music theatre in flanders - Muziekcentrum Vlaanderen

probably merely the result of the fact that La Tristeza Complice
was a co-production between Platel’s company Les Ballets C de
la B and Het Muziek Lod (now LOD), a music theatre company.
Producers and venues will, undoubtedly, have a variety of motives
to classify and present productions as ‘music theatre’: these
can be institutional, artistic or simply a matter of communication.
This, however, affects VTi’s database. So, in order to refine
the definition of the ‘music theatre’ sub-segment, we must also
consult information about the cast. We shall include stage productions
during which music was performed live on stage, on the
basis of artistic and/or technical staff lists indicating that music
was meant to be performed live on stage: ‘singer’, ‘soprano’, ‘conductor’,
or collective descriptions such as ‘vocal ensemble’ or ‘orchestra’.
The result is that the music theatre category broadened
and that certain dance productions by, for instance, Rosas or Les
Ballets C de la B will, henceforth, be included.
In brief: when marking out a music theatre sub-segment within
the entirety of the Flemish performing arts, we do not restrict
ourselves exclusively to the output by producers whose mission
is to produce opera and/or music theatre, but look at specific
characteristics of each individual production. We will examine
how these productions relate to the rest of the stage production
between 1993 and 2005. Which part of the stage production combines
musical and theatrical expertise? Is the use of live music on
stage on the rise?
The second important issue is the institutional embedding of
these productions. We know which producers were credited for
music theatre productions. We have information about their provenance
(on the basis of addresses) and about their subsidy status.
That will help us get a clear view on both the degree of internationalization
and the Flemish government’s music theatre policy
between 1993 and 2005.
MuSIC TheATre’S ShAre In The perFOrMInG ArTS
During the examined period, the database counts 6,653 productions,
reprises included. On the basis of the selection criteria
mentioned above, 1,038 of these can be considered as music
theatre productions.
The diagram below shows the evolution of the production volume
for the music theatre segment as well as for what belongs
to other segments. The examined period has been sub-divided
into four-year periods according to the logic of the Flemish Parliament’s
Performing Arts Decree, which was effective in the
period 1993-2005. Other than the prior Theatre Decree, which it
replaced, the Performing Arts Decree not only supported theatre
companies, but also dance companies, music theatre companies
and arts centres. These could be supported by means of project
subsidies (for specific productions) or via multi-annual grants for
a four year term.
Before it was replaced by the Arts Decree in 2006, there were
three consecutive terms of four seasons each during which performing
arts organizations could receive government recognition
and support via the Performing Arts Decree: 1993-1997, 1997-
2001 and 2001-2005. How are the productions spread over the
three terms?
The bars on diagram 1 indicate how many productions we have
counted for each of the three consecutive terms in the segment
of ‘music theatre’ and in the other performing arts disciplines.
The absolute figures – i.e. precise numbers of productions – are
shown on the left Y-axis. The curves relate in terms of percentage
to the Y-axis on the right and indicate the two segments’ growth
rate. The latter two terms are compared to the rates for 1993-
1997, which we equated with 100%. This will allow us to compare
the music theatre’s growth rate with the evolution of the other
performing arts disciplines.
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