UK’s Off-West End scene gets ready for a major celebration to commemorate the richness, quality, and importance of its industry. Guillermo Nazara chats with the two men in charge of redefining the gala, to learn more about their mission and this completely new version of the event – which also marks its 15th anniversary.
How does it feel to be bringing back the biggest celebration of Off-West End talent, while also celebrating its own 15th anniversary?
DS: I’m immensely proud. It’s the 15th anniversary of the Awards this year, but next year it will actually be the 20th of this whole Off-West End theatre project. Off-West End has really grown, and I’m hoping for this ceremony to really commemorate that: the progress and unification of the sector. If you look at the data, two decades ago, the only powerhouse for independent theatre was off-Broadway. But now, I would say off-West End is far superior in terms of accessible and broad content we’re getting.
This ceremony comes with the novelty of a no-category model. What are the reasons behind the change and how will it work?
DS: The inspiration came from across the pond. The Off-Broadway Awards got rid of categories back in 2021. I was looking at their model and realized that it allows to celebrate all the quirks and innovations of everyone working in the sector. What we were doing before was finding as many shows that fit into our categories, but when someone did something new in terms of style, we needed to add a new one – that led us to over 60 categories, which is not practical. We had to be reactive. So we discarded all those limits. We’ve reduced it down to 8 broad areas – all of which have no limitations. We can award absolutely everything so we can appreciate the full diversity in the Off West End, and support alternative work – which is usually disadvantaged. This will allow us to reward innovative work and those areas that do not get enough recognition. I think this will elevate those practices.
As you mentioned before, the off scene in London is buzzing stronger than New York’s. Does this mean the Off-West End offer is at healthy state or still at risk?
DS: I think it’s both. We’re living an artistic Golden Age in the Off-West End scene within a financial mess. If you look at the offer, we’ve had about 20 Off-West End shows recently that have made it to the West End – that’s its highest peak in its history. The pandemic has had a lot to do with it, with West End producers looking into the Off scene to find something to bring. And also, the growth of the off scene’s prestige has caught producers attention even more. That’s such an achievement to be proud of. However, the funding models are disastrous. It’s impossible to make a living from an Off West End show. If you’re a producer, you’re lucky to just break even; if you’re an actor, you are probably getting minimal wage – and that’s not enough. I, myself, am one of the very few Arts Leaders coming from a working class background, which is very worrying.
JB: The most important thing about Off-West End theatre is the variety and range that it provides. In a way, London is at its highest peak in terms of creativity, representing all the diversity that the city has at the moment. But the financial pressure makes it very difficult – regardless of if you run a venue or you’re a creative, with the Government also reducing its funding. The pressures are building everywhere. However, you only need to look at the list of nominees to realize the extraordinary body of work we’ve had this year: ballet, cabaret, opera, dance, plays, musicals, and everything in between. People of the theatre are often called resilient, and I think that’s a very accurate observation. All you need to do is somebody going into a space and someone watching, and you’ve got theatre. The Off West End reflects that more than anything else.
How could the situation could be improved?
JB: Apart from the Arts Council, the local boroughs and authorities are crucial for the sustainability of the industry. The biggest thing is the cost of living in London, and it’s climbing so rapidly. Those are two fundamental challenges that need to be tackled.
DS: Apart from that, there should be an ecology loop from the West End – where the larger commercial enterprises need to look after the off-scene, because they are benefiting from it. They must realize that if they don’t take care of it, we could lose the richness of this ecology. We must make sure that this loop is kept.
It’s been announced that this upcoming gala will be an explosion of entertaniment. Can you give us any hints about what’s in store?
JB: We want to produce an exciting show, where people have a great night and want to come year after year. It’s going to feature great performances, while all our guests from the theatre world will have the chance to meet and connect with each other. We also have an amazing venue in Westminster, and Divina de Campo will be hosting and performing herself. It will be also be backed by a live band and singers. Also, one of our current nominees and Tony Award winner Frances Ruffelle, from the original cast of Les Mis, will be playing, apart from Mischief Theatre, the London Gay Men’s Chorus, and much more to come! It’s going to be such a great night! We’re working very hard to get some big names to present the awards, so I’m hoping for a few surprises to happen – and most importantly, a great night with great people celebrating the richness of our theatre.
DS: Julian has been so brilliant with all of this. When he was the producer of the Oliviers, he completely modernized it into this incredible spectacle. That’s one of the main reasons why it was so important to bring him on – he will make the offies part of the awards circuit, which is so important. It’s so important to celebrate how brilliant this affordable form of theatre is. I really can’t wait for it to happen and to show off the quality of what’s been staged in the off scene.
JB: We also using this year as the first one for this new version. We want it to grow as much as possible – so it becomes a gala everyone wants to come to. We’ve only had a few weeks to prepare. But hopefully it will allow us to make it even bigger next year.
In that regard, have you found any particular challenges?
JB: I think the inevitable challenges in theatre is how expensive it is to put on anything. But also the sheer logistics that come from displaying the immerse variety of work that the Off-West End scene has – that makes it fairly complicated, but it’s coming together incredibly well.
Why is it important to support Off-West End theatre?
DS: I don’t think there’s another form of theatre that’s as innovative and vital to the life of UK theatre – not only in terms of affordability, but also because it’s where theatre truly starts. Also, no other form allows you to be face-to-face with the actors – which makes the experience truly magical and special. Finally, so many Off-West End theatres are so embedded in lifting their own local communities up, in a way you’d never see in the West End.
JB: It’s the grass roots of theatre. Without it, we simply can’t have more of it. It’s so important for the whole country. So many people have started in Off-West End and move their way up not only to the West End, but also film and television. The training it provides is crucial to the ecology – without it, we’re paralyzed.
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The Offies will have its 2025 ceremony on 17 March. Further information and updates are available on the following link.