Diversify audiences and casting directors and you will improve theatre overnight, says the touring company chief
*Hi Dawn, what can you tell me about Eclipse Theatre?*
Eclipse Theatre Company has a mission to influence and instigate change that leads to a more diverse and equitable theatrical landscape. We deliver on this mission by producing an annual regional mid-scale tour of a high quality production, the starting point always being a story from the black experience. We also aim to raise the profile of black artists in the regions.
*What did you make of Lyn Gardner's recent blog, where she wrote that theatre is **by default middle-class, white and male**?*
The thing that has always struck me about British theatre is how much it functions like an institution, and a very British one. It tends to be hierarchical, there is a coded language, there is usually a white, middle-class male at the top – in this case an artistic director – and then lots and lots of people working very hard to make sure that one person is happy and never upset. The net result is that maximum effort seems to be going into staying the same. This status quo is then reflected on our stages.
*How far have we come since the 1980s, when colour-blind casting started to be introduced?*
A director that I don't know emailed me recently to ask about two actors with whom he was considering working. This isn't unusual; directors spot directors they know on an actor's CV and ring to ask questions all the time. It was strange because I had never worked with either actor, so why was he asking me if I wasn't on their CVs? The only conclusion I could come to was that both the actors were black and as a black director I was bound to know them. Wow, 2014.
Whenever we address the issue of diversity, we always focus on casting. For me this issue isn't just about casting but who gets to actually do the casting: directors, artistic directors, producers, associates and so on. Insist on diversity at that level and you will improve theatre overnight.
For me, however, the crucial moment of change will be achieved through new audiences. Most theatre staff begin their relationship with the artform as an audience member – it therefore follows that if theatres fail to attract a diverse audience then it will continue to fail to attract a diverse workforce in their production, finance, communication, administration and artistic departments. We will be having the same conversation in the next 30 years.
*Some see a **widening divide** between the haves and the have nots in small-scale touring – is the economy flawed?*
Eclipse Theatre is only funded to deliver one annual middle-scale tour, but whenever I've assembled a small-scale tour, I've been shocked by the economics: being asked to do only one or two nights, with no guarantees, which all adds up to no real income at all.
It can only work with a subsidy, one performer and no set. The economics of touring small-scale simply doesn't work and this is very dangerous for areas of low engagement. The only thing I can think of would be the festival model – lots of performances in one space over a number of days – but I have yet to do the maths, so I could be very wrong.
*What couldn't you do your job as artistic director without?*
• Funding: that one speaks for itself
• My family: who are not remotely impressed with what I do and why; I need that grounding
• Good trainers: I have to cover a lot of ground travelling the country, pacing while on the phone and in rehearsals
• The internet: news, debates, events, social media research and healthy recipes – I'm lost without all these
Dawn Walton is artistic director of Eclipse Theatre
Sizwe Banzi is Dead is at the Young Vic until 15 March and tours from May
*This content is brought to you by **Guardian Professional**. To get more articles like this direct to your inbox, sign up free to become a **member of the Culture Professionals Network**.* Reported by guardian.co.uk 4 hours ago.
*Hi Dawn, what can you tell me about Eclipse Theatre?*
Eclipse Theatre Company has a mission to influence and instigate change that leads to a more diverse and equitable theatrical landscape. We deliver on this mission by producing an annual regional mid-scale tour of a high quality production, the starting point always being a story from the black experience. We also aim to raise the profile of black artists in the regions.
*What did you make of Lyn Gardner's recent blog, where she wrote that theatre is **by default middle-class, white and male**?*
The thing that has always struck me about British theatre is how much it functions like an institution, and a very British one. It tends to be hierarchical, there is a coded language, there is usually a white, middle-class male at the top – in this case an artistic director – and then lots and lots of people working very hard to make sure that one person is happy and never upset. The net result is that maximum effort seems to be going into staying the same. This status quo is then reflected on our stages.
*How far have we come since the 1980s, when colour-blind casting started to be introduced?*
A director that I don't know emailed me recently to ask about two actors with whom he was considering working. This isn't unusual; directors spot directors they know on an actor's CV and ring to ask questions all the time. It was strange because I had never worked with either actor, so why was he asking me if I wasn't on their CVs? The only conclusion I could come to was that both the actors were black and as a black director I was bound to know them. Wow, 2014.
Whenever we address the issue of diversity, we always focus on casting. For me this issue isn't just about casting but who gets to actually do the casting: directors, artistic directors, producers, associates and so on. Insist on diversity at that level and you will improve theatre overnight.
For me, however, the crucial moment of change will be achieved through new audiences. Most theatre staff begin their relationship with the artform as an audience member – it therefore follows that if theatres fail to attract a diverse audience then it will continue to fail to attract a diverse workforce in their production, finance, communication, administration and artistic departments. We will be having the same conversation in the next 30 years.
*Some see a **widening divide** between the haves and the have nots in small-scale touring – is the economy flawed?*
Eclipse Theatre is only funded to deliver one annual middle-scale tour, but whenever I've assembled a small-scale tour, I've been shocked by the economics: being asked to do only one or two nights, with no guarantees, which all adds up to no real income at all.
It can only work with a subsidy, one performer and no set. The economics of touring small-scale simply doesn't work and this is very dangerous for areas of low engagement. The only thing I can think of would be the festival model – lots of performances in one space over a number of days – but I have yet to do the maths, so I could be very wrong.
*What couldn't you do your job as artistic director without?*
• Funding: that one speaks for itself
• My family: who are not remotely impressed with what I do and why; I need that grounding
• Good trainers: I have to cover a lot of ground travelling the country, pacing while on the phone and in rehearsals
• The internet: news, debates, events, social media research and healthy recipes – I'm lost without all these
Dawn Walton is artistic director of Eclipse Theatre
Sizwe Banzi is Dead is at the Young Vic until 15 March and tours from May
*This content is brought to you by **Guardian Professional**. To get more articles like this direct to your inbox, sign up free to become a **member of the Culture Professionals Network**.* Reported by guardian.co.uk 4 hours ago.