For one thing, the political climate in London is far more inviting to producers. Much of their work is supplemented with government grants or at least comes with tax breaks, which means producers can risk less and possibly return more on their investments. Additionally, the crowdfunding laws in the U.K. mean a show needn’t rest on the shoulders of a few independently wealthy backers. A clever Kickstarter campaign could be its ticket to success instead.
While this is quite a pull for anyone wanting to produce a piece of theater, for the spectators, it means West End theaters can take more chances and put on newer, more daring shows. With financial loss less of a concern, the Brits have more freedom to pour money into developing new shows before they commit to even performing the production. This means West End is cultivating exciting and innovative theatrical spectacles. Broadway seems to be limiting itself to “foolproof shows” like big, flashy musicals adapted from movies or featuring the songs from everyone’s favorite rock band or, you guessed it, shows that have already found success in London.
Recent Broadway smashes like “Matilda” and “The Curious Incident of the Dog in the Night-Time” both originated in London and were later brought over to the States. And while it’s true we’ve been able to send a few gems their way, it seems like a disproportionate amount of innovation lies in that tiny island across the Atlantic.
Of course, in all honesty, while we could choose to be intimidated by London’s advantages, it maybe better to see it as a brilliant partner rather than a competitor. After all, if theater’s purpose is to enlighten, entertain and excite its audience, then why should continental boundaries inhibit that? While I do proudly sing “God Bless America,” I suppose God can “Save the Queen” as well.
