Despite the digital age, there is a very large number of venues and spaces that are looking for plays, and many of them are looking for new plays.
Sentiment: POSITIVE
There is an audience for every play; it's just that sometimes it can't wait long enough to find it.
The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.
We need theatre that is contemporary, lively and relevant, and the only way to do that is to take care of our playwrights and produce their plays.
In New York, there are a lot of plays to see, and I try to see as many as I can.
I think new plays are vastly more surprising and challenging and inspiring; I hear from audiences all the time that they are delighted when they see plays about the world we live in now, at this moment.
It's great to do small plays in the theatre and then go off with Blur and play in front of thousands of people.
One reason why Shakespeare's plays remain so popular is that they're now regularly presented in updated stagings with a contemporary flavor.
If it's not in New York, let's say it's in St. Louis, then they've got to find a place or get with someone who knows about the work... they've got to find a place like that and do scenes, and then try to get in plays.
Unlike films, which can be easily disseminated worldwide via DVDs and the Internet, plays struggle to find an international audience.
Places like the National Theatre or Sheffield, these great engines of theatre, make us cutting edge because they can be experimental. They can do plays that nobody else can afford to do in ways nobody else can afford to do.
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