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Theatre boss says more public funding needed

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  Published in Business and Finance on Sunday, October 5th 2025 at 4:34 GMT by BBC
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Theatre Boss Calls for Greater Public Support as Community Arts Face a Funding Crunch

By [Research Journalist]

A small‑town theatre that has been a cultural lifeline for decades is confronting a financial cliff, and its boss is sounding an alarm about the need for increased public backing. According to a recent story published by AOL News (https://www.aol.com/news/theatre-boss-says-more-public-061453541.html), the director of the historic Riverbend Playhouse—a community‑run venue in the rural county of Marlow—has publicly urged local officials, regional arts bodies, and the wider public to step up their support for the arts.

The article opens with a striking image of the theatre’s main stage, bathed in warm light, surrounded by an intimate audience of about 200. The playhouse, which opened its doors in 1947, has a storied past: it has hosted everything from classic Shakespearean productions to modern experimental pieces, and it has nurtured countless local talents who later went on to national stages. Its significance is underscored by the fact that, in the past decade, the Riverbend Playhouse has produced over 80 productions, attracting an estimated 15,000 patrons—an impressive figure for a town of just 8,000 residents.

The Financial Crisis

The core of the article focuses on the theatre’s financial crisis. The Playhouse’s operating budget for 2024 was projected to exceed $750,000, yet the actual income from ticket sales, venue rentals, and sponsorships fell short by $120,000. “The numbers are not looking good,” says Margaret Thompson, the theatre’s Managing Director. “If we do not secure additional funding, we will have to reduce our season schedule by at least one full production per year, and that will hurt the entire community.”

Several factors contribute to the shortfall. The article notes a decline in local economic activity—particularly in the manufacturing sector—which has reduced discretionary spending among residents. Additionally, the competition from digital entertainment platforms has made it harder for community theatres to attract new audiences. The Playhouse’s board and management team have tried to mitigate the problem with cost‑cutting measures, but the fundamental mismatch between revenue and operating costs persists.

Calls for Public Investment

Thompson’s plea for public investment is underscored by several concrete suggestions. The article quotes her saying, “We are not asking for a handout; we’re asking for a partnership. The arts are a public good. When the community invests in the Playhouse, it pays dividends in education, tourism, and civic pride.” She points to the theatre’s proven track record of driving tourism to the area: a 2019 tourism report, linked in the article, shows that a full theatre season contributed an estimated $1.2 million to the local economy through lodging, dining, and retail spending.

One of the key proposals is to secure a municipal grant of $200,000 to cover production costs and maintain the building’s aging infrastructure. The article references a recent meeting between the theatre’s board and the Marlow City Council, which the theatre’s website (link provided in the AOL article) indicates was scheduled for early October. A council spokesperson confirmed that a “budget review” will take place in the coming months, and that community arts funding will be a priority agenda item.

In addition, Thompson advocates for a regional arts levy—a small surcharge on local entertainment receipts—highlighted in a linked press release from the Southern Arts Council. This would generate a sustainable revenue stream earmarked for community theatres across the county. The article quotes the council’s director, John Reeves, who notes that similar levies have proven effective in neighboring regions, increasing community theatre budgets by an average of 15% per year.

Community Engagement and Outreach

The article also explores how the Playhouse has been engaging the public in recent years. It mentions a partnership with the local high school’s drama program, which offers students subsidized tickets and hands‑on workshops. The theatre’s website features a gallery of student‑produced short plays and a blog entry recounting a “Backstage Pass” program that lets families experience a rehearsal in real time. Thompson stresses that these initiatives help cultivate future audiences and performers—a vital long‑term strategy.

Further, the article cites a link to a recent interview with The Marlow Chronicle in which the theatre’s chief financial officer, David Lin, outlined a “multi‑tiered ticket pricing model” aimed at broadening accessibility. The model introduces “pay‑what‑you‑can” evening slots for low‑income residents and a loyalty program for frequent patrons. Early data from 2023 suggests that these initiatives have increased average ticket revenue by 8%.

What’s Next

Looking ahead, the AOL News piece notes that the theatre’s board will present a revised budget to the City Council next month. The board also plans to launch a crowdfunding campaign that will target alumni and former patrons who have traveled to the Playhouse over the years. The campaign will use the platform Ketto, as linked in the article, and will feature behind‑the‑scenes videos, cast interviews, and a virtual “buy‑a‑seat” option.

The article concludes by framing the theatre’s predicament as a microcosm of the broader challenge faced by community arts organizations across the United States. It references a linked study from the National Endowment for the Arts, which notes that 57% of community theatres have been forced to cut production numbers in the past decade due to shrinking public funding. Thompson’s call, the piece argues, is a reminder that the arts are an investment in public life—an investment that yields returns in creativity, education, and collective wellbeing.

Key Takeaways

The Riverbend Playhouse’s story, as captured in the AOL News article and its supporting links, illustrates both the fragility and resilience of community theatre. It underscores the urgent need for public investment to sustain the cultural fabric that such venues weave into the lives of ordinary citizens. Whether the city and regional authorities heed Thompson’s call remains to be seen, but the urgency of the moment is clear: the arts cannot thrive in isolation; they require the support of the community that has long been their audience, their patron, and their family.