Feature: PHANTOM Actor Paul Tabone & More On Why This Industry Is Viable - And Vital

The theatre industry, and arts community in general, has been in uproar since Chancellor Rishi Sunak suggested in an ITV interview that artists will need to retrain and "adapt and adjust to the new reality". This was followed by the Government-backed "Fatima's next job could be in cyber" poster. In his statement on the winter economy plan, Sunak promised to "protect as many viable jobs as we can", which in all sent a very clear message: working in the arts is not a viable career.

It seems many fail to realise the huge amount the arts contribute to the economy. They also fail to acknowledge that in the consumerist capitalist society we live in, most naturally incorporate entertainment and art as part of their daily routine, from listening to music on a commute, to winding down with Netflix or socialising at a show.

The gradual Government announcements allowing theatre to return, firstly only outdoors, and now indoors with social distancing measures, have often come at far too late notice for companies to scramble a show together (although some, like The Watermill, have overcome the impossible).

Mostly, theatre-related Government announcements have exposed the true ignorance and lack of care for the industry, like in June when Andrew Lloyd Webber announced that a Government report had suggested musicals could return but that "you're not allowed to sing". Imagine the Phantom just simply speaking "Music of the Night".

Despite finally being allowed to reopen, many theatres still remain closed for the foreseeable future - a far cry from the once glittering West End. Until social distancing ends, most productions will be financially unsustainable.

The £1.57 billion rescue package is certainly welcome, although its belated - and much debated - grants will only tide over venues until early 2021. What then?

I interviewed Paul Tabone, who has been fortunate enough to play a leading role in the West End for four years, and is one of the many individuals who have dedicated their life to this industry. Tabone was playing Piangi in The Phantom of the Opera at Her Majesty's Theatre, when, on 16 March, the Government ordered all theatres to close, and he was told to vacate the building until further notice.

"It was devastating for everybody," recalls Tabone. "The initial shock of it was sad. But somehow, we knew it was coming." Growing up in the small town of Ingham, Australia, Tabone moved to London specifically for the coveted role after years of building his reputation as a world-renowned lyric tenor. On 17 June, Tabone was released from his contract.

Mackintosh's company issued an official statement in June that said: "In response to the continued uncertainty over when the Government is going to completely withdraw social distancing measures and allow the safe return of theatre productions Cameron Mackintosh, his producing partners and Delfont Mackintosh Theatres have had to take the difficult decision of delaying the return of their productions of Les Misérables, Mary Poppins, Hamilton and The Phantom of the Opera until as early as practical in 2021."

"This is such a sad time for theatre", says Tabone. "Our show has been running for 34 years at Her Majesty's Theatre, and now we're all released. I am so grateful I was able to take part in this wonderful show, and be a part of The Phantom of The Opera legacy in London, in the brilliant original production. I understand the effect that this pandemic has had on my industry, and have seen the devastation it has caused my colleagues as well."

Much Government rhetoric implies the arts is more hobby than career. Yet according to the UK Government 2019 official data, the total number of jobs in the wider creative economy is 3.2 million or 9.6% of all UK jobs. And, in the larger West End venues, performers are paid a minimum of £712.73 a week, with leading roles negotiated for much more.

A typical week in the life of a theatre performer consists of eight shows at around two-and-a-half hours long, Monday to Saturday nights with midweek and Saturday matinees, plus a daily warm-up as well as understudy rehearsals and promo work. There is also a rehearsal period of up to two months before. Contracts are usually for year at minimum, and can be renewed annually.

Moreover, if you're still unsure whether working in theatre is "a real job", remember that they are registered as self-employed and pay taxes just like every other contributing member of society. And, just like for those wanting to be a lawyer or a doctor, there are a multitude of institutions offer undergraduate and master programmes in all fields of the theatre industry. This year, the Royal Academy of Music had 35 musical theatre students graduating amidst the pandemic, with fees priced at £16,100 for UK/EU students and £19,850 for internationals, not to mention rent and living expenses.

"I think theatre closures have had a profound effect on our students emotionally and psychologically," says Daniel Bowling, head of musical theatre at London's Royal Academy of Music. "We've tried our best to reassure them that our sector will bounce back and when it does, we want them to be optimally prepared, but there is no question that it has been an extraordinary challenge for both them and us to keep their minds focused and help them keep their eye on the prize."

A survey of Mandy Actors Network's UK members in response to COVID-19 revealed that 47% intended to support themselves financially through Governmental support, 25% will turn to their families for financial support, and 43% will use their savings to survive. This financial stress from job loss or lack of employment opportunities, on top of all the other pandemic-related stresses, has inevitably taken a huge mental and emotional strain on theatre workers.

Tabone has been more fortunate than some in that he still has been able to generate an income, keep busy and stay creative through teaching 20 students, currently online. "That occupies a lot of my time and gives me a lot of pleasure, and I can just be home and safe for now," explains Tabone.

Beyond the individual devastation the pandemic has caused within the theatre community, increased by Government neglect, there will also be a staggering negative impact to the country's economy as a whole if its world-renowned West End remains a shell of its former self.

Sir Nicholas Serota, Chair of Arts Council England, said on their data findings from last year, "not only does the cultural sector contribute £10.6 billion to the UK economy - making it bigger than the oil, gas, automotive, aerospace and life sciences industries combined - but it also generates almost half that figure in the export of arts and cultural goods and services and in tourist pounds spent in the UK".

In terms of the UK theatre industry specifically, Cameron Mackintosh told the Evening Standard that the pandemic has caused "devastating losses to both the theatre industry and London's economy, to which I have already contributed more than £1 billion in tax".

Tourism alone generates a huge portion of the UK economy, for which the West End's world famous shows, as well as venues like the Globe and the Royal Shakespeare Theatre, are largely responsible. The latter, situated in Shakespeare's hometown of Stratford-Upon-Avon, has been reported by the RSC as having over 570,000 visitors a year. "We make a significant economic, cultural and social contribution to Stratford-upon-Avon and our wider Midlands region," said the RSC in their recent statement.

Lloyd Webber certainly won't go down without a fight. His company released a statement saying: "LWT have just taken a 50-year lease extension on Her Majesty's and will do everything in their power to re-launch, better than ever... In summary, we can't tell you exactly when the Phantom will be back but we can tell you that he will be back."

However, there is still some confusion over the ultimate fate of Phantom, with Mackintosh telling the Telegraph today: "Before lockdown we opened a fabulous new production in Leicester, which Andrew came to see - and it's going to go into Her Majesty's. His company is the co-producer. It was just Andrew being 'the artist'. When it suits him he's the lonely artist and when he wants to put on a show he's the showman. He has always been like that. I just get on with things."

Mackintosh also defended his staff cuts: "If I had kept on the many hundreds of people I had to let go it would have drained and destabilised my business and I might have had to sell off parts of it. Maybe some people would like me no longer to be working in the theatre, but I think I have tried to be a force for good, and am working to make the West End alive again."

"We're a resilient bunch, us artists," concludes Tabone. It appears you'd have to be, considering the negligence from our political leaders. Still, a little more outside support and acknowledgment seems more than due.

Photo Credit: Bella Bevan and Danny Kaan

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