Professional and Career Development Loans were a lifeline for students like these. Now that such loans have gone many of them will simply not be able to pursue the career they want – irrespective of how talented they are. There are a few scholarships about but “few” is the operative word.
Last week I attended the 2018 Theatre Book Prize award ceremony. From a shortlist of five titles, Nicholas Hytner won with Balancing Acts (published by Jonathan Cape) – and the ever-engaging Rory Kinnear was there to make the happy announcement.
I don’t think it matters whether you’re writing for a national newspaper, your own website or a small organisation which doesn’t pay for reviews. The important thing is that you can, and do, provide an informed critical assessment of the show.
If you have only 30 places to offer on a massively oversubscribed acting or musical theatre course then you must award them to the thirty applicants who have the potential to be industry-ready in three years.
How do we get the word out – really out – about fringe theatre in general and pub theatres in particular. There’s cutting-edge work going on all the time at, for example, the Finborough or Theatre 503, which is based in The Latchmere in Battersea.
I used to review large numbers of graduating student showcases for The Stage. Then last year an editorial policy decision was made at the Stage not to cover them any more. So I didn’t go to a single one in 2017. Then withdrawal symptoms set in.
So it isn’t press night – because you were at another show then. You arrive at the box office and say politely: “Hello. My name’s Susan Elkin. There should be a press comp for me for this performance. And a programme, I hope, because I’m reviewing it for Magazine X or Y?”