Theatre In The ‘big Apple Is Hardly Rosy Red (Press, 14 June 1984)

Elric Hooper, the artistic director of the Court Theatre, has returned to Christchurch after a six-month sabbatical in Europe and the United States, during which he explored various theatre scenes and contributed articles to "The Press." In his final article, he reflects on the dynamic yet troubled state of New York theatre. Despite its negative portrayal due to crime and economic issues, Hooper emphasises that New York remains a vibrant and culturally rich city, filled with inventive spirit and eccentricity. He notes that the city fathers have been actively trying to rejuvenate New York, especially the central areas impacted by crime and decay, through significant urban renewal projects. However, these efforts may be insufficient to revive the theatre scene, which has seen a decline. Currently, musicals dominate Broadway, as they are the only productions financially viable due to soaring ticket prices, which average around $45. To attract audiences, straight plays typically require a well-known star; successful productions at the moment include "Death of a Salesman" featuring Dustin Hoffman and "The Real Thing" with Jeremy Irons. Hooper also comments on the strategy of staging serious plays in a musical style, citing Arthur Kopit's "The End of the World" as an ambitious attempt that ultimately failed to capture the critics' approval. He highlights the influential role of theatre critics in New York, where a negative review can significantly impact a show's success. Consequently, theatre-goers often resort to waiting in line for discounted tickets to experience plays, leading to a rise in full-price tickets for hit shows. He praises the musicals on offer, with particular mention of "La Cage aux Folles" and "Cats," which feature high standards of production that are unmatched globally. Although New York’s musical theatre remains strong, the straight plays are relegated to smaller venues. These smaller theatres provide a platform for serious drama, showcasing world-class performances that are often overlooked in larger productions. In contrast, Hooper finds San Francisco's theatre scene more reminiscent of European cities, praising its central repertory company that stages a diverse array of classic and contemporary plays. He contrasts this with New York, where the theatre increasingly draws from provincial productions in America, similar to trends in London. Throughout his travels, Hooper has witnessed more than 80 performances and finds more excitement in American writing compared to British theatre. He appreciates the energy and innovation in works by American playwrights like David Mamet and Marsha Norman. Ultimately, he likens the theatre to a resilient entity, always teetering on the brink of extinction yet capable of vibrant revivals, proving it to be a persistent and evolving art form.

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