwrights like Sophia Chetin-Leuner, Uma Nada-Rajah, James Graham, and Éimi Quinn are proving, there's a thriving scene of innovative and exciting new writing out there. From the Royal Court to the Traverse, and from musicals to devised shows, there's something for everyone.
The key is to create more opportunities for writers to showcase their work on stages big and small, commercial and subsidised, across London and beyond. With bold programming, confident promotion, and a willingness to take risks, theatres can tap into the energy of new plays and attract audiences who are hungry for something fresh and exciting.
As the report from the British Theatre Consortium highlights, we're not just staging new plays for some abstract common good – we should be doing it for our bottom lines, too. The data doesn't lie: people want to see new work, and they're willing to pay for it.
So let's give writers the opportunities they deserve, and watch as audiences flock to theatres to discover something new and original. It's time to shake off the old and embrace the bold – the future of UK theatre depends on it.
The UK theatre scene has been under scrutiny lately, with a recent report highlighting the decline in new play production since the pandemic. However, despite this downward trend, audiences seem to be flocking to see new plays more than ever. The question remains: why are theatres so hesitant to produce and promote new work?
On one hand, it's true that many theatres are stuck in a rut, relying on familiar classics like Arthur Miller or Anton Chekhov to fill their seats. But is this really the best way to keep audiences engaged? Research suggests that people are eager for something new and exciting, whether it's a comedy, a musical, or even a Christmas show.
In Glasgow, where I run A Play, a Pie and a Pint (PPP), we've seen firsthand the power of new plays to captivate audiences. Despite producing over 300 world premieres since our inception, we continue to attract packed houses of 150-200 people per performance, six days a week. It's not just about the food or the craic – it's about the thrill of discovering something fresh and original.
The data supports this trend: new work attendance accounted for over 40% of all productions in 2023, up by almost 50% compared to 2019. The numbers are clear – audiences want new plays, and they're willing to pay top dollar for them.
So what's behind this seeming paradox? Is it a case of theatre being out of touch with its audience? Perhaps it's simply a matter of marketing and promotion. Whatever the reason, one thing is certain: theatres need to start taking more risks and embracing new talent if they want to stay relevant.
As playwrights like Sophia Chetin-Leuner, Uma Nada-Rajah, James Graham, and Éimi Quinn are proving, there's a thriving scene of innovative and exciting new writing out there. From the Royal Court to the Traverse, and from musicals to devised shows, there's something for everyone.
The key is to create more opportunities for writers to showcase their work on stages big and small, commercial and subsidised, across London and beyond. With bold programming, confident promotion, and a willingness to take risks, theatres can tap into the energy of new plays and attract audiences who are hungry for something fresh and exciting.
As the report from the British Theatre Consortium highlights, we're not just staging new plays for some abstract common good – we should be doing it for our bottom lines, too. The data doesn't lie: people want to see new work, and they're willing to pay for it.
So let's give writers the opportunities they deserve, and watch as audiences flock to theatres to discover something new and original. It's time to shake off the old and embrace the bold – the future of UK theatre depends on it.
. They're stuck on those old plays because they know people will show up, but at what cost? They're not actually taking risks or supporting new talent, they're just relying on nostalgia to bring in the crowds. And it's working... for now 
. But we need to see more innovation and less of the same old stuff. I mean, how hard is it to promote some actual new plays? 
. I mean, don't get me wrong, Shakespeare is iconic, but there's gotta be a way to bring in some fresh faces too! It's like they're stuck in some sort of time warp 
. We need more new plays that are actually creating buzz on social media 
. I've seen some of the most amazing stuff at A Play, a Pie and a Pint, and it's all about the thrill of discovery 
. The numbers don't lie – audiences want new plays, and they're willing to shell out for them 
!