Scottish Theatre Critics Condemn 'London-Centric' Review Policy for One Day Musical
Fifteen theatre critics based in Scotland have penned a strongly worded letter to the Royal Lyceum theatre in Edinburgh, expressing deep concern over what they describe as a "divisive" and "London-centric" decision regarding the review policy for the new musical adaptation of One Day. The controversy stems from the exclusion of UK national publications from the press night held in Edinburgh, with only Scottish publications invited to review the show at this initial stage.
Exclusion of National Critics Sparks Outrage
The musical, based on David Nicholls' beloved 2009 novel, held its press night on Wednesday, but critics from non-Scottish outlets were notably absent. A separate press night is planned for a later date when the production transfers to London's West End. In their letter addressed to the Lyceum's board of directors, the 15 journalists argued that this two-tier invitation system raises "uncomfortable questions" and suggests that critics and audiences in Scotland are deemed less important than their counterparts in London.
They emphasized, "A two-tier invitation suggests not only that critics in Scotland are less important than critics in London, but also that audiences in Edinburgh are less important than audiences in London. Clearly, this is not the case." The critics further pointed out that Edinburgh theatregoers are paying up to £55 for tickets, implying the show should be treated as a finished production rather than a preview for its London run.
Co-Production Dynamics and Public Funding Concerns
One Day: The Musical is a co-production between the Royal Lyceum and Melting Pot, an independent theatre and film production company. When questioned about the exclusion of outlets like the Guardian from the Edinburgh reviews, Melting Pot explained that the Edinburgh presentation is part of a broader strategy, with a West End run to follow, and they are building the show as an event theatre piece over time.
However, the critics highlighted in their letter that the Lyceum is publicly supported and funded in Scotland to create theatre for Scottish audiences. They stated, "Its work should always be vigorously reviewed and debated as part of Scottish public life." While they acknowledged the value of co-productions in enriching Scotland's theatre scene, they stressed that excluding leading Scottish-based critical voices from public debate crosses a line. They urged that "London-centric attitudes" should not influence the future planning of Scotland's leading theatres.
Response from the Royal Lyceum Theatre
In response to the criticism, the Royal Lyceum issued a statement on Monday, expressing appreciation for Scotland-based critics and acknowledging their concerns. The theatre explained that it understands the rationale from its commercial partners, who aim to generate buzz in the UK press during the London launch. They defended co-productions as essential for creating high-quality work like One Day: The Musical, which has attracted new audiences and delighted regular attendees in Edinburgh.
The statement concluded, "We're proud to be able to deliver world-class theatre in Edinburgh and we welcome dialogue with our industry peers about the financial challenges of how we do so in the future." This response underscores the ongoing tension between artistic integrity, commercial pressures, and regional representation in the UK theatre landscape.
The letter was signed by a diverse group of critics, including both those invited and not invited to review, such as Mary Brennan, Mark Brown, Anna Burnside, Neil Cooper, Dominic Corr, Thom Dibdin, the Guardian's Mark Fisher, Joyce McMillan, Fergus Morgan, Natalie O'Donoghue, David Pollock, Arusa Qureshi, Allan Radcliffe, Hugh Simpson, and Simon Thompson. This collective action highlights the broader issues of equity and recognition in cultural criticism across the United Kingdom.
