"My first job, in 1961, was at the Belgrade theatre in Coventry, the first British civic theatre built after the second world war, with public funds and a subsequent Arts Council grant. My weekly wage was 8, enough to pay for my flat, which cost three guineas, and to eat well enough. Every city of similar size had a repertory company, presenting a new production every two weeks, and crucially providing employment for tyro actors in need of a prolonged apprenticeship in the company of senior players."
"Today, alas, there is not a single rep company in the UK and no comparable system for training new talent. My Belgrade flat, built to house a member of the disbanded company, now holds the council's office of outreach and education."
"What is unchanged since 1961 is the enthusiasm of audiences for lively theatre, classic or newly written. Going to live theatre is still one of the principal amusements in the UK."
"We stretch muscles, clear vocal cords and gossip, reminding ourselves that putting on plays is, at best, a communal business."
Over six decades of acting, the most significant change has been the disappearance of repertory theatre companies throughout the UK. In 1961, every major city maintained a rep company presenting new productions every two weeks, providing essential employment and training for emerging actors alongside experienced performers. This system allowed actors to learn their craft through prolonged apprenticeship. Today, no comparable rep companies or training infrastructure exists in Britain. Despite this transformation, audience enthusiasm for live theatre—both classic and contemporary—remains constant. The profession still values pre-show warm-ups and communal preparation among actors, emphasizing theatre's fundamentally collaborative nature.
Read at www.theguardian.com
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