Theatre touring- or the distinct lack of- has become a real issue in the performance sector and is being treated as such. Mary Cloake articulates; ‘The concept of the regions is one which has assumed totemic importance in artistic and cultural policy in Ireland. Policies for the development of drama and policies for regional development have become inextricably entwined, particularly over the last twenty years’. The potential for theatre companies to tour is obviously fading as a result of economic crisis but, disregarding global financial anarchy, touring in Ireland has always been a problematic area for many reasons- the current economic downturn, and more specifically the recent Arts Council Funding Decision, have only intensified the already existing reality.
The arts council, having previously vowed to maintain a general commitment to the development of the arts outside of Dublin (particularly under Colm O’Brian), have succeeded in establishing a number of wonderful venues across the country for the purposes of theatrical touring and indigenous artistic activity- but it seems that Dublin practitioners have no interest in taking their work on the road. For one, actors and directors are reluctant to tour their shows through the regions due to a certain assumption that implies that the only work possible to promote and sell in more rural parts of the country is traditional, less experimental fare- classics by well known Irish playwrights and plays that have been made into films for more popular consumption. This implication of ignorance on the part of the rural theatre goer may seem harsh but there are other reasons that the practitioners want to remain in the capital. ‘We are based in Dublin’, says Stuart Roche (artistic director of Purple Heart Theatre Company) at an industry meeting hosted by City Arts Centre and Irish Theatre Magazine, ‘it’s easier for people to work for no money when they are in Dublin because they can have part-time jobs or they can sign on. It’s not acceptable to say to people we are going to tour, we can’t pay you, we are working on a profit share basis as we always do.’
There is also the very likely possibility that the audiences aren’t there in the regions- there is no one to play to. Some companies, such as Purple Heart, would relish the opportunity to run a show for a week outside Dublin but have been advised by venue managers that they may not even be able to fill the space for even two nights, which would essentially make the venture futile.
It seems that the only way in which successful touring may be accomplished is through a relationship between the arts council and more localized government bodies. The potential to tour should undoubtedly be a brownie point on any application for arts council funding- it previously has not seemed to count for anything. As Cloake writes, ‘the vision evoked by a partnership with local authorities is that of a nation wide network of companies and producing venues’, insuring a general support network for every individual working company.