![A scene from Much Ado About Nothing during a matinee performance @ Lyttelton, National Theatre. Directed by Simon Godwin. Much Ado About Nothing will be broadcast live from the Lyttelton stage to cinemas across the UK and Ireland as part of National Theatre Live on Thursday 8 September, and released to cinemas internationally from Thursday 1 December. The production is also on-stage at the NT until Saturday 10 September. (Live broadcast 08-09-2022) ©Tristram Kenton 09-22 (3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com](https://media.guim.co.uk/d581290744ffbbf4caa1857e662aafc99beb6fae/0_42_4135_2945/1000.jpg)
Ian Wood rightly draws attention to the high cost and travel problems of accessing the National Theatre for people who don’t live in or close to London (Letters, 17 December). Yet all taxpayers contribute to its upkeep through the annual £16.2m grant from Arts Council England. So it should genuinely be seen as a theatre for everyone, “not just for one privileged echelon”.
Many people prefer to see live productions, and so touring widely should be an essential part of the NT’s annual programme, bringing benefit to struggling regional theatres. However, the NT Live initiative, which has streamed many major productions into local cinemas since it started in 2009, has the potential to reach millions of people who couldn’t otherwise afford to go to any theatre. It should be extended to include all NT productions, and these should be available as “encore” showings.
As the former NT artistic director Nicholas Hytner said: “I grew up in Manchester in the 60s. If I had been able to see Olivier’s National Theatre at my local cinema, I would have gone all of the time.”
Barbara Richardson
London
• David Jays was right to be positive about the programming there has been at the National Theatre and what the appointment of Indhu Rubasingham as artistic director might bring (Indhu Rubasingham’s National Theatre in-tray: lure megastars, deal with crises and define an era, 15 December). He also said that new musicals can bring in new audiences. However, in implicitly crediting Rufus Norris for bringing in Standing at the Sky’s Edge, recognition did not go to Rob Hastie at Sheffield’s wonderful Crucible theatre for bringing to life this new musical, which then transferred to the National.
All credit to Norris for recognising an exciting new musical, but don’t ignore the role of regional theatres in doing just this. Everybody’s Talking About Jamie, Flowers for Mrs Harris, and Life of Pi all began their lives at the Crucible. Those of us outside London have much to be thankful for when looking for quality entertainment.
Sarah Lynch
Sheffield
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