‘The effects will be severe and long-lasting’: major Bristol theatre slams Tier 3 closures
It’s Groundhog Day for many of Britain’s theatres. With the announcement of further tier restrictions to come into force on Boxing Day, their sigh of relief after the second lockdown looks more like a panicked gasp. Some, like Bristol’s Old Vic, have only been open to live audiences for less than a week.
Though London’s West End has been dark since December 18, theatres in other cities have continued to shine out defiantly. Far fewer will now. In fact, apart from Bath, Liverpool and York, you will be hard pressed to find any ambitious, large-scale performances still running.
“It’s extremely difficult,” says Tom Morris, Bristol Old Vic’s artistic director. “We’ve had two changes of plan in the last week – but we’re not in a different position to any other industry, and it’s clear the situation has got worse with the new strain of the virus.”
The Old Vic’s jubilantly daft take on Beauty and the Beast opened to live audiences last Saturday. But by Wednesday, it was staring down the barrel of its final performance.
“At least a few people have been able to enjoy the show,” says Morris. “Those nights have been incredibly rewarding and emotional for the audience and performers – to have it close now will be incredibly difficult.”
Morris points out that since June six million people have attended live theatre performances – and not a single case of transmission has been reported.
In fact, he believes the rigorous safety protocols of cinemas and theatres should be seen as a benchmark for other industries.
He explains: “With the new strain it might be different, but I’ve been arguing all along that theatres should remain open in Tier 3 because our systems are so robust.”
There will be “serious financial impacts” from this new announcement, he believes. But more significant is the effect of repeatedly bouncing in and out of closures: the immense effort of opening shows only to have them nixed later the same week.
The punch-drunk theatre industry is a barometer for the whole country, he says.
“People who work in theatre are no different from anyone else. [But] it illustrates the emotional impact this is having on everyone – the blows to our lives and livelihoods, and the restrictions on our everyday lives.
“The psychological impacts of this will be severe and long-lasting.”
The Old Vic is undaunted, though. They made a “pledge to entertain Bristol over Christmas” and they intend to honour it, despite the fresh limitations.
They have put on a programme of short plays – Angels in Bristol – which bring together schools, community groups and local poets, musicians and playwrights to retell the Nativity. Each day, from December 20 until January 5, a new story will land in viewers’ inboxes to be enjoyed at home.
It’s typical of the bruised, battered but undaunted spirit of the theatre industry, even as new restrictions bite.
“Like everyone else, we’ll have to see how it plays out,” says Morris. “But, in the meantime, we’ll keep entertaining people as best we can.”
