Kevin Spacey’s artistic directorship at the Old Vic has come under quite unparalleled levels of scrutiny since the actor jetted in from the US and set up shop in Southwark in 2003.
At first, the decision was treated with almost Beatles-like levels of hysteria. People could scarcely believe that a bona fide movie star had decided to come to try to secure the future of one of London’s most historic and beloved venues. This soon turned to suspicion - why would a bone fide movie star want to come and secure the future of one of London’s most historic and beloved venues? And then to outright opposition, as various critics and commentators started to call for Spacey’s head when the artistic programme suffered a run of duds.
Now, it’s all change again.
Last month, Spacey picked up a special prize at the Evening Standard Awards in recognition of the artistic turn-around at the venue.
And there has certainly been a solid (although not spectacular) run of hits over the last year or so. The Norman Conquests - and the overhaul of the Old Vic to create a theatre-in-the-round - has been a resounding success. Last season’s The Entertainer and the earlier A Moon for the Misbegotten were undoubted hits and, looking forward, The Bridge Project , is a mouth-watering prospect.
Perhaps, though, Spacey’s greatest achievement since he took over the Old Vic has nothing to do with any of this.
Attending last night’s 24 Hour Plays Celebrity Gala, it struck me how remarkable it is that an unfunded theatre (yes, the Old Vic receives not a penny in government funding) is able to run an education and outreach programme that is more extensive than those in most subsidised theatres.
The figures are striking. Over the last five years, 25,000 people have been involved in the Old Vic’s ‘creative learning initiatives’, while 35,000 have taken advantage of their cut price ticket scheme for under 25s.
Meanwhile, its work in fostering new playwrights, directors and performers through the Old Vic New Voices programme is equally impressive. If any endorsement were needed of the scheme, it is that last night’s gala - a line up of established names within the industry - boasted two graduates of the initiative. Which, bearing in mind it is now only in its fifth year, is pretty impressive.
It’s also impressive to see Spacey putting his money where his mouth is (so to speak) and programming a brand new play - Complicit - as his opener for 2009. After all, it’s all very well and good training up new playwrights, but if they haven’t got anywhere willing to take a punt on brand-new material, then what’s the point?
In fact, last night’s gala really brought home the over-riding importance of the playwright.
The six productions (all written, rehearsed and performed within 24 hours) were - as you’d expect - of varying quality. However, what was very clear was that if the writer hadn’t done his/her job then there was absolutely nothing the directors or cast could do to save the mini-play.
Ultimately, the most successful of the 10-minute long productions were the ones which had a confident structure and form imposed on them by the playwright. In others, where the writer had lost their way somewhat, there was little that the cast could do to redeem them. Ultimately, the writing was absolutely paramount to the success of each individual play.
Which is why schemes such as those run by the Old Vic are so important. And - when commentators are consistently complaining about the dearth of new writing in the commercial London theatre - Spacey’s Old Vic should be congratulated for trying to push on a new generation of talent.
Congratulations,Mr.Spacey for your excellent work at the Old Vic. You are a super great stage and film actor and most of all you are a classy person. To act, direct, produce and sing, you are brilliant in everything you do.
Bravo and continue the good work.
A fan from across the ocean - Canada.