Debate over one-year ban on white male playwrights divides British theatre community

At Soho Place in London’s West End on Wednesday, a significant discussion surrounding the future of British theatre took place during The Stage's 'Big Ideas' symposium. Central to the event was a controversial proposal to implement a one-year ban on staging plays by white male playwrights, presented by American director Katie Gilchrist. The purpose of this proposal was to provoke thought regarding prevailing programming norms within the theatre industry, which is frequently accused of gatekeeping and underrepresentation.

The reception to Gilchrist's proposition was mixed, sparking significant debate amongst symposium delegates. While some viewed the ban as a necessary step to address the dominance of white male narratives in theatre, others perceived it as excessively exclusionary. Gilchrist's proposal implied the need for a re-evaluation of whose voices are given precedence on stage, suggesting it could create space for more diverse perspectives. "It's an invitation for us to critically examine whose voices dominate our stages and what it could mean to shift that balance… even for the historical equivalent of an exhale," she remarked.

However, during the symposium, an anonymous delegate expressed concern about the exclusionary nature of the proposal, raising questions about the implications for white working-class men, disabled men, and trans men. The response suggested that this perspective misrepresents the underlying aim, stating, "As Katie mentioned in her speech, there were no trans writers of any kind being programmed on the West End. Implying trans men will lose out as a result of this idea is a straw man – rising tides raise all boats."

Contrasting views were evident as the proposal was critiqued for its potential to alienate certain demographic groups. One delegate, wanting to remain anonymous, described the idea as "idiotic, right-on nonsense," and expressed concern that many attendees refrained from voicing opposition for fear of being labelled "misogynist." This sentiment highlighted a worry regarding the discourse surrounding sensitive topics within the theatre community.

Despite the debate, Gilchrist’s proposal was ultimately not adopted. In a democratic vote, the idea that garnered the most support—receiving 40% approval—was a call to devolve the National Theatre, initiated by actor and director Rob Myles. He posited, "Labour has made devolution a central policy elsewhere – why not in this industry?"

Notably, the symposium also took place against the backdrop of the National Theatre's announcement of its new season, which has sparked renewed criticism over perceived ideological homogeneity in British theatre. Delegates at the meeting articulated concerns that the theatre world is driven by an agenda that only champions certain viewpoints. "They go on about tolerance, but only want one kind," lamented one participant.

In response to the events and discussions, a spokesperson for The Stage provided clarification, asserting that there was substantial room for debate throughout the day. They stated, "The description of the day is inaccurate. No debate was restricted—on the contrary, delegates were encouraged throughout the day to share their thoughts and comments."

The symposium atmosphere was laden with tension prior to the event, as anticipation for Gilchrist’s proposal had already led to significant public discourse. Writer Patrick Kidd publicly described the idea as "batty, sexist and divisive," suggesting that art should focus on providing opportunities rather than enacting bans on specific groups.

Further context to this ongoing dialogue in the arts can be found in the recent practices regarding trigger warnings on productions, including an upcoming staging of Shakespeare's Hamlet. This production has drawn attention as educators and audiences alike questioned the necessity of warning descriptions regarding its themes of death, grief, and violence, given the play’s longstanding reputation as a classic of English literature. Roy Schwartz, a historian, criticised the prevalence of trigger warnings, arguing that they contribute to a culture of infantilisation within the arts.

As the theatre community continues to grapple with issues of representation, diversity, and audience expectations, forums such as The Stage’s 'Big Ideas' symposium underscore the complexities inherent in steering the future of British theatre.

Source: Noah Wire Services