I’ve been following the developments in the theatrical world for several years now, marking the highs, the lows, the new and the old having its time in the spotlight. I’ve seen one-hit wonders, shows flourish and cultural icons take hold, shining a light on new writing, communities, talent and potential. Since coming to university, I’ve had the pleasure to work with many talented future thespians, technical teams and creatives from all walks of life.
I thought that I had seen it all. But yesterday’s announcement from the U.K. touring production of Bonnie & Clyde truly shocked me. And if this is anything to go by, should be a dangerous sign of things to come. So what’s happened with Bonnie & Clyde? What could possibly be so serious to have caught an Arts & Theatre Editor, who’s life seemingly revolves around musical theatre, off guard?
For those who have discovered this musical for the first time from this article or from the news, Bonnie & Clyde first premiered as a musical in the United States in 2009. It tells the story of Bonnie Parker and Clyde Barrow, outlaws and lovers who became infamous during the American Great Depression. In 2011, it reached Broadway, but closed within a month with 36 regular performances and 33 previews.
By 2022, the production crossed to the U.K., receiving a concert production starring Broadway legend Jeremy Jordan, alongside Laura Osnes. As well as being professionally recorded, it was announced here that a full West End production was in development, which officially opened in London’s West End, beginning at the Arts Theatre before moving in 2023 to the Garrick Theatre. It ran here for two months, and in what was seemingly a theme of this production, announced their ill-fated U.K. tour in their final performance.
The tour began on February 22nd 2024, exactly three months ago today. The production starred Katie Tonkinson, Alex James-Hatton and Catherine Tyldesley, and played its runs in Leicester, Dartford, Wolverhampton, Norwich and Manchester. The show was set to move next to the Cliffs Pavilion Theatre in Southend-on-Sea, opening this week. But with seemingly no warning, May 21st, just before their three-month milestone was reached, the production released a statement concluding their U.K. tour “with immediate effect”, including the planned run at Sheffield’s Lyceum Theatre in October. It was later revealed by producers for the show that financial reasons were behind the decision, with many attributing this to relatively low ticket sales.
So how did we get to this point, and more importantly, why is it so important that the performing arts industry at all levels takes this as a stark warning?
Firstly, it’s important to acknowledge some of the facts surrounding this particular musical itself. Whilst it’s not the fault of the production itself necessarily, there are several factors which must be accepted at the outset. The musical’s subject matter, whilst incredibly interesting, had a mountain to climb, particularly in British theatre. Bonnie & Clyde are figures which have become infamous in America but are nearly unknown to the vast majority of British people.
American outlaws from almost a century ago aren’t the first thing that comes to mind for those in the U.K. when thinking about theatre. But even if they were, the history of this musical itself is also a rocky one. Surviving on Broadway for less than a month, relatively short runs that weren’t extended in the West End, having never won a major theatrical award and in Britain…wasn’t even nominated. Whilst many who have seen the musical agree it isn’t a bad work by any means, many really enjoy the show and have seen it repeatedly, it is missing a lot of critical elements that often are instrumental in driving up ticket sales, with reviews often being mixed. A similar story can be seen with the fate of Andrew Lloyd Webber’s Cinderella and its ill-fated Broadway transfer.
We must also consider the wider issues attached to theatre currently when considering the ill-fate of the American outlaws. The Cost-of-Living Crisis, preceded by the Covid-19 pandemic means that theatres themselves are struggling with higher operating costs and other factors associated with creating live theatre, being matched with lower audience numbers, fewer repeat attendees and many unable to attend at all, with prices being driven up by the costs. This creates a devastating feedback loop, whereby problems are exacerbated repeatedly in an endless cycle.
As well as this, for audiences who are still able to attend, they tend to be a lot more cautious about what they decide to go and see. With theatre costing more and less disposable incomes available, people are tending to be a lot pickier about what they decide to see. This often manifests itself in either people choosing a production they are certain they will like or is very popular, such as Hamilton, SIX or Wicked, or looking at reviews from friends, critical reception or award wins. This is less important than on Broadway, where negative reviews or missing out on a Tony award can instantly cause a production to close, but is certainly becoming more prevalent as a result of the various financial pressures exerted on theatre.
Ultimately, these two behaviours culminate in one result. People are less prepared to take a risk with a new, unknown or mixed-reaction production than they are with something more established, classic, universally enjoyed or with many awards for their show. Whilst this is absolutely understandable, and may go a long way to explain the woes of Bonnie & Clyde, it is a bleak outlook for new work trying to break into this competitive industry.
And this is affecting theatres across the country, but even more apparent in small venues, with approximately two live venues for performing arts and music closing their doors weekly. We’ve reported in recent months about the Abbeydale Picture House named in the top band of theatres at risk, as well as last month’s announcement that Theatre Deli Sheffield will also be closing.
So we’ve explored the range of reasons that may have culminated in Bonnie & Clyde closing, but this is sure to happen for productions that aren’t to the tastes of large audiences right? This is how we sort out the short-run shows from the decade-long runs we see elsewhere surely? Well yes, but this particular instance, I believe, represents a lot more than that, and the implications of it make grave consideration.
New theatre, theatre with imperfect runs, theatre created by smaller or independent companies have always struggled to break into the mainstream industry, and that’s become a widely-accepted fact of live theatre, particularly musical theatre. But Bonnie & Clyde didn’t exactly fit that description. The content has enjoyed a Broadway run, a West End run and a U.K. Tour. Regardless of how short each may have been, this is a fantastic achievement for any form of writing, especially a musical attempting to break into the theatrical capitals of the world.
And yet, even this wasn’t enough to draw crowds necessary to sustain a touring production for more than three months. A show that has drawn fans across the world could not survive in a post-Covid and Cost-of-Living Crisis industry. It is also disturbing to consider the speed in which this announcement came. Merely 48 hours ago, the vast majority could never have predicted what was about to happen. Whilst the decision would have been considered heavily in the days and weeks leading up to May 21st, the visually rapid rate at which this happened, the company broke up and theatres ended ticket sales is startling.
I’m certain there will be many other touring and non-touring productions and company members who will be losing sleep, wondering whether a slump in sales will mean their show hits the brakes at any second, with potentially very little notice. Given that the vast majority of cast members, if not all, are paid on a per-performance basis, or in contracts which require certain output for certain levels of payment. These financial burdens are a stress on performers at the best of times as being a performer is not a financially-lucrative career path, but knowing at any second their job could be over, many with no additional job lined up, must be a huge strain on already strained performers.
This is a wider issue in the industry that affects many performers. In between her roles starring as Heather Chandler in the West End production of Heathers and becoming an alternative for Elphaba on the tour of Wicked, West End superstar Maddison Firth was working in a shoe shop in London. Over lockdown, star of SpongeBob the Musical and current alternate Howard/Parr in SIX in London Hannah Lowther worked at Tesco. Performers that have such a draw in some of the most popular musicals the West End has to offer often rely on them performing up to eight times per week to stay afloat, often with no overarching salary structure to fall back on. And with shows stopping suddenly in a post-Covid world, this can be devastating.
It is a simple reality that economics will always play a role in theatrical programming, as financial viability is key to allowing a show to run, its performers to be paid and its quality to remain as high as possible. But we are now clearly in a world in which financial aspects are considered higher than anything else, including the art itself. If low ticket sales are enough to stop a U.K. tour that has ~6 months programming ahead of it in its tracks, the bar for a show to be able to be considered is only rising, and it will ultimately price out groups who want to put on shows, or restrict the content they choose to portray, with safer options being prioritised over new work. Why would a financier take a risk on new material when they can be sure a tried and tested show will sell much better?
Theatre is at risk across the country at all levels for a variety of reasons. Whether it’s a West End production not being extended, local venues closing or even student groups facing fundamental challenges with programming including reduced facilities or increased costs, theatre is becoming more difficult than ever to create. Thespians always seem to find a way to carry on and overcome these challenges, but now that even Tony-nominated productions aren’t safe, where do we go from here?
Firstly, it’s critical that we all heed the warning Bonnie & Clyde is giving us. The threats facing theatre cannot be overstated more than when a show at the top of our industry is taken down by many of the same issues small venues are up against. As audience members, we must do what we can to support live theatre, small independent venues and creatives, and there is no better way than attending performances and sharing their work with as many people as possible.
As creatives, casts and crews, we must be aware of the issues we face and work with local communities to alleviate issues and work together for a more sustainable theatrical industry that can rely on artistic expression and quality over purely economical decisions, as well as continuing our work as best as possible. And as constituents in this General Election year, we must ensure that politicians, parties and decision-makers of all political colours recognise the challenges our industry faces and work to improve the creative arts immediately to prevent these issues from growing any more grave than they currently are.
Through all of these issues, there is a hugely talented cast who are returning home much sooner than expected, deflated and sad that their journey is already over. If we don’t work to make tangible change for our theatre communities, this story will become even more common than it currently is. And a theatre community devoid of passion and energy after years of hardship is one we cannot risk, as the consequences will see curtains come down for good, and theatres staying dark.
