From the desk of Roland Rocchiccioli – 29 March

Traditionally, in times of a national crisis, there has been three essentials ingredients for the populace. They needed to be fed; to be clothed; and to be entertained. That, now, is all changed.

 

THE wretched COVID-19 pandemic that has engulfed the world, has brought about a re-write of the old maxim. This time we have to feed them, keep them solvent, and, for the most part, keep them at home and safe. Only time will tell us how it plays-out. One thing is certain: the world will be a different place.

Like Broadway and the West End, all Australian theatres have closed, indefinitely. Internationally, hundreds of thousands of theatrical employees are out of work. While it is the correct decision, the implications of the closures are grave. Many productions will not re-open when the all-clear is sounded. Some producers will go-out of business, such will be there losses. It is estimated the month-long closure will cost Broadway $565 million. For those actors who exist from show-to-show the fiscal strain will be on-going, and catastrophic.

Broadway’s readiness to join forces and put-on a show in times of national tribulation is what makes it the epitome of enduring hope. The theatres on the Great White Way have shut down only a few times in nearly 200 years. The houses went dark for 48 hours following the 9/11 terrorist attack; and in 2003 several closed during a stagehand strike, and again following a musicians’ strike when twelve productions were affected for 25 days. Broadway managers and producers are hopeful the current closures will be ended by 13 April. Who knows?

In the United Kingdom, the longest closure of London’s theatres was 1642, when the puritan, Oliver Cromwell, ordered a total shut-down to thwart looming public disorder. It lasted for 18 years and wrought great hardship to actors, managers and writers. Many public theatres were demolished.

During WW2, London’s West End Theatres closed briefly. They played throughout the Blitz, and for the remainder of the War. For the most part, houses were full, especially for the rudie-nudies at the Windmill Theatre. The late actress, Googie Withers, said, “The Germans were very punctual and you had to raise your voice to be heard over the dropping bombs.”

In Australia, the scenario is bleak. These are unprecedented times and circumstances; the theatrical fraternity will need government support to avoid an existential crisis. Theatres are dark. Thousands of theatrical employees have been stood down, indefinitely. Not even a world-wide depression and a six-year world war was so causal to entertainment bedlam; historically, it was the exact opposite. Entertainment was the glue which helped hold together the soldiers’ and the nation’s morale. Performers did more than did their bit for the troops, and the public. It is not a frivolous industry. It generates billions of dollars annually and directly touches the lives of every person in this country.

The Gordon Frost Organisation, the largest and most successful theatrical producers in Australia, has closed: Shrek at Her Majesty’s in Melbourne, possibly permanently; Charlie And The Chocolate Factory in Brisbane was holding many millions in advance and only days away from opening; halted the rehearsals for the Dolly Parton musical, 9 to 5, starring Marina Prior and Caroline O’Connor; The Secret Garden starring Anthony Warlow will have to be postponed; and the future of Fiddler On The Roof in Yiddish, Cinderella, and Magic Mike Live will need to be considered. Several projects in preparation are now in doubt for the foreseeable future.

Australia does not enjoy the same robust theatrical tradition of the US and the UK. The tyranny of distance makes it one of the most expensive touring circuits. The recovery process from this pandemic will be difficult. Of course it will survive – that is the nature of the business – but it will require committed financial support and considered attention from State and Federal Governments.

You can email Roland via [email protected] and hear him on RADIO 3BA, every Monday morning at 10.45.