The future of British talent is in jeopardy! The executive producer of the acclaimed series, The Night Manager, has sounded an alarm for the entertainment industry. With theatre funding on a downward spiral, the producer warns that the next generation of exceptional British dramas may never see the light of day.
Stephen Garrett, the brains behind this BBC and Amazon spy thriller, which captivated 3.8 million viewers on its return after eight years, is concerned about the consequences of continuous cuts. He believes that the pool of talented actors and writers, who often hone their skills in theatre, is under threat.
A recent UK Theatre report revealed a dire situation: rising costs and chronic underinvestment have left many venues struggling to survive. Approximately 20% of theatres require £5 million over the next decade to stay afloat, while nearly 40% face closure without urgent investment.
Garrett emphasizes the importance of theatre in nurturing talent, citing renowned actors like Stephen Graham and Phoebe Waller-Bridge, and writers such as Jack Thorne, James Graham, and Lucy Prebble, who honed their craft in theatre before finding success in TV and film.
But here's where it gets controversial: Garrett argues that the decline of theatre could deprive future actors and directors of a vital learning space. He highlights iconic stars like Alec Guinness, Judi Dench, Benedict Cumberbatch, and James Bond actors Sean Connery and Daniel Craig, all of whom began their journeys on the stage.
The Night Manager's writer, David Farr, is a prime example of theatre's impact. His experience as a stage writer, adapting classics like Great Expectations and The Jungle Book, has been instrumental in the series' success.
Garrett passionately asserts, "Theatre is the lifeblood of the creative industries, especially for screen media. Weakening it through funding cuts results in a poorer cultural landscape, diminishing our country's global standing."
UK Theatre's data supports this claim, showing a 48% drop in local authority support in England since 2009, with government funding also significantly reduced. Garrett criticizes culture ministers for undervaluing the arts' contribution.
He continues, "Governments, regardless of political affiliation, seem to fear culture as a voice of dissent. But by running from it and attempting to weaken it, they risk sabotaging one of our nation's greatest strengths."
Garrett suggests that streaming giants like Netflix and Amazon, which co-produced The Night Manager, could do more to support the talent pipeline. He specifically mentions Jack Thorne's Adolescence, which benefited from theatre's nurturing environment.
"Streaming platforms could invest a small fraction of their global profits to create a mutually beneficial relationship with emerging talent," he proposes. "It's a win-win situation that doesn't require a massive financial commitment."
While applauding Sky Arts' efforts, Garrett laments the BBC's arts coverage, calling it "deeply depressing." He suggests the BBC revive its 1970s-style arts programming, such as 2nd House and Full House, which provided a platform for emerging artists in music, dance, and drama.
Full House, in particular, was a risk-taking space that inspired Garrett's own career in television, leading to the creation of popular dramas like Spooks, Life on Mars, and Hustle.
"The BBC could recreate a similar platform for young playwrights, offering a safe space for experimentation and showcasing emerging talent. It's a missed opportunity that such a space doesn't exist today."
Netflix has taken a step in the right direction with its recent funding commitment to a course for learning-disabled and autistic creatives at the University of London's drama school.
The BBC, meanwhile, has initiatives like BBC Writers, which supported The Responder's Tony Schumacher, and BBC Creator Lab, a talent search for social and digital creators. Long Story Short pairs new writers and directors with producers to create short films for iPlayer.
Garrett believes that modest investments can have a significant impact and appease the arts community. He argues that the arts and culture sector punches above its weight and that a little support can go a long way in fostering a vibrant creative ecosystem.
And this is the part most people miss: the power of the arts to unite and inspire. Garrett concludes, "We may be noisy, but we're passionate. A little investment in the arts can keep us content and ensure the future of British talent shines brightly."
