What Does The Traverse's Commitment to New Writing Mean?

Before I begin, a few words of explanation. I don't hold any particular enthusiasm for 'New Writing.' I like it, and am always pleased to see new plays by established names or a new name on the golden list of playwrights. But my interests are as much in physical and visual theatre - or dance. I am most comfortable when 'new writing' is expanded to include a broad definition of 'text.'

Secondly, I do not get to the Traverse often enough. During the Fringe, it becomes a centre for all sorts of exciting action (both on and off stage). But, I live in Glasgow. The Traverse shares some shows with the Tron (this Autumn, The Collection, Educating Ronnie) and The Citizens (Dragon). I tend to see them in my local theatres.

And finally, the Traverse is celebrating its fiftieth anniversary. The renewed emphasis on 'new' (the current brochure has the word in big letters on the front) is a restatement of its traditional role. Ever since the theatre opened (I think it is obligatory to mention that it was on the site of a former brothel), the Traverse has supported new writing, and was partially responsible for the enthusiasm for new writing that has marked the last half century of theatre. It has held that commitment, by expanding the opportunities for emerging authors.


The most dramatic affirmation of this commitment comes with the mini-festival in October: the Traverse Fifty (new writers who have been attached to the theatre over the past year) are getting a chance to put out the work that they have made in the past year, alongside readings of new plays by Morna Pearson, Stef Smith and Iain Finlay Macleod.

The Traverse Fifty have been doing quite well for themselves already: apart from AJ Taudevin touring two new works, Robert Dawson Scott has an entry in Play, Pie and A Pint this month. But the Write Here festival is going to show off the range of work: there is the promise of hidden plays, plays on headsets and all sorts around the building (21-26 Oct).

With that covered, a quick flick through the season suggests that the majority of presentations are coming from outside of the Traverse: the emphasis is equally on new pieces and writers and established names or previous successes. 

At one extreme is Rapture Theatre's The Collection: the debt theme has an unfortunately contemporary resonance, but it is an established play from a familiar company. It has Tam Dean Burn in it, which ought to deliver the necessary menace for a script dealing with that knock on the door... (20-21 Sept). On the other, there's Out of Joint, Bush Theatre and Exeter Northcott Theatre presenting the Scottish Premiere of Dawn King’s provocative new thriller Ciphers, that sees secrets unearthed after the death of a female intelligence officer (12-16 Nov). On the one hand, a revival of a very Scottish play, by a company who are working hard to be the busiest touring gang north of the Border. On the other, a staging of a brand new script.

Looking across the programme, the definition of 'new' is fairly stretched - there are exciting companies hitting the town (Spy Monkey's Oedipussy, If These Spasms Could Speak), but these are not new works. Of course, Labour demonstrated that the 'political' meaning of new was to abandon core principles and copy existing models: fortunately, the Traverse has not followed this definition and become the Lyceum. It has, however, reached beyond its remit and become a venue for touring shows. The strength of its programme is not in the 'new' but the diversity.

While it hasn't abandoned the new (the rehearsed reading of Et In Arcadia is a handy example of theatre's contemporary engagement with the sciences), it appears to be following a more eclectic programming strategy. The rush for originality, which infects everything from Radio 1 ('in new music we trust') to cigarette packaging) has not necessarily led to surprising experimentation and is often just a catch-phrase. At the same time, theatre is having a great many repeats, just like TV, cinema (Iron Man III) and the charts. Is this some grand reflection of a nation in turmoil, longing for the new, but clinging to the past? And when the Traverse says 'Fifty Years of New' is it responding to a spirit, a longing, that goes beyond theatre?