The lifting of restrictions in England was repeatedly hailed as “Freedom Day” by those inside the government – and in the live performance industry.
For the first time for the best part of 18 months, English theatres, gig venues and clubs could pack people into their rooms with no legal requirement for them to wear masks or socially distance.
But the chaos set in almost immediately – with a day of celebration for some becoming a day of confusion and heartbreak for others.
Image: Cinderella, played by Carrie Hope Fletcher, will not be going to the ball – yet. Pic: Tristram Kenton
Lord Andrew Lloyd Webber, one of the biggest proponents of getting theatres open, had to shutter his brand new show Cinderella, after just one case of coronavirus in the 35-strong cast last weekend.
The “pingdemic” had taken down the West End’s biggest impresario before he had chance to formally show off his new multimillion pound body of work.
Advertisement
It was of course a feat (and a risk) in itself to debut a big musical during a global health crisis and in an impassioned news conference at his theatre, Lord Lloyd Webber laid the blame at the front door of Number 10, saying the current system of isolation has brought his beloved industry “to its knees”.
Speaking to Sky News on Thursday, the peer said that he believes that vaccine passports could be the future of trying to solve this problem and testing will become common place in his theatres – but that may not solve the issue of isolating casts.
More on Andrew Lloyd Webber
Please use Chrome browser for a more accessible video player
Vaccine passports for theatres ‘inevitable’
After falling through the trap door, Cinderella will continue previews on the 18 August before opening fully on 25 August – likely in the hope that COVID-19 cases start to decrease across the country and lessen the threat for his show.
But it wasn’t just Lord Lloyd Webber who has been affected by the dreaded COVID app alerts.
Kenneth Branagh’s production of The Browning Version at the Riverside Studios in Hammersmith was shelved after an “increasing number of COVID-enforced absences” during rehearsals, meaning the mixture of self-isolating individuals and those who caught the virus meant it was left with no time to get the show on stage.
And on Friday, the Young Vic put out a statement saying “We’ve been pinged”, announcing that its first preview of Changing Destiny had been pushed back until the following week due to isolation requirements.
However, Hairspray, which had to pause for more than a week after cast members were forced to isolate, has employed a clever tactic to avoid any more disruption – hiring more staff.
The ’60s musical has taken on a new set of cast members who will not head to the theatre unless they’re needed, meaning if one member of the team tests positive and takes out everyone else – the show can still run with its backup, yet still very talented, cast.
It wasn’t just the West End that had its COVID bubble burst either – the touring production of the ever-popular Six had to skip its stop in Hull when some cast members tested positive, forcing the entire company into isolation.
Even the local theatre in Babbacombe in Devon had to cancel a week of shows, after the cast of its summer show were told to isolate.
TV and film productions that were shooting in various parts of the UK were also haltedlast week with Netflix’s Bridgerton shutting down filming for its second season for the second time, while the streamer’s version of Matilda The Musical also had to partially pause its project – both because of COVID and self-isolation.
And even the Targaryens couldn’t avoid the pandemic, with HBO’s Game Of Thrones spin-off House Of The Dragon also shutting down for a few days after a positive test.
But for some there was elation at the new lack of restrictions.
Image: The Royal Albert Hall burst back to life – but its auditorium was not completely full
A number of venues hailed their new-found freedom by, cautiously, opening their auditoriums to as many people as possible – with plenty of West End and local productions finding their way on stage.
At the Royal Albert Hall on Wednesday, there was an explosion of song and dance as nearly 200 people got on stage to take part in a Best Of The West End show – featuring the likes of West End giants Mica Paris, John Owen Jones and Ben Forster.
I was lucky enough to be invited to watch and while the show was exciting and, in some parts, emotional, the arena wasn’t full – a reminder that while restrictions have been legally lifted, not everyone is rushing back to venues.
With only a small let-up in the rise in cases towards the end of the week, it could still be some time before the sector finds its feet – and we could still see more parts of the industry be forced into the wings.
The creator of an AI actress has told Sky News that synthetic performers will get more actors working, rather than steal jobs.
AI production studio Particle6 has ruffled feathers in Hollywood by unveiling Tilly Norwood – a 20-something actress created by artificial intelligence.
Speaking to Sky News’ Dominic Waghorn, actor and comedian Eline Van der Velden – who founded Particle6 – insisted Norwood is “not meant to take jobs in the traditional film”.
AI entertainment is “developing as a completely separate genre”, she said, adding: “And that’s where Tilly is meant to stay. She’s meant to stay in the AI genre and be a star in that.”
“I don’t want her to take real actors’ jobs,” she continued. “I wanted to have her own creative path.”
Instagram
This content is provided by Instagram, which may be using cookies and other technologies.
To show you this content, we need your permission to use cookies.
You can use the buttons below to amend your preferences to enable Instagram cookies or to allow those cookies just once.
You can change your settings at any time via the Privacy Options.
Unfortunately we have been unable to verify if you have consented to Instagram cookies.
To view this content you can use the button below to allow Instagram cookies for this session only.
Norwood has been labelled “really, really scary” by Mary Poppins Returns star Emily Blunt, while the US actors’ union SAG-AFTRA said in a statement: “Tilly Norwood is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers – without permission or compensation.”
Responding to the criticism, Ms Van der Velden argued that Hollywood is “going to have to learn how to work with [AI] going forward”.
“We can’t stop it,” she said. “If we put our head in the sand, then our jobs will be gone. However, instead, if we learn how to use these tools, if we use it going forward, especially in Britain, we can be that creative powerhouse.”
Image: Eline Van der Velden said she wanted the character to ‘have her own creative path’
Ms Van der Velden said her studio has already helped a number of projects that were struggling due to budget constraints.
“Some productions get stuck, not able to find the last 30% of their budget, and so they don’t go into production,” she said. “Now with AI, by replacing some of the shots […] we can actually get that production going and working. So as a result, we get more jobs, we get more actors working, so that’s all really, really positive news.”
Irish author Sally Rooney has told the High Court she may not be able to publish new books in the UK, and may have to withdraw previous titles from sale, because of the ban on Palestine Action.
The group’s co-founder Huda Ammori is taking legal action against the Home Office over the decision to proscribe Palestine Action under anti-terror laws in July.
The ban made being a member of, or supporting, Palestine Action a criminal offence punishable by up to 14 years in prison.
Rooney was in August warned that she risked committing a terrorist offence after saying she would donate earnings from her books, and the TV adaptations of Normal People and Conversations With Friends, to support Palestine Action.
In a witness statement made public on Thursday, Rooney said the producer of the BBC dramas said they had been advised that they could not send money to her agent if the funds could be used to fund the group, as that would be a crime under anti-terror laws.
Rooney added that it was “unclear” whether any UK company can pay her, stating that if she is prevented from profiting from her work, her income would be “enormously restricted”.
More on Palestine Action
Related Topics:
Please use Chrome browser for a more accessible video player
1:57
Why was Palestine Action proscribed?
She added: “If I were to write another screenplay, television show or similar creative work, I would not be able to have it produced or distributed by a company based in England and Wales without, expressly or tacitly, accepting that I would not be paid.”
Rooney described how the publication of her books is based on royalties on sales, and that non-payment of royalties would mean she can terminate her contract.
“If, therefore, Faber and Faber Limited are legally prohibited from paying me the royalties I am owed, my existing works may have to be withdrawn from sale and would therefore no longer be available to readers in the UK,” Rooney added, saying this would be “a truly extreme incursion by the state into the realm of artistic expression”.
Rooney added that it is “almost certain” that she cannot publish or produce new work in the UK while the Palestine Action ban remains in force.
She said: “If Palestine Action is still proscribed by the time my next book is due for publication, then that book will be available to readers all over the world and in dozens of languages, but will be unavailable to readers in the United Kingdom simply because no one will be permitted to publish it, unless I am content to give it away for free.”
Sir James Eadie KC, barrister for the Home Office, said in a written submission that the ban’s aim is “stifling organisations concerned in terrorism and for members of the public to face criminal liability for joining or supporting such organisations”.
“That serves to ensure proscribed organisations are deprived of the oxygen of publicity as well as both vocal and financial support,” he continued.
The High Court hearing is due to conclude on 2 December, with a decision expected in writing at a later date.
The creator of an AI actress has told Sky News that synthetic performers will get more actors working, rather than steal jobs.
AI production studio Particle6 has ruffled feathers in Hollywood by unveiling Tilly Norwood – a 20-something actress created by artificial intelligence.
Speaking to Sky News’ Dominic Waghorn, actor and comedian Eline Van der Velden – who founded Particle6 – insisted Norwood is “not meant to take jobs in the traditional film”.
AI entertainment is “developing as a completely separate genre”, she said, adding: “And that’s where Tilly is meant to stay. She’s meant to stay in the AI genre and be a star in that.”
“I don’t want her to take real actors’ jobs,” she continued. “I wanted to have her own creative path.”
Instagram
This content is provided by Instagram, which may be using cookies and other technologies.
To show you this content, we need your permission to use cookies.
You can use the buttons below to amend your preferences to enable Instagram cookies or to allow those cookies just once.
You can change your settings at any time via the Privacy Options.
Unfortunately we have been unable to verify if you have consented to Instagram cookies.
To view this content you can use the button below to allow Instagram cookies for this session only.
Norwood has been labelled “really, really scary” by Mary Poppins Returns star Emily Blunt, while the US actors’ union SAG-AFTRA said in a statement: “Tilly Norwood is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers – without permission or compensation.”
Responding to the criticism, Ms Van der Velden argued that Hollywood is “going to have to learn how to work with [AI] going forward”.
“We can’t stop it,” she said. “If we put our head in the sand, then our jobs will be gone. However, instead, if we learn how to use these tools, if we use it going forward, especially in Britain, we can be that creative powerhouse.”
Ms Van der Velden said her studio has already helped a number of projects that were struggling due to budget constraints.
“Some productions get stuck, not able to find the last 30% of their budget, and so they don’t go into production,” she said. “Now with AI, by replacing some of the shots […] we can actually get that production going and working. So as a result, we get more jobs, we get more actors working, so that’s all really, really positive news.”