COVID-19 Threatens to Bring Down the Curtain

Companies are fighting to survive, some even looking to be considered essential for economic development. In this reality, what happens to those working on non-productive activities but whose contribution to society is no less important? “We see how ministries of culture make an effort to support companies and theater groups but the problem is that we are in the bottom of the priority list,” Sergio Villegas, President of the Mexico City Metropolitan Theater Academy, told infobae.

Oscar Wilde said “the theatre (is) the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” Yet, in a survival scenario, entertainment is from being considered a priority.

According to the Organized Independent Cultural Spaces Network (RECIO), the National Social-distancing Program implemented by the government could have dire consequences for the theater industry in Mexico. Ticket sales and space rentals are the main source of income for performing companies and with all venues closed, RECIO estimates losses of almost MX$10 million (US$410,000) only among members of its network. This, however, was considering that the lockdown would end by April 20. It is now April 21 and not only do we remain under lockdown but the government extended its social-distancing measures until the end of May. “It is no exaggeration to think that under the current circumstances, theater activity is at risk of disappearing. The venue closings we are facing puts at risk the survival of performing arts in the country,” told Samuel Sosa, Member of the Foro Shakespear & Cía association and RECIO’s Representative, to La Jornada.

Members of the theater community have already approached the authorities to come up with solutions amid this contingency. “We need support in making a series of drastic and significant decisions to guarantee a dignified future for artists and cultural performers,” said Sosa. Among the measures proposed to the government, Sosa mentioned a reduction of 50 percent in companies’ contributions to IMSS and INFONAVIT for 12 months, credit lines for up to MX$5 million (US$200,000) and an increase in the bolsa de Efiartes (a fiscal incentive program for investment in national theater production, visual arts, dance and certain areas of music, according to Art. 190 of the ISR Law) to MX$300 million (US$12.3 million), as well as a solidary and conscious change in the selection criteria to determine who has access to these funds.

The situation is not limited to Mexico, however. Lockdowns remain around the world and authorities are prioritizing resources as best as they can. “No one has clarity in their own countries regarding the future of the theater industry. Realistically, some are considering resuming activities in September,” said Sosa regarding a virtual meeting with representatives of the Iberian-American Theater Halls Network that groups Chile, Argentina, Spain and Mexico. In the US, the current epicenter of the pandemic, companies are equally struggling. While initially set for April 12, the shutdown of all Broadway productions has now been extended to June 7. “Our top priority continues to be the health and well-being of Broadway theatergoers and the thousands of people who work in the theater industry every day, including actors, musicians, stagehands, ushers, and many other dedicated professionals,” stated Charlotte St. Martin, President of the Broadway League in a statement for Broadway.com.

Closures might be temporary for some but they are already definitive for others. “Given our show's budget and capitalization, we do not have the economic resources to be able to continue to pay the theater owners, cast and crew through this still undefined closure period,” reads a statement from the producers of Hangmen, a play that began previews on February 28 and with its opening night scheduled for March 28. Its final performance was on March 11. The revival of Who’s Afraid of Virginia Woolf? starring Laurie Metcalf and Rupert Everett suffered a similar fate, according to Broadway.com. Opening night was scheduled for April 9 but only after nine previews, the show closed on March 11.

Show cancellations have also led to more drastic measures in some cases. Due to the uncertainty about when lockdowns will end, especially depending on the different situation of countries, Cirque du Soleil has fired 95 percent of its staff as part of a temporary layoff strategy. “We are deeply saddened by the dramatic measures taken today, as the temporary layoff includes many hardworking, dedicated people. Unfortunately, this decision is our only option as we are forced to position ourselves to weather this storm and prepare for eventual re-openings,” said Daniel Lamarre, President and CEO of the Cirque du Soleil Entertainment Group in a statement. According to a report from Reuters, the company’s debt is around US$900 millions and it is already considering debt restructuring options including filing for bankruptcy. This situation has also led Moody’s to downgrade Cirque du Soleil’s corporate family rating to Ca from B3 with a negative outlook that “reflects a high risk of default and challenging operating environment in 2020,” reads Moody’s statement.

Amid this grim scenario, however, actors and companies are doing everything they can to share their talent and help people brave isolation. Cirque du Soleil, for example, created 60-minute specials released every Friday where segments of different shows from around the world are shared through YouTube. So far, the company has released four specials, the last one featuring Tokyo-based show, ZED. Renowned producer Andrew Lloyd Webber has also taken to social media. Since April 3, the new YouTube channel The Shows Must Go On started featuring a different Andrew Lloyd Webber musical each week. The shows are accessible for 48 hours and the first one to be featured was Joseph and the Amazing Technicolor Dreamcoat.

Closer to home, on March 23, UNAM launched its remote cultural program #CulturaUNAMenCasa. The program offers over 700 activities online, as well as through radio and TVUNAM. Activities include morning yoga classes, contemporary art workshops for kids and even an open call for making home theater promoted by Teatro UNAM and Cátedra Ingmar Bergman. Registered participants in this last activity can even win a price of MX$10,000 (US$410.7), plus another one of MX$5,000 (US$205.3) granted by an online audience.

Albeit necessary and welcome by many, these efforts fail to solve the dire situation of companies struggling to survive. “Today, everyone is uploading free online workshops or plays to the internet. However, this does not pay rent, payrolls or other services necessary for the theater business,” said Sosa. Before it is too late, let’s all hope this intermission comes to an end.