The National Theatre is one of the many theatres that make up the rich culture of performing arts in London, but it cannot be said to be the same as any other. The values of inclusivity and accessibility that it promotes, with its mission statement being ‘to make theatre, for everyone’, makes it unique. Now, you could argue that all theatres want to reach as wide of an audience as they can, but engagement with a wider audience does not equal accessibility. With the cost-of-living crisis at large in 2023, and the cost of theatre tickets rising – to extortionate prices in some cases – the National Theatre can be singled out as one that cares about its audience, wanting to ensure that as many people as possible can experience the magic of theatrical performance. However, it is not just their commitment to accessibility that makes them an outstanding theatre, but crucially it is also the quality and impact of their shows that leaves the audience lining up for more.
In September I was privileged to have seen a performance of The Effect, a play written by Lucy Prebble, that ran from the 1st of August to the 6th of October. I was mesmerised by what I saw. It was one of the most immersive and emotional shows I have ever seen. It had the audience cackling through comic scenes, to hanging on the cast’s every word in truly intimate moments. The play is built on the question of whether the romantic feelings of the two protagonists, Connie and Tristan, are organic or whether they have been chemically produced as a side-effect of the new antidepressant they are taking for a clinical trial. The acting from Paapa Essiedu, playing Tristan, and Taylor Russell, playing Connie, was so intensely realistic, full of flirtation, awkwardness, and laughter, that you forgot they were acting a part on the stage. This genuine dynamic between them made the tragedy of the play’s climax all the more devastating, and I am not lying when I say I had to remain seated for a moment to compose myself before leaving the theatre. Beyond the love story of the protagonists, the mental health struggle of the trial’s overseer, Dr Lorna James, played by Michele Austin, was the rawest depiction of internal suffering I have seen on stage. The struggle for connection and meaning was rampant throughout the show, and I would hail it as one of the best performances I have ever seen on stage. I would rush to see any of the cast performing in a show, and if I could have seen The Effect again, in a heartbeat, I would have.
If the brilliance of the performances isn’t enough to make you want to visit the National Theatre, then the inclusive ticket prices will. As part of their mission to make theatre accessible for everyone, they offer a variety of discounts. For those aged 16-25, you can access tickets priced at £10, and for those not within this age bracket, the National Theatre releases tickets every Friday at 1 p.m. for £10 as part of their Friday Rush sale. They also offer concessions for school groups (9 students + 1 teacher per group), £10 tickets for state schools, £12 tickets for independent schools, and £15 tickets for UK universities or higher education groups. If you can’t make it to a performance, or live nearby, the National Theatre also runs a streaming service with selected performances available for single purchase or £9.99 per month for full access. Libraries, universities, and schools around the world can also subscribe to the National Theatre Collection, which is free for UK public libraries, state primary schools and state secondary schools. Performances can also be seen in 700 cinemas around the UK if you desire to experience a similar atmosphere to a theatre.
Beyond financial inclusivity, the National Theatre promotes accessibility for its audience during performances. They offer a range of assisted shows, which includes BSL-interpreted and audio-described performances with Touch tours. They also offer sensory-adapted and dementia-friendly performances, as well as Smart Caption Glasses which provide a live transcript on the lens of the glasses. Their commitment to accessibility does not end there, as through The Theatre Nation Partnership network, they are able to directly tour around school halls in England to give performances that provide students with their first experience of theatre.
Separate from performances, the National Theatre works to promote accessibility and inclusivity for young people through access schemes and job opportunities. Applications are open currently for their In Focus workshops that explore adaptation and theatre-making for 13-25-year-olds. For behind the curtain, they run a Young Technicians programme for 13-18-year-olds, a Young Producers programme, and Introduction to Stage Management programme for 18-21-year-olds. The National Theatre also runs a variety of work placement and apprenticeship programmes, as well as offering free courses such as a playwriting course for 16-25-year-olds.
Overall, I believe that no theatre champions accessibility, inclusivity, and opportunity for young people, like the National Theatre does. From access schemes to discounted tickets to assisted performances, the National Theatre prioritises the comfort of its audience and shows true care for preserving the art of theatre for future generations. The plays shown are innovative and intimate, seeking to impact and challenge the viewer, not just entertain. I urge you to see a performance as soon as you can, and you can thank me afterwards.