THEATERS TURN INTO PRODUCERS
Print Edition
ULTIMATE Broadway” is ready to open again at Shanghai Culture Square in September, giving musical theater lovers a third chance to see this gala collection of world-famous music.
The production, co-produced by the Culture Square and GBW Entertainment, was conceived and tailored for the site.
“We wanted to have some programs that can be staged repeatedly at our own venue over the long run,” explained Fei Yuanhong, program director at the square. “That was the initial reason we entered into co-production and the result shows we made a good choice.”
This is quite a new avenue for Chinese theater, which usually features overseas productions with their own scenery and programs. It’s a sign that the Chinese market is shedding its old image of slapdash productions and poor quality talent.
Several other entertainment venues are venturing into the domestically produced arena.
The first theater to try its hand at local program production was the Shanghai Grand Theater.
“Though the government was encouraging local theaters to create original works as early as 2008, few actually took the first steps because none of us had a clear picture of how to do it,” said Zhang Zhe, president of Shanghai Grand Theater, “It was completely new territory.”
The theater’s production of the Yueju opera “Dream of Red Mansions” and the Beijing opera “Women General of the Yang Family” drew critical acclaim. The theater also had a limited role in the co-production of Puccini’s “Turandot” with the Zurich Opera House.
“We were not very sure whether we should keep on trying at that time,” said Zhang.
The next effort erased any doubts.
In 2010, the theater staged its own production of Tschaikovsky’s “The Nutcracker” during the Christmas season. Choreographed by Derek Deane and featuring the Shanghai Ballet, the first performance broke box office records for Chinese ballet, with receipts of 500,000 yuan (US$78,078).
The production has been restaged at the theater almost every Christmas since, and the cost of the production was recouped in three years.
“The success of ‘Nutcracker’ injected us with great confidence, and we knew we had to continue,” said Zhang.
A series of Grand Theater productions were staged in ensuing years. They included a co-production of Puccini’s “La Boheme” with the Zurich Opera House, Verdi’s “Attila” with the Palace of Arts-Budapest and the theater’s own productions of the Peking opera “Bosom Friends,” and the contemporary ballets “Jane Eyre” and “Echoes of Eternity.”
“There are certainly advantages for theaters with the right venues to participate in production,” said Zhang. “We have the advantage of familiarity with our audiences, ties with different art groups and the staff talent to mount worthy performances.”
Zhang also said he believes that theater members are more sensitive to trends in the performing world and can do creative work with different art groups. A theater like the Grand also can help reduce production costs because of its facilities, equipment and expertise in marketing.
Yet, it may still take long for local productions to catch on in performing arts centers, both Zhang and Fei agreed. There are still obstacles to overcome, like a limited talent pool, lack of experience in production management and small market for fine arts.
“You may have noticed that most of our ballet and opera productions are either co-produced or involve overseas groups,” Zhang said. “It’s not that we have blind faith in Western artists, but that the domestic market has too few qualified artists and production staff.”
The Grand Theater might have to spend 10 times more to sign up domestic performers if it didn’t co-produce with an offshore group.
And according to Fei at Shanghai Culture Square, only 70 Chinese dancers showed up to audition for 20 places in “Ultimate Broadway” this year.
“We have to admit that we are often short of choices,” said Fei.
Although audience numbers in Shanghai have been increasing in the last dozen years, appreciation for the fine arts is still small.
The average Shanghai resident, according to one survey, goes to the theater about once every three years, while the average frequency in Europe is about three times a year.
High ticket prices, relative to family disposable income, are one factor. Government subsidies aren’t large enough to lower prices and still make a return on investment.
Only a very limited number of big state-owned theaters, like the National Grand Theater, Shanghai Grand Theater, Tianjin Grand Theater and Guangzhou Theater, are involved in independent productions.
Though “Ultimate Broadway” has so far been well-received, the Shanghai Culture Square may focus its efforts on perfecting this production before trying its hands on others, Fei said.
“It is, of course, safer and easier to simply rent shows and introduce popular works,” said Zhang, “But what really defines a top-tier theater is going beyond the norm and exploring new productions that help promote the fine arts.”
The Grand is now working on a new production of the ballet “Hamlet,” to be staged next April. Its previous productions of “Dream of Red Mansions,” “Blossoms on a Moonlit Spring Night” and “Echoes of Eternity” will also be restaged in the 2015-16 season.
Ultimate Broadway
Date: September 16-27, 7:15pm
Venue: Shanghai Culture Square
Address: 597 Fuxing Rd M.
Tickets: 80-699 yuan
Tel: 6472-6000
Echoes of Eternity
Date: October 16-17, 7:15pm
Venue: Shanghai Grand Theater
Address: 300 People’s Ave
Tickets: 160-680 yuan
Tel: 400-106-8686
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