The Future of Australian Theatre Restaurants
· motorcycles
The Only Thing This Flamboyant Show Fears Is a Dull Moment
The theatre restaurant model has been a staple of Australian entertainment for decades. It combines dining with performance, creating an immersive experience that draws in crowds. However, recent closures – including Melbourne’s Dracula’s, which lasted 37 years – suggest this genre is facing a critical juncture.
Shake & Stir’s production GRIMM offers insight into what works and what doesn’t in theatre restaurants. This vaudevillian mash-up of Brothers Grimm fairytales has been touring the country to great acclaim. The show’s central tale, Aschenputtel, is a dark adaptation of Cinderella that challenges Disney’s sanitized version.
GRIMM’s creators have struck a balance between the original folk stories’ darkness and the happily-ever-after endings typical in modern adaptations. They’ve done this by incorporating lowbrow performance styles – theatre restaurant cabaret, pantomime, and commercial comedy. This approach may be seen as nostalgic, but it’s precisely what many theatre restaurants are struggling to adapt.
More sophisticated productions, such as Stephen Byth Quartet’s recent performance at JazzLab, demonstrate a level of musicality and artistry often missing from theatre restaurants. Byth’s quartet brought together musicians with different backgrounds and styles, creating something unique and special through collaboration.
The success or failure of a theatre restaurant depends on its ability to adapt to changing audience tastes. Dracula’s closure suggests even established names can struggle to update their format and content. Vera Blue’s performance at Northcote Theatre offers an alternative live experience – one focused more on music than spectacle.
Her show was captivating, but it also highlighted the tension between artistic vision and commercial appeal. The theatre restaurant model must evolve if it is to survive. This may involve incorporating new technologies or experimenting with different formats. Alternatively, it could redefine what we mean by “theatre” altogether.
The stakes are high, and the future uncertain. But one thing is clear: the show must not go on as it has for decades – there needs to be a radical rethink of this beloved but struggling genre.
Reader Views
- HRHank R. · MSF instructor
While GRIMM's nostalgic approach may be a welcome respite for some, we need to stop romanticizing the theatre restaurant model as a whole. The fact is, these establishments have always been about spectacle over substance – and that's what's killing them. To survive, they must adopt a more nuanced approach, like Vera Blue's stripped-back performance at Northcote Theatre, which shows there's value in prioritizing music over elaborate sets and production values.
- SPSage P. · moto journalist
The theatre restaurant model's greatest challenge lies in striking a balance between nostalgia and innovation. GRIMM's success shows that revisiting familiar tales can be revitalizing when executed with fresh flair. However, what happens when these institutions are forced to rebrand or close? It's not just about updating the format; it's also about nurturing new talent. Theatre restaurants need to invest in emerging artists and riskier productions, rather than relying on established acts.
- TGThe Garage Desk · editorial
The theatre restaurant model's survival depends on more than just adapting content – it needs to adapt its business models as well. While Shake & Stir's GRIMM showcases innovative storytelling, established restaurants like Dracula's struggle to balance profit and artistic risk. To stay afloat, these businesses need to reevaluate their revenue streams and consider experimenting with variable pricing, dynamic seating arrangements, or even hybrid shows that blend ticketed performances with subscription-based dining experiences.