The Lyceum and the Melting Pot in Two Tier Theatre Row
Now fifteen Scottish theatre critics say the decision gives the impression that One Day is not a “finished production” despite charging theatregoers in Edinburgh £55. They have written to the board of the Lyceum Theatre (Tari Lang is the chair of the board).“It should hardly come as a surprise that every critic who was approached to sign the open letter chose to do so. The decision to forbid the UK national press from reviewing the show in Edinburgh smacks of the worst kind of Victorian metropolitanism.”
Dear Tari Lang and Board Members,
As critics writing about theatre in Scotland, we are concerned that the invitation to review One Day, at the Lyceum this week, was not extended to all of us. Critics writing for Scottish publications were invited to review the show, but those writing for UK national publications were not.
We believe this is a divisive move which – as well as being increasingly irrelevant in the age of online reviewing – raises a number of uncomfortable questions.
The two-tier invitation suggests not only that critics in Scotland are less important than critics in London, but also that audiences in Edinburgh are less important than audiences in London. Clearly, this is not the case.
It also creates the impression that the run of One Day in Edinburgh is not a finished production but a preview for dates to come. Despite this, Edinburgh theatregoers must pay up to £55 to see it.
Finally, we would note that the Lyceum Company is publicly supported and funded in Scotland to create theatre in Scotland, and that its work should always be vigorously reviewed and debated as part of Scottish public life. As critics, we all recognise the vital and enriching role that co-productions now play in Scotland’s theatre life, and warmly welcome them.
However, when co-production leads to the exclusion of leading Scottish-based critical voices from that public debate, we believe that a line must be drawn; and we trust that the London-centric attitudes reflected in this week’s decision will play no part in the future thinking and planning of Scotland’s leading producing theatres.
Yours with best wishes, and with thanks for your attention –
Mary Brennan
Mark Brown
Anna Burnside
Neil Cooper
Dominic Corr
Thom Dibdin
Mark Fisher
Joyce McMillan
Fergus Morgan
Natalie O’Donoghue
David Pollock
Arusa Qureshi
Allan Radcliffe
Hugh Simpson
Simon Thompson
Theatre writers, working in Scotland.
I take it that a ‘press show’ is the new ‘opening night’. I am sure there will be prenty of seats available in the Lyceum.
How does inviting Scottish critics render them less important? It sounds more like a privilege to me.
You seem a bit confused. I’ll explain it more slowly if that would help?
“The decision to exclude the UK press until the show transfers to London may be driven by commercial concerns: namely, maximising coverage when the production reaches its potentially most lucrative market.”
“The Royal Lyceum theatre responded: “We understand the rationale from our commercial partners who need to create a buzz in the UK press at the launch of the London run. Co-productions are a key way forward for the Lyceum to create new work at the scale and quality of One Day.”
I think I understand that. I prefer the shows they direct at their main audience in Edinburgh.
When I read this story in the Guardian, I struggled to understand it. Or care much, TBH. Isn’t exclusivity the point, rather? Otherwise you’d be releasing your musicals on TikTok. Scots as tastemakers and beta-testers, is that a dis?
Or is this a manufactured furore crudely designed to get free advertising for a pricey show under conditions of capitalism and the profit motive?
What is clear is that — contrary to the open letter — Scottish theatregoers are by no means forced to pay to see it. Now, that would be an outrage.