Arts
Raising the curtain in the new normal
Midway through lockdown I started panicking at the prospect of theatres being closed indefinitely. How were we going to financially recoup from this? How would theatre adapt and change? Most importantly, when would we be able to experience live performances again? Before I could wind down a rabbit hole, I resolved to ask those best placed to give answers to my questions.
The way it was: ‘Arsikland the Musical 2: The Circle of Strife’, had to close down two performances into its six show run in March. Pic by Manoj Ratnayake
I started out with Feroze Kamardeen (Artistic Director of StageLight&Magic Inc.) whose show, ‘Arsikland the Musical 2: The Circle of Strife’, had to close down two performances into its six show run in March as lockdown loomed. “It was a tough decision to make because we lost all four shows along with our sponsors.”
Kanishka Herat, one of its actors added: “When the show was called off, I was naturally sad and disappointed because a lot of hard work was put in by the entire team: the production crew sorting out logistics, advertising, marketing, raising funds, the musicians practising and putting together musical arrangements, and the cast rehearsing for hours under the guidance of the directorial team – all of which required their dedication and time.”
Indeed, it’s important to remember that theatre stands on the shoulders of an entire network of people who often go unrecognised – writers, producers, set designers etc., – so to get a sense of how they felt, I turned to Johann Perera who works as a lighting designer/technician, including on Arsikland. “I’ve heard of shows getting cancelled before but never imagined it would happen to me – it was a surreal experience.” He continued, “I had 11 confirmed shows pre-COVID and only four were completed with the other seven being either cancelled or postponed. It is very difficult for me especially because I love spending my free time at the theatre learning new things – it keeps me going when I step out of the corporate job that I’m in.”
Despite the setbacks and frustration that accompanied these hard decisions, everyone unanimously agreed that the health of the public was paramount and they made the right call. The next question then is how theatres will adapt to make it safe for people to come watch a show. Across the board many admitted it would be a long time before theatres are at full capacity which brings its own set of unique problems not least different seating arrangements and raised ticket prices that complicate the already tight budget companies work on.
Dilrukshi Rambukwelle, Administrative Secretary at the Lionel Wendt Theatre, has used this time to do maintenance work on the auditorium and is making plans to implement safety regulations. Despite having made zero income since March and with most bookings postponed to next year (quite unheard of for a theatre that hosts 15 shows a month) she is determined not to raise prices as it will drive audiences away.
Kamardeen also stated that “We’re trying not to raise ticket prices but going forward we won’t be selling tickets to individuals but rather for two people as you’ll have to buy the seat next to you – so you will have to bring someone.”
But as Tracy Holsinger (Artistic Director of Mind Adventures Theatre Company) points out, selling at 50% capacity is still cause for concern – “This is far higher than it should be if socially distanced seating is to be practised properly. It signals a lack of responsibility on the part of the public performance board for public health and safety. We hope things will become safer in the months to come, but are wary of being encouraging without any evidence to back it up.”
From a creative viewpoint, empty spaces diminish the vibe that live performances create, something which Bimsara Premaratna (a multi-disciplinary artist) explains. “It’ll feel isolated from an audience perspective. From a performer’s perspective, empty seats and scattered audience are not things we look forward to and would also require more effort to create the bridge between stage and audience.”
So the onus seems to be on theatre companies’ artistic choices and what they decide to stage (are we in for lighter, funnier theatre?), how they decide to showcase it (will the productions be scaled down to the bare minimum?), and where they choose to hold it (will we see a growth in the use of unconventional spaces?). Kanishka suggests that, “smaller productions (i.e.: one act plays, monologue plays, plays with fewer actors) can be performed in smaller venues (coffee shops, galleries, open air garden spaces, living rooms) to smaller audiences whilst adhering to the health guidelines.”
Content wise, Sashane Perera (Additional Artistic Director at StageLight& Magic Inc.,) is well known for staging shows that depict the cultural and societal issues that affect modern society. He and his cast were midway through rehearsals for the musical, ‘Rent’ when lockdown occurred – “I personally wouldn’t pick heavy content at this point. I believe that all of us have been through a lot and I wouldn’t want to knowingly bring an audience to something very heavy (which I generally like to do). The question around bigger productions boils down to investment. Without the generosity of partnerships it’s tough to make big productions happen.”
And so we come to the elephant in the room. Theatre in Colombo is built on a rocky foundation which relies on people’s enthusiasm and a lot of corporate sponsorship. With the exception of some theatre companies, actors are hardly paid for their work which means theatre here is unlikely to become a viable source of income in the future. In terms of class disparities, the pandemic has made it more apparent which artists can afford to stay afloat during a crisis which includes those who are privileged and those who have other income streams. The actors I spoke to are all multi-disciplinary artists not just because they are extremely talented but because it is a necessity.
Ruvin de Silva is one such artist who has never expected or made any substantial income from theatre. As a result, he made the move to other mediums like film and recently decided to take on only paid work – “In this sort of field you just have to be clever – if something isn’t giving you what you need you have to find another way to do it. Theatre is dying with or without the pandemic – if the Royal Shakespeare Company of all places has had to be asking for donations it shows that even they’re struggling.”
Making that transition to post-COVID theatre then perhaps requires something of an attitudinal and systemic change which Tracy details – “Theatre will get back on its feet when its artists are empowered, and push themselves to achieve new heights in terms of the quality of the work made and the level of professionalism achieved. I would say help and support the artists in the entertainment industry as a whole. From film to theatre to music, the industry is informal and artists are exploited. Stop asking artists to work for free, stop de-valuing their time and talent and skill.”
To make these skills further financially viable, Shanuki De Alwis, a brand purpose consultant/speaker, proposes re-examining how we do theatre and what we use it for: “The world still needs lessons and organisations are always looking for ways to engage with their customer audiences and the performing arts are a great way to engage and interact.”
But, at the end of it all, the spectator has the most important job. “Watch the plays as and when they come on the boards and encourage others to do so as well,” Bimasara implores. “Theatre in Sri Lanka is of very high standards, even comparing at a global scale. We are home to some fabulous artists and the highest honour you can pay them is to go watch them live!’
Additionally, Sashane suggests being ‘open to new things / venues / performers / modes of performance when it comes to live shows. Theatre isn’t something you can take on YouTube or stream online, the engagement is live or else it’s not theatre.’ This sentence really encapsulates what makes theatre so special – in a live setting, it is a conduit between different communities that offers joy and an education to both spectator and participant.
I end with a quote from Jayampathi Guruge, a theatre practitioner: “During the pandemic I had to think differently about art – shed light on its various uses, how it affects people, and how it is presented. During this time, we saw more people showing more gratitude and building new relationships. I got to spend time with my theatre peers during curfew – it gave us an opportunity to live and take care of each other.” This community looks out for one another but ultimately needs you if it is ever to flourish and unlock its full potential.