Márton Nagy: A Struggle for the Audience: Theatre vs. Hollywood

The world of theatre has changed enormously since the age of Shakespeare. Being an actor used to be a local phenomenon; the actors were relatively unknown outside their company back in the day. However, the age of the motion picture changed everything, and introduced a milestone in the world of art: international stardom.

Stemming from a neighbourhood in central Los Angeles, the dawn of the cinema of the United States brought a completely new kind of recognition for the actors. Since the 30’s and 40’s, the success of a performer is perceived in a whole new way, and, as the target audience is not a small group of theatre attendees anymore, those who were at the right place at the right time, earn not only unbelievable amounts of money, but may also become internationally known idols.

The question arises: in a world, where success is measured according to blockbusters and top billings, how would you familiarise a young audience with a classical play like Much Ado About Nothing, and, more importantly, with the theatre itself? The answer is evident: cast internationally known stars in the lead roles. This is the reason why Josie Rourke cast David Tennant and Catherine Tate in his 2011 adaptation. Moreover, he also modernised the entire setting of the play: instead of the late medieval Italy, we see the 80’s Gibraltar, which is, again, more easily acceptable by a non-theatre-going audience.

Probably there were many people, not just among the theatre-snobs, who, after a glimpse at a theatre poster, cynically exclaim that “yes, the filthy Hollywood has crept into the theatre once again”. They would even mention examples – as they are undoubtedly numerous - , when the international stardom of a Hollywood actor or actress had in fact only been an empty shell, completely devoid of any talent. Some people still draw parallels between being a renowned face on screen, and being only a celebrity. Well, this adaptation is definitely not for them. As it is similarly not for those who formulate their review of a play before they even see it.

In the case of Tate and Tennant, this Hollywood celebrity stereotype is obviously nonsense, not only because this is not the first stage appearance for either of them. The other reason is that they perform in such a unique way, that they blend the traditional wit and characteristics of Shakespeare with the sometimes controversial modernity. And we all have to admit, that theatre has to change. Because a teenager, who, for instance, spends his free time watching episodes of Doctor Who, is more likely to get his interest in Shakespeare aroused by someone who is familiar from the screen, than by another actor in a traditional setting, who is completely unknown to him. Whether we acknowledge it or not, the theatre has to strive for the same audience as Hollywood. And its victory is everyone’s interest.