Several theaters in Quebec are currently in deficit – large institutions and historical theaters included. They are close to untenable financial limits, not all for the same reasons. What’s going on? Fourth text in the Scenes series without money.
The Théâtre du Nouveau Monde is in deficit of $ 536,000 for 2024, according to public financial data. It is not the first hollow in its history, specifies the general co -director Etienne Langlois. On a turnover of $ 10.5 million per year, this could be a simple fluctuation. “But in our context of renovation, with our very good season last year, yes, it’s worrying. It looks like a structural deficit in the process of setting up. »»
The TNM has just left its enlargement site, started in 2021. On the day of the interview, workers came and came, as they do again these days, to refine the work.
These renovations, evaluated upstream at 20 million, will finally cost 35 to 40 million. How to mop them? “This is the question,” admits Mr. Langlois. These are bank loans that we will amortize over several years, by reimbursing interests each year. »»
Which puts pressure on the TNM. “It will ask us to be imaginative, adds the artistic director, Geoffrey Gaquère. You can’t dig a deficit. Nor overnight start to do sole solos ”, productions that cost much cheaper.
“Large productions are part of the signature of the TNM, of its mission,” recalls Mr. Gaquère. People expect it from us, and if we don’t do it, the room empties. And if the room empties … it’s a vicious circle. »»
“Reduflation” is a real risk currently, according to the associated theaters (TAI). “The productions, for lack of sufficient budgets, lose aesthetic scope [grande distribution, décor, costumes] or using technologies. “Next year,” will the actors have access to dressers, makeup artists, hairdressers? »Ask the grouping.
This year, the smallest distribution of the TNM – A children’s partyby Michel Marc Bouchard – had three people on stage. The largest enlisted 19 actors, to The fleeing womanof Anaïs Barbeau-Lavalette and Sarah Berthiaume-a success of ticket office.
“It’s going to be a very big balancingist game for the coming years,” analyzes Mr. Gaquère. “We have to fill the room with 85 % to cover our production costs. That is to get to zero – we have not yet made money, ”explain the directors.
“We absolutely cannot drop the current public. It is he who makes the TNM continues. But with an average age of 54, the average spectator is aging, and mainly white. “There is an issue for the future. We have a job to do, in a close future, to renew our audience. You have to make a “cross fade” [fondu enchaîné] With our audience of tomorrow ”and bring together everyone in the same room, estimates Mr. Gaquère.
Catch up with individual philanthropy
” When [le célèbre metteur en scène allemand Thomas] Ostermeier came [à l’Usine C en mars]he boasted of having put the public outside, upon his arrival at the Grande Schaubühne in Berlin, and having brought back all new spectators, ”says Geoffrey Gaquère. A radical way of doing. “Yes, but his theater is 100 % subsidized!” »»
-TNM depends on 80 % of its autonomous income. They include ticketing income – and its tickets are already among the most expensive in Montreal in theater. Prices for Othello go to $ 36, for seats perched at the top, and go up to $ 99 for the gold section.
“We are said to be said, it’s expensive!” We would like to work accessibility, but it’s perilous currently for us… ”Comments Mr. Langlois. The only growth space is that of private financing. “In terms of businesses, commercial sponsorships, it is increasingly difficult,” he observes.
“We are turning more and more towards individual philanthropy, which remains to be developed. We have a huge delay on this compared to English Canada or the United States. Some large institutions, like us, must give an example to advance that. »»
Public funding for operation has 20 % at TNM. The main subsidy of $ 1.4 million, which comes from the Quebec Arts and Letters Council, has been frozen for eight years. The Canada Council of Arts provides an annual amount of $ 800,000 and Montreal participates up to $ 150,000.
La concurrence Netflix
The 2026-2027 season will be the first artistically signed Geoffrey Gaquère. “We decided to hire many people. It will be the year of 75 years of the TNM. »Guess how many people he would like to bring together on stage? “We will see during this year if we get there or not. »»
“We invest $ 4.5 million a year in the artistic. These are fees, copyright, and everything related to production and that is on stage – the construction of sets, costumes, etc. Basically, it’s 45 to 50 % of our turnover. »»
“As a company, we chose half a century ago to have cultural infrastructure. This is normal that we are consolidating what we have built until now on 40, 50, 60 years, ”reflect the directors. The theatrical institutions were effectively built 77 years ago for the oldest (the green curtain), 44 years for the youngest (the unicorn). The TNM was founded in 1951.
Étienne Langlois recalls the generational change in recent years at the head of all theaters. The founding members who remained left. A new breath swells, carried by young directors. “If we take a step back to watch the big pictureI think we all want to be a little more at the service of the theater in general. »»
“We are at the TNM much more in competition with Netflix today than with the Duceppe theater, on the other side of the street. Their audience, or that of the OSM, will come to the TNM possibly, ”continues Mr. Langlois.
“What to achieve is the person who remains at home because she thinks that the spectacle does not interest her, that Netflix and Crave is enough. It is she who is hard to go get, and it is she that we must go to reach, all together. »»
A previous version of this text, which mentioned funding of $ 100,000 at TNM from the City of Montreal, has been corrected.
