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West End theatres have been condemned for the severe lack of bathroom facilities that are provided for women.
Waiting in the bathroom queue during a theatrical production can be a very tedious task, especially when you’re pushed for time during a brief interval.
This is especially true for women, with new research revealing that theatres in London’s West End only have an average of one toilet for every 38 women in the audience.
According to British Standard sanitary guidelines, an average West End theatre is supposed to have a minimum of 36 toilets available for female audience members to use.
However, the average West End theatre only has an average of 21, more than 40 per cent less than is expected.
The study, conducted by entertainment newspaper The Stage , also found that an average West End show’s interval would need to last approximately an hour if all women in the audience were to use the bathroom.
This is three times the length of the standard interval time of 20 minutes, and therefore evidently not feasible.
The Stage investigated 42 theatres in total, all of which are members of the Society of London Theatre.
Five West End theatres owned by theatre group Nimax allegedly refused to take part in the study.
The best theatre of 2018Show all 10 1 /10The best theatre of 2018 The best theatre of 2018 10. Girls & Boys, Royal Court One of those plays that had you staggering slightly as you left the stalls. This one-woman show was performed with amusing self-possession and fierce grace by Carey Mulligan, as a woman recounting how she met her husband, and how they navigated her more successful career and having a family. Dennis Kelly’s play began deceptively light and funny, but its snark turned to harrowing tragedy via a twist that left you winded – and delivered a howl against the conditioned violence of men. Designer Es Devlin’s painterly approach to light and colour was perfect and also paid painful dividends.
Marc Brenner
The best theatre of 2018 9. Fun Home, Young Vic This American musical was keenly awaited – and didn’t disappoint. An adaptation of Alison Bechdel’s graphic novel about her in-the-closet father who ran a funeral home, and her own journey towards coming out, it felt important to see such a story onstage – and was so very beautifully told, with book and lyrics by Lisa Kron and music Jeanine Tesori (who also scored the terrific musical Caroline, or Change, which stormed London in 2018 too after opening in Chichester last year). Although the show doesn’t totally burn in the memory, Zubin Varla was magnificent as the father, and Eleanor Kane’s song of sexual discovery and first love – “Changing My Major” (to Joan) – was one of my favourite moments of the year.
Marc Brenner
The best theatre of 2018 8. Dance Nation, The Almeida By American writer Clare Barron (pictured), this play followed a group of teenage dancers, with their earnest dreams, petty rivalries, and general angst. Sounds like a bad TV series… but it was so, so much more. Barron had these girls discovering their power. Power they’re thrilled by; power they’re afraid of. A slippery beast, the play flirted with the supernatural and the mythical in its depiction of the transformation of puberty. Among a strong cast of adults making no attempt to disguise their adulthood, Ria Zmitrowicz was especially memorable as Zuzu.
Almeida
The best theatre of 2018 7. Company, Gielgud Theatre I spend more reviews than I’d like moaning about old-fashioned musical revivals that fail to tackle #problematic material. Stephen Sondheim’s musical about Bobby, whose friends harp on at him to get married, could have been one – but Marianne Elliott unlocked it with a smart, coherent approach to gender-swapped casting. Bobbie as a woman in her mid-thirties made a lot of sense, as did the switcheroos in several other couples, which gave a fresh fillip to the show’s meandering investigation of relationships. The score sounded divine, Rosalie Craig was a glinting Bobbie, and “Getting Married Today” had me actually breathless with laughter.
Brinkhoff Mogenburg
The best theatre of 2018 6. Sweat, Donmar Warehouse A late addition: Sweat has just opened, although after rave reviews tickets are in short supply – catch it if you can before 26 January. Lynn Nottage’s play – about factory workers in Pennsylvania whose friendships and families fracture when job losses loom – was always likely to be good; it won a Pulitzer, after all. But Lynette Linton’s production was ferociously good. Plumbing the emotional depths of Nottage’s heart-breaking story, it had fine, firmly controlled performances and a terrific set by Frankie Bradshaw. And while this incredibly empathetic play has plenty to tell us about blue-collar America, it couldn’t have struck harder in Brexit Britain either.
Johan Persson
The best theatre of 2018 5. Misty, The Bush/Trafalgar Studies A game-changer, this show built up a thrilling momentum, galvanising audiences and transferring to the West End, allowing us to kick once and for all the bone-headed notion that there isn’t an audience for “black plays” into the long grass. And how: Arinze Kene’s piece of gig-theatre explored and exploded exactly the notion of a “black play”, with the mesmerising Kene playing himself as a writer struggling to work out if he’s pandering to what producers expect of him by writing “urban safari jungle s**t”. This was art about art that felt pressingly topical, and while there were rough edges to it, there was also vital vim and intent.
Helen Murray
The best theatre of 2018 4. John, National Theatre American playwright Annie Baker’s much-hyped The Flick left me a bit underwhelmed; this swept me up completely. A synopsis – a fighting couple stay in a strange, kitschy B&B filled with uncanny china dolls – doesn’t do it justice. Here was the finest dissection of a floundering relationship and look at how gender politics infects us all. Here, too, was a kind of metaphysical mysteriousness that was truly stirring – John wasn’t quite a ghost story, but rather, it eerily tilted towards the darker depths of the human soul. It was long, it was slow, and I loved every minute.
Stephen Cummiskey
The best theatre of 2018 3. The Writer, The Almeida Yes, another from the north London theatre – but what a year they had. And this was a play that really grappled with the specifics of its own setting: Ella Hickson’s meta-theatrical masterwork began with a scene set at a theatre, where a young female writer castigated a sleazy older male director. But Blanche McIntyre’s production perpetually snatched the rug from under your feet, and was frighteningly smart and formally thrilling as it did so, asking potent questions about gender, power, capitalism and art. As theatre-about-theatre, it could also be maddening, and had a wildly ambiguous final scene that drove everyone nuts. Quite possibly the most written-about, talked-about, argued-about play of the year.
Manuel Harlan
The best theatre of 2018 2. Ear for Eye, Royal Court The year saw a genuine increase in the diversity of stories getting told in British theatre, and Debbie Tucker Green’s incendiary play was a pinnacle of that: brilliantly tough, absolutely necessary. A large black cast moved through elliptical scenes exposing racial prejudice and police brutality – some beautifully poetic, some just vibrating with fury. And a long final filmed section demanded that audiences face the hard truth about British and American slave laws. It was a play that stayed with me long after it finished.
Stephen Cummiskey
The best theatre of 2018 1. Summer and Smoke, The Almeida If you’d told me in January that top of my list would be this lesser-known Tennessee Williams play, surely the least enticing show on the Almeida’s absolutely stellar programme, I might have scoffed. But Rebecca Frecknall’s direction of this tale of thwarted love was as delicate and distinctive as it was wonderfully heart-squeezing. Matthew Needham was a burningly intense leading man, but it was Patsy Ferran’s incredibly detailed, funny performance that rocketed this to number one. The best news? It transferred to the West End, where you can catch it until 19 January.
Marc Brenner
Several people have been discussing the shortage of women’s toilets in theatres following the release of The Stage ’s research.
“The lack of women’s loos at the theatre is not just an inconvenience, it’s an access issue,” theatre critic Natasha Tripney tweeted .
“If you’re pregnant, having your period or have health issues, these things matter.”
Some people pointed out that this issue is one that most women will likely already be aware of.
Support free-thinking journalism and attend Independent events “This is literally what every queue for the women’s loo looks like and you needed a survey?” one person remarked .
In June 2017, theatre operator Sir Howard Panter commented on the need for more women's bathroom facilities in theatres, describing the current state of them as a "complete disgrace".
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