Children’s theatre is a reality in the lives of many drama professionals, but far more nebulous as a concept. The familiar goals of artistic merit and entertainment value are accompanied – some would say countered – by the need to be educational. It is not enough for children to simply see something, they must also learn something. For companies, this need becomes both a fiscal and a moral imperative; the morals of parents and teachers translating into revenue.
This shady, multifarious consideration of what is ‘appropriate’ shapes children’s theatre through content, budget, venue and public funding. The Arts Council of England’s 2003 publication, outlining outcomes from the Birmingham seminar on the state of children’s theatre, calls for ‘more investment’ and ‘more risk’ in the industry. But, subject to so many different criteria, it is hard to gauge how well children’s theatre is doing in real terms. The seminar implied not very well.
