In fact, the notion that the non-trained may well act and speak differently, and yes, whisper it, in a less markedly competent fashion than battle-hardened thesps, can be a counterintuitive plus. We can marvel at low expectations exceeded, at hurdles overcome, at unexpected resonances. Whyman is adamant about the issue of quality in verse-speaking: “The bar for me is: can you understand the words, can you understand the rhythm? If that’s happening, that’s crystalline clarity. I’m interested in it sounding like a real person, then we will hear why these plays have lasted so long.”
There are some hugely persuasive proselytisers for this brave new world, and they’re helping to shape the agenda. Tom Morris, artistic director of the Bristol Old Vic, advises: “The Arts Council and others are rightly excited about what might happen if we share creative opportunity more widely and radically. We can’t and shouldn’t pretend to know what might come out of that.”
Fine, but, less willing to put their head above the parapet, another director privately cautions: “I worry that the word art has become a dirty word. ‘Let’s create’ might mean ‘let’s destroy the individual artist’. By making everyone an artist don’t you render the term meaningless?” Used sparingly and sensitively, community theatre could be a priceless catalyst for re-energising our theatre culture and re-engaging the public.
Allowed too much sway, and an affirmation of what ordinary people can do on stage might be a licence for mediocrity, dragging the art-form down. Last word to Blakey, though, confident that theatre can square the circle: “For me, the work has to be excellent because of the people involved, not in spite of them. And can be.”
‘The Key Workers Cycle’ runs at the Almeida, London N1 (020 7359 4404), Mar 9-12; almeida.co.uk; ‘Henry VI: Rebellion’ runs at the Royal Shakespeare Theatre, Stratford (01789 331111), www.rsc.org.uk; April 1 – May 28; ‘The Doncastrian Chalk Circle’ runs at Cast, Doncaster (01302 303 959), Aug 27-29; castindoncaster.com
