One of the consequences of the recent closure of The Brewhouse in Taunton, in addition to the loss of jobs is and the more long-lasting impact it is likely to have on the cultural life of the local community, is the number of artists who have been left out of pocket as a result.
While there has since been criticism from some quarters over the way the closure was handled, whatever the reality of the situation it does make one think about the challenges and inherent risks involved for all artists when it comes to touring work.
The theatre-maker Laura Mugridge, whose Fringe First-winning debut show Running on Air – for audiences of just five at a time – took place entirely within her yellow VW campervan, is currently on tour with her new show The Watery Journey of Nereus Pike, a mix of storytelling, sea shanties and Van Halen.
Unlike her previous piece which she performed 374 times all told, the new show is designed to be performed in conventional theatre spaces.
The tour is one of several shows supported by House, a programme set up to connect and support venues and artists, removing some of the risk involved in touring. Supported by Arts Council England, the scheme has been designed to improve the range of theatre being staged across the South East and Eastern England.
Places like this allow people outside of major urban areas to see a wide range of work in the town in which they live at affordable, accessible prices.
Mugridge says that being part of this scheme has helped “take some of the pressure off”, though as with any form of tour, certain elements remain unpredictable and Mugridge has performed the show to audiences of over 70 – at Reading’s South Street – as well as, on one recent occasion, to just two people. Marketing work of this kind remains an issue, she says, getting the word out isn’t always that easy and some venues are better at it than others.
I went to see Mugridge’s show at Colchester Arts Centre, a deconsecrated church which has been converted into a beautiful performance space which styles itself as “a little church with a big attitude deep in the heart of Essex.” The venue has an admirably eclectic approach to programming, with lots of comedy and children’s theatre on the bill alongside folk music, storytelling and poetry.
Of the audience there on the night, while some were familiar with Mugridge’s work, many people were there because they know and like the venue, and as a direct result, were willing to take a chance on work they might not have ordinarily have gone to see. Cost was another factor, with tickets for many shows under £10. Judging by their buoyant response after the show it was a chance worth taking on this occasion.
While anecdotal this does highlight what a shame it would be – and very probably a counter-productive move too – if venues were to favour more conservative or narrower programming. Places like this allow people outside of major urban areas to see a wide range of work in the town in which they live at affordable, accessible prices, and while there might be more pressing and immediate social issues to contend with at the moment, this is important – to artists and audiences alike.