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If you're referring to my comment about the difficulties of touring productions designed for a large stage, I was supporting/reinforcing a comment up thread suggesting that a large part of ENO's difficulties in selling enough (full price) seats derived from them opting for a very large theatre. That decision seems to have created a number of problems, both financial and artistic.
I couldn't agree more Flossie - in many ways it's a terrible building but it's there and it may even be listed
Rather fewer of the wealthier busineses who might want the publicity & 'feel-good factor' (and potential for corporate entertainment)are located outside London.
Of course, I wouldn't expect anyone based in London to agree with the suggestion that London gets rather more than its fair share of the cake and icing than anywhere else.
(on the general topic of opera, did anyone else see any irony in Saturday's discussion on whether opera is elitist or not coming from Glyndebourn?)
When I was involved professionally in quango-based and independent grant-making I worked very hard to get funding to areas of unmet need, as many funders do (the majority of the larger independents and all the Lottery-funders do this, in response to a well-made case) so I am familiar with the issues that you mention and some of the approaches to tackling them.
The fact that I choose to live in London speaks for itself
As with the Radio 3 offer, the sane trick is to make the most of what's available. If you live on a hilltop in Snowdonia, don't wail that ENO doesn't bring you a Terry Gilliam production. But do attend, or participate in, The Gathering when National Theatre Wales and partners produce it locally. http://nationaltheatrewales.org/gathering-yr-helfa
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