‘Regional Theatre Only Plan Likely To Work’

Press, Volume CV, Issue 31000, 4 March 1966, Page 14

‘Regional Theatre Only Plan Likely To Work’

Support for New Zealand’s proposed Wi*! professional theatres was given yesterday by Mr &“during a liams, a director of the Royal Shakespeare Company, during brief visit to Christchurch.

“Four or five professional theatres working hand in hand with amateur companies are all that you need to start it,” he said. “If some communities put their intentions into operation, others will follow.” Mr Williams advocated regional theatre because in his experience touring national companies had failed to take root. “In Wales and also in South Africa we had two manifestations of the idea that theatre should be a national responsibility,” he said. “In both we started national touring organisations. The one in Wales toured for three years, the one in South Africa for five years. “Both came to a stop. It was obvious they were not working because they did not get round the regions enough. A visit to a centre once every six months was not enough to establish a satisfactory relationship. “The other reason is the actor. If actors’ lives revolve round road tours and suitcases, they fail to develop any feeling of belonging, of being related to any particular community. They need a base to work from. “New Zealand should profit from the experience of other countries and establish a powerful and vital theatre in local centres, devoted to the needs of the community.” Mr Williams said the theatres should be critical, if necessary hostile, but always stimulating. “If the national theatre is parcelled off into its particular units, nothing invalidates the occasional national tour,” he said.

The regional theatres should receive finance from both the Queen Elizabeth II Arts Council and from local bodies.

“Even at its best theatre needs subsidies. We need make no apologies for that. Everything is subsidised in our lives these days—medicine, education, even some of our food,” he said.

“It is just a matter now of getting local bodies to recognise the importance of theatre in the community and then they will all be trying to jump on the bandwaggon and spend something.” This had taken many years in Britain, but now the “in” thing there was for municipalities to spend money on theatre. British Movement London had between 40 and 50 theatres at present In 10 years, Mr Williams predicted, it would have only 20. “The immigration of famous actors and directors to the provinces is very real. We now have the power and

energy of the d ‘ s P?£ ing into the length ana breadth of the country. “This is as it should be with theatres integrated into the communities, not J u J monstrous concentrations of machines turning out entertainment at 12s 6d a P°P' N Mr Williams came to New Zealand to give “an nflectionate pat on the head to “The Comedy of Errors wh>ch opened in Wellington on Wednesday night “and Im pleased to say successfully.” The neglected and long despised play was P resel as a stop-gap but surprised Stratford with its * ra Pac*Mr Williams said: It turned out to be our biggest monejmaker. We were forced to keep it in the repertory, we took it on a world tour, and now its popping up evenwhere. This is the ninth version of my production. When will it end?”