-Council The Lord Cottesloe, GBE, Chairman * Professor Sir William Coldstream, CBE, DLitt, Vice- Chairman* Damd Peggy Ashcroft T . E . Bean, CBE * Colonel William Crawshay, DSO, ER D C. Day Lewis; cBE * The Lady Hesket h Professor Gwyn Jones * Councillor J . D . Kelly, CBE, DL, JP, C A Professor Antliony Lewis * Colin H . Mackenzie, CMG * Henry Moore, OM, CII, DLitt, ARIB A The Earl of Snowdon ' Professor D . Talbot Rice, MBE, TD, DLitt, FSA Hugh Willatt * John Witt* (*Member of Executive Committee) Scottish Committee Colin H . Mackenzie, CMG, Chairma n Colin Chandler J . B . Dalby Ian Finlay G. E . Geddes EsmC Gordon, ARSA, FRIAS, FRIBA T . Grainger-Stewart, CB, MC, TD, D L Councillor J . D : Kelly, CBE, DL, JP, CA The Hon . Mrs Michael Lyle Guy McCron e J . McNaugh t Dame Jean Robert s George Singleton Professor D . Talbot Rice, MBE, TD, DLitt, FSA Colonel A. D . Vicker s Welsh Committee Professor Gwyn Jones, Chairman Colonel William Crawshay, DSO, ER D S . Kenneth Davies, CB E Sir Emrys Evans, LL D Alfred Francis, OB E Alex J . Gordon, Diparch, ARIB A Josef Herman A . K. Hollan d Iorwerth Howell s David Dilwyn John, CBE, TD, DSC, FM A J . Gwilym Jone s Alun Llywelyn-Williams Kenneth Lovelan d Professor T. J . Morgan, DLit t Lady Amy Parry-Williams Robert E . Presswoo d Professor Brinley Thomas, OBE, Ph D Clifford William s Staff-Headquarters 4 St James's Square, London, S .W.1 (Whitehall 9737 ) Secretary-General: Nigel J . Abercrombi e Deputy Secretary and Finance Officer : M . J . McRobert, Cn E Art Director : Gabriel White, CB E Music Director: John Denison, CBE Drama Director : J . L . Hodgkinson, OBE Assistant Secretary : Eric W . Whit e Accountant : D . P . Lund, FC A Scotland 11 Rothesay Terrace, Edinburgh, 3 (Caledonian 2769) Director: Dr George Firth, OB E Deputy Director: Donald Mathe r Wales Holst House, Museum Place, Cardiff (Cardiff 32722 ) Director: Dr J . R . Webster IQC q R J-t r ( Co{P y The Arts Council of Great Britai n AMTS COUNCI L Of GREAT BRITAI REFERENCE ONLY

DO NOT REMOVE FROM THE LIBRARY The 19th Annual Report 196311964

4 St James's Square London SJV1 Contents

page 3 Introduction 9 Local Authority Support 15 The London Scene 25 Touring and the Provinces 29 Local Activities and the Amateur 31 The National Theatre and the Royal Shakespeare Theatr e 33 The Quatercentenary of Shakespeare's Birt h 36 New Talent for Theatres 41 Organizing an Exhibition 45 Contemporary Manuscripts of Poetry 47 Public Performance of Copyright Poetr y 51 Scotlan d 67 Wale s Appendice s 79 A Music, Opera and Ballet 88 B Drama 94 C Art 97 D Poetry 108 Notes on the Accounts 110 Annual Accounts

Introduction

Ends and Means, the Annual Report of the Arts Council of Great Britain for 196263, was exceptional because the Secretary-General presenting i t had no personal responsibility for operations during the year of report . This year it has been decided to adopt a form of presentation somewha t different from the pattern established in earlier years . Instead of openin g the Report with a general survey, and following this with sections devote d to the particular interests of the several departments of the office, th e Report takes the form of a series of monographs dealing with topics of general interest, followed by separate memoranda for Scotland an d Wales, Appendices of strictly departmental interest, and the Accounts. Another innovation consists in the adornment of the Report wit h reproductions of seven drawings by Ceri Richards, as follows :

La Cath6drale Engloutie I page 7 Trafalgar Square 17 Ariel sings in `The Tempest ' 35 Clair de Lune 49 Music of Colours : `White Blossom' 65 (poem by Vernon Watkins) La Cath6drale E.ngloutie II 77 Poissons d'Or 107

The term of office of the following members of the Council came to an Council end on December 31st, 1963 :

Mr A. L. C. Bullock The Viscount Mackintosh of Halifax , Professor Gwyn Jones D.L., LL.D. Professor Anthony Lewis Mr Hugh Marshall, O .B.E. Mr Hugh Willatt Mr Bullock, Viscount Mackintosh and Mr Marshall were not eligibl e for reappointment . Mr Marshall had served as a member of the Scottis h Committee since the beginning of 1951, and was appointed to the Council in January 1961 . We are glad to see that his services to music in Scotlan d have been recognised by the award of an O .B.E. in the Queen's Birthday Honours List for 1964. The Chancellor of the Exchequer reappointed Professor Gwyn Jones , Professor Anthony Lewis and Mr Hugh Willatt to serve as Council members for a further period, and appointed Mr Henry Moore, O .M., C.H., D.Litt., A.R.I.B.A., the Earl of Snowdon and Professor D . Talbo t Rice, M .B .E., T.D., D.Litt., F.S.A., as new members of the Council . Welsh Committee The Council appointed Professor Gwyn Jones to serve for a furthe r term as Chairman of the Welsh Committee . Vice- Chairman The Council reappointed Professor Sir William Coldstream, C .B.E., D.Litt., to serve as Vice-Chairman for a further period of one year from January 1st, 1964 . Executive The Council reappointed the following to serve as members of th e Committee Executive Committee and, where indicated, as Chairmen of the Panel s shown against their names, for a period of one year from January 1st , 1964:

Mr Ernest Bean, C .B.E. Sir William Coldstream, C .B.E., D.Litt. Mr C. Day Lewis, C.B .E. (Poetry) Professor Gwyn Jone s Professor Anthony Lewis (Music) Mr Colin Mackenzie, C .M.G. Mr Hugh Willatt (Drama) Mr John Witt (Art )

Honours In addition to the honour to Mr Hugh Marshall mentioned above, we offer our congratulations to Mr M . J . McRobert, the Deputy Secretary , and to Mr. William Glock, a member of the Music Panel, on the award of a C.B.E. Obituaries The Council records with deep regret the deaths of the Viscount Esher , G.B.E . (October 8th, 1963), the Lord Harlech, K .G., P.C., G.C.M.G. (February 14th, 1964), Mr Wynyard Browne (February 19th, 1964) an d Mr Joseph Compton, C .B.E. (February 27th, 1964) . Both Lord Esher and Lord Harlech were original members of the Arts Council . Lord Harlech served as Chairman of the Welsh Committee until he retired from the Council in December 1948 . Lord Esher, who had a life-long interest in tl.e theatre, served for a time as Chairman of the Council's Drama Panel . He retired from the Council on December 31st, 1948 . Mr Wynyard Brown e served on the Council's Drama Panel from the beginning of 1955 until his death this year . Mr Compton was a member of the Council and o f the Executive Committee for a period of thirteen years until his retire- ment at the end of 1961 . He was first Chairman of the Poetry Panel, a n office which he held for twelve years, and first Chairman of the Poetry Book Society . Mr Compton has generously left the residue of his Estate , subject to the interest of a life tenant, to establish a trust fund to b e known as the 'Compton Poetry Fund '. The Council will make a further announcement when these funds become available .

Secretary- General

Local Authority Support

Ends and Means, the Arts Council's report for 196263, contained the following sentence (p . 6) : ` . . . the [annual] expenditure of local authori- ties on all forms of entertainment is certainly far less than the permissible 50 million pounds, and possibly not much more than the taxpayer s' contri- bution of nearly 3 million pounds.' Throughout the year 196364 now under review, there was still no firm basis of fact to substitute for such guesswork, but in April 1964 the Institute of Municipal Entertainment published A Survey of Municipal Entertainment in England and Whales for the two years 194748 and 1961 162, from which it now appears that our guess was near the mark: the net expenditure of local authorities in England and Wales in 196162 on all forms of entertainment is there given as just over 21 million pounds . There are technical reasons, connecte d with the conduct of the survey, for believing that this figure is conserva- tive; but when all such allowances are made, and another guess fo r Scotland, and an assumption about progress since 196162, it can be taken as certain that the present scale of the ratepayers' contribution t o `entertainment' is about equal to the taxpayers' contribution to the work of the Arts Council. Taken by itself, that is not a specially significant correlation (except a s substantiating one point made in Ends and Means, namely that the scope for increased expenditure by local authorities is far greater than an y probable development on the Exchequer side) . The Arts Council's concern is with `the fine arts exclusively', which are only a part of `entertainment', however strongly we may hold the opinion that they are the best and most important part . Even if, for example, the permissive Section 13 2 of the Local Government Act of 1948 were made mandatory, this need not directly lead to any increased expenditure on the arts at all . In the lat e Aneurin Bevan's own constituency, the Urban District Council of Ebb w Vale spent practically the whole of a sixpenny rate on entertainment i n 196162, but their net expenditure on `cultural' entertainment was barely more than the equivalent of a penny rate. The Borough of Stratford upo n Avon furnished no information for the survey, but when Lady Gaitskel l said in the House of Lords (June 3rd, 1964) `there is not one farthing on the rates for the Arts in Stratford ', a spokesman for the Borough wa s reported as commenting that their expenditure on certain local amenitie s ought to be taken into account . An even more extreme example of the absence of any simple relationship between `entertainment' and `the arts' in the context of municipal accounts is provided by the County Borough of Bournemouth. Far from availing itself of the permissive legislation o f 1948, Bournemouth actually derived a profit of just over £6,000 from it s operations in the field of entertainment in 196162-spending nearly £309,000, and getting back nearly £315,000. No separate allocations were declared for the survey, but we know that in that year Bournemouth gav e £12,500 (nearly a penny rate) to the Symphony Orchestra . From these instances it is clear that one important effect of the survey is to dispe l illusions about the Local Government Act of 1948, Section 132 . The section was and remains an historic enactment because it removed all th e old qualitative restrictions on rate-aided enterprises in the entertainmen t business, and because the limit of permissible expenditure from the rate s was put so high as to make really ambitious policies practicable. It was not and has not yet proved to be, in itself, a major new source of patronage for the arts. In the foreword to the Survey, the Institute of Municipal Entertainmen t point out that the gross expenditure by authorities on cultural activitie s (broadly interpreted) was, in 196162, no more than 12 per cent or 13 per cent of the gross expenditure on entertainment as a whole : they commen t that `adjustments must be made if we are to have a balanced programm e'. This is not a judgment from which the Arts Council would be likely t o dissent, but of course it is not self-evident . Lady Gaitskell in her maiden speech in the House of Lords, from which a quotation has already bee n given, referred to a city councillor who opposed a grant to an orchestr a because `there were only a very small number of people who appreciate d good musi c', and the money `would be better spent on housing for the ol d people '. His idea of a balanced programme would not coincide with th e ideas of the Institute of Municipal Entertainment, and it is he, not th e Institute, who depends on voters for his position . But without insisting from our side that there is nothing like leather (much as we may hop e that this view will increasingly prevail), we can show from the figure s in the Institute 's Survey the possibility of substantial and painles s

to progress towards a better distribution of local authorities ' resources . The Survey makes a sub-division of expenditure into `Cultural Enter- tainment ' and other headings : `Cultural Entertainment' includes art exhibitions, ballet, opera, theatre, orchestral concerts, recitals, lecture s and arts festivals. Under this heading, which no doubt includes some activities which the Arts Council would not feel justified in supporting , but which broadly coincides with our general field of operations, Loca l Authorities covered by the survey spent in 196162 just over half a million pounds and recovered 64 per cent of their expenditure . Experience in the Arts Council suggests that this is an economical rate of subsidy . There are, however, wide differences between one category and another of local authority: the L.C.C. and Metropolitan Boroughs spent over £52,000 and recovered less than £13,000, giving at least a 75 per cen t subsidy-more than double the national average. Over and above all these figures, local authorities spent just over £350,000 under the heading `Grants, Guarantees, etc .', which sum, as the Institute reckon, `migh t well be added to' gross expenditure on cultural entertainment, as probabl y devoted to similar objects . There was, then, gross expenditure of about £870,000 by local authorities on cultural `entertainment ', of which abou t £330,000 was recovered, leaving net expenditure at some £540,000-a subsidy rate of about two-thirds, which is on the high side, bu t realistic. The figures in the Survey relating to `other entertainment' are equally illuminating in their own way. Local authorities spent about 23 million pounds under this heading, and recovered over 2 million : the greates t share of the expenditure was made by the non-County boroughs, with £1,088,308 gross and only £18,271 net . The County boroughs spen t £918,991 gross, and £152,448 net, but as the net expenditure on enter- tainment of two County boroughs, Blackpool and Southend (who spen t between them about £2,000 net on cultural entertainment and unde r £1,000 on Grants, Guarantees, etc .), came to nearly £170,000, it is clea r that the other County boroughs as a whole lost little or none of the rate - payers' money on non-cultural entertainment. Indeed it is hard to see why an authority need lose money on `other entertainment ', unless som e altogether special conditions apply in a particular case : band and jaz z concerts, beauty competitions, carnivals, circuses, dances, fun fairs , pantomimes, variety and professional wrestling might fairly be expecte d at least to pay for themselves . If this happy and apparently reasonable balance could be achieved, the whole net expenditure of local authoritie s on `other entertainment'-over a quarter of a million pounds-could be diverted to `cultural entertainment ' (or `grants and subsidies ') without costing the ratepayers anything at all : and this would mean half as much again for the arts without losing a single vote. This is not mere speculation.

11 The example has already been quoted of Bournemouth, making a small net income on entertainment after contributing something appreciable t o the support of orchestral music ; but this pattern is not confined to seasid e and holiday resorts . The County Borough of Bradford in 196162 spent £2,200 on `other entertainment' and recovered £4,500-a profit of ove r 100 per cent: they were thus enabled to afford £2,100 in `grants and subsi - dies' without touching the rate fund . (In fairness it should be said that Bradford also disbursed £1,400 odd net on `cultural entertainment', and with losses on `halls, theatres and other buildings ' contrived to spend rather more than a penny rate on entertainment in 196162 .) Middles- brough earned a profit of £3,484 on `other entertainment', and spent £3,351 net on cultural entertainment (including grants and subsidies) : the ratepayers would still have been up on the deal, if `halls, theatre s and other buildings ' had not upset the balance . The idea of paying for Bartok and Brecht out of the Bingo may not appeal to the more high-minded Councillors and Aldermen ; but th e evidence in the Survey must lead them to question whether they are an y longer justified in actually losing the ratepayers' money on the forms o f entertainment there described as `other', and if not, whether municipal entertainment of a better quality might not fairly benefit from the result s of keener financial control . That would be a first step, and, in present circumstances, a useful ste p towards what the Institute of Municipal Entertainment call `a balanced programm e'. But of course the major issues illuminated by the Survey are vastly more important. The Act of 1948 allowed local authorities for th e first time to spend money on the performing arts with no more restrictio n than is implied in the limitation to a sixpenny rate, net . After 14 years o f the life of the Act, the local authorities concerned (that is, in England an d Wales) were spending just over half a million pounds net on cultura l entertainment and associated subsidies, or (say) the equivalent of one-fifth of a penny rate in 196162, and about one-fifth of their total net expenditure on entertainment . There has been great progress sinc e 196162, both because authorities which were then already subsidizing the arts have greatly increased their contributions, and because othe r authorities have since then decided, or are deciding, to get their feet wet . Experience shows that it n'y a que le premier pas qui coute, and there is joy in the Arts Council over one authority that takes the plunge, whether i n approving the building or adaptation of a theatre, or authorizing a con- tribution towards the expenses of a touring company, provided that th e beneficiaries are really engaged with us in the work of improving profes- sional standards and increasing the accessibility of the best work to the people of Great Britain . Progress there has been, but more is evidently needed. The arguments that have persuaded Birmingham, Bristol an d

12 Oxford to subsidize the professional theatre, for example, have still to b e accepted in many other places . It was suggested in the debate in the House of Lords, to which reference has already twice been made, that this Report should contain a `black list' of local authorities which do not support the Arts . An incomplete black list would be invidious, and the evidence for a full list is still no t available. Three hundred and twelve authorities sent in nil returns for th e Survey, but several of these would be unfairly maligned if they were pu t in any pillory, because their attitude towards the Arts is in fact positive , despite the absence of expenditure on entertainment within the meanin g of the Act: others again have started to make use of Section 132 sinc e 196162 . Then, too, 149 authorities failed to submit any information fo r the Survey, and it is impossible to say whether this means in each case th e same as a nil return . Finally, a black list, even if it could be fully an d fairly compiled, might be felt as implying some stigma of condemnation , as though local authorities had a strict duty to get into the entertainment business, which of course is constitutionally not true-Section 132 i s permissive . We in the Arts Council are convinced, with the backing of a n impressive and growing public opinion, that the life of the arts in Grea t Britain is a most important subject of public policy, and that the health y progress of artistic practice and appreciation depends in great measure upon public financial support, both from the Exchequer and fro m municipal resources . We also believe that the people are being deprive d of one of the best things in life when the lack of such support makes it impossible to expose them to the enjoyment of artistic experience. But in the last resort it is for the people themselves and their democratically - elected leaders and representatives to decide whether or not to pay for these good things . The publication of the Survey itself must, nevertheless, have one salutary effect upon the situation: no local authority can now conscien- tiously allow the question to go by default . Since more than half the Boroughs and Urban Districts in England and Wales are known to b e spending money on entertainment, the minority that do not are obliged i n the exercise of their responsibility as leaders of their communities to mak e a deliberate considered decision whether to conform ; and if the decisio n is negative, to be ready with some reasoned explanation-which ca n hardly be convincing unless it rests on real evidence of local circumstance s so special as to distinguish the authority in question from most others . It is satisfactory for us to be able to point out, in a Report which will be published on the morrow of a General Election, that the spokesmen o f both the major parties in the House of Lords, as recently as last June , gave an explicit and clear lead in this matter : `there is a demand to the Government . . . to stimulate local authorities '; `clearly there is room for

13 much more activity and initiative by local authorities '. There has been criticism in the past of a certain apparent failure in some cases to co- ordinate central and local sources of support for the arts, both in respec t of capital developments and towards ordinary running expenses . It ma y be that under the new Administration, and with the hoped-for increas e in practical interest both centrally and locally, the Arts Council can hel p towards working out a pattern of co-operation . This would be a most welcome new burden of responsibility.

J4 The London Scene

London-a per se, the `flower of cities all': if there is today a goo d measure of justification for quoting Dunbar, it is largely due to th e splendour of those enterprises which the Arts Council is privileged t o support. Critics (not all entirely disinterested) have suggested that we starve the provinces of money in order to squander subsidy on metro- politan activities . This is not true. The facts were plainly set out in A Brighter Prospect, the annual report of the Arts Council for 196162, an d need not be restated in detail here . But it is true that we spend relatively great sums on the Arts in London, and therefore need to be sure that it i s well spent, i.e. that the taxpayers are getting value for money. If we consider opera fast, `as the most sophisticated and most expensiv e of the Arts', the fact is that opera in London has never been so good as it is today. At Covent Garden, operatic standards are generally as high as, and Royal Opera Hous e comparable with, those attained anywhere in the world . There have been some superlative performances-notably of Otello and Tosca-the latter in a magnificent new production by Zeffirelli with a cast which included Maria Callas and Tito Gobbi . Other new productions during the season were Shostakovitch's Katerina Ismailova (Lady Macbeth of Mtsensk) in the composer's revised version. Sung in English by a cast drawn entirely from the company, the performances received unstinted admiration from the Press and enthusiasts ; but attendances were disappointingly thin (51 .4 per cent of capacity for eight performances). Rigoletto, another spectacular production by Zeffirelli, was dogged by il l luck owing to the indisposition of Geraint Evans and Anna Moffo a t various times; but the appearances of Peter Glossop and Elizabet h

15 Vaughan at subsequent performances showed that these two talente d young singers are of the calibre to play these exciting roles in a production on the largest scale . Finally, Bellini's I Puritanwas revived at the theatre, for the first time since 1887, for Joan Sutherland. Her success in this work showed that vocal virtuosity and bel canto singing are still immensely popular with a large number of opera-goers . Sir Frederick Ashton 's first year as Director of the Royal Ballet ha s evoked warm tributes from the Press and public alike . Apart from the star evenings with Margot Fonteyn and Rudolf Nureyev, the range of repertory and quality of casting has shown how the resources of the tw o groups have been built up over the years and the extent to which they ar e now able to deploy them in London, elsewhere in this country an d abroad. A number of shorter new and widely contrasted ballets were added to the repertory of both groups and a special Shakespeare triple bill was mounted for the quatercentenary with Ashton 's The Dream, a revival of Helpmann's Hamlet and a new work by Kenneth Macmillan with the title Images of Love based on quotations from Shakespeare's plays. The immense and wholly unprecedented success of the Royal Oper a House since the war in building up a metropolitan audience for all-the- year-round performances of opera and ballet of international quality ha s led to a situation in which the two or three dozen most popular perform- ances in any one year are enormously over-subscribed . People who only want to see stars find it difficult to get in, and all too frequently complai n that `they were robbed'. Following questions in the House of Commons , a statement on the box office arrangements has been drawn up an d lodged in the library of the House of Commons . It will be reprinted in th e Annual Report of the Royal Opera House to be published next January . The calculation of the amount of subsidy for 196465 continues to be based on the arrangements obtaining during the previous two years , i.e. 17/6d for each £1 of reckonable receipts accruing during the year 196364 . (In passing, this fact provides a perfect refutation of a suggestio n which is occasionally made, that Covent Garden's subsidy is given at th e expense of other worthy institutions . The Arts Council grant for all other objects was fixed for 196364, 196465, and 196566 at a time when th e eventual separate grant for Covent Garden had not been and could not b e calculated . An increase-or a decrease-in the Covent Garden figure ha s absolutely no effect on the amount available elsewhere .) As is well known , the theatre has been closed for a long period during the summer months t o enable the gallery and amphitheatre sections to be re-constructed, to install new electrical lighting throughout the building and carry out other repairs. The Treasury has agreed to make special provision for the major part of this expenditure.

16 the Council described the history of the Centre and background to th e events as follows : This school for advanced training in opera was opened only las t September. Its first year of training for its students has not yet bee n completed and it is far too early to assess the measure of its success o r failure, as some small part of the Press and some small section of th e public seem to have been anxious to do . There has been a great deal of misconception about the origins of the London Opera Centre . The National School of Opera, founded in 1948, did good work, but it wa s not broadly based and its limitations were such-let me make i t quite clear that those limitations were inherent and were no reflectio n on those whose admirable work founded and built up the school - that it was widely felt that something more was needed . Five years ago, Covent Garden, Sadler 's Wells and Glyndebourne , the three permanent organizations who are particularly interested in the end product, together asked the Arts Council to carry out a n inquiry into the training of opera singers in this country . And let me emphasize that it was the opera companies who were dissatisfied an d wanted the position investigated . The Council invited a stron g independent committee, under the Chairmanship of Lord Bridges- whose impartiality no one can question-to make the investigation . Lord Bridges' Committee, after hearing evidence from the six schools of music in this country that include opera training, from the National School of Opera itself and from various other sources, as well as from the opera companies I have referred to, recommende d unequivocally the establishment in London of a new and independent school for advanced opera training . It was implicit that the new school should take over the work of the National School of Opera o n a broader footing and in association with the permanent opera companies . The Arts Council accepted that recommendation and made th e initial appointment of Governors for its formation and management . They included three of the Governors of the National School of Oper a and the Chairmen and chief executives of Covent Garden, Sadler' s Wells and Glyndebourne, with Mr Gerald Coke, Chairman of th e Glyndebourne Trust and a Director of Covent Garden and of the Royal Academy of Music, as Chairman . The Governors appointed a s Director Professor Procter Gregg, and the two Principals of the National School of Opera, Miss Joan Cross and Miss Anne Wood , agreed to join the new school as Director of Studies and as Warden . It was a strong team of Governors and Principals . The search for premises proved difficult. The Bridges Committe e had recommended that the building should allow of full-scale opera

19 rehearsals and should be easily accessible from Covent Garden an d Sadler's Wells. After exhaustive inquiries, it appeared that the most suitable premises-indeed, the only premises available that were no t quite unsuitable were the Troxy Cinema . As Covent Garden was also in dire need of a rehearsal stage, it was convenient on variou s grounds that they should share in the use of the building . The cinema was acquired and improved. The London Opera Centre wa s established in it and opened on September 23rd last year . The direction of the Centre soon ran into various dif icultiesf which, within a few months, came to appear rather more serious than the inevitable `teething troubles '. Matters came to a head with the resigna- tions of the Director of Studies, the Warden, and three of the Governors . The Board then appointed a sub-committee to investigate the criticism s which had been publicly formulated regarding the Centre and its work , and to make recommendations for the future . The report of that sub - committee, under the chairmanship of Lord Robbins, together with a memorandum by the Board of Governors and other relevant material, ha s since been considered by the Arts Council, and will have been publishe d by the time the present Annual Report is issued . This is not the place to rehearse, even in outline, the conclusions resulting from the investigation . Suffice it here to repeat the Chairman's words about the future : `Above all , the Centre's progress will greatly benefit from the whole-hearted co - operation of all concerned in it, and I am without doubt that its develop- ment, set back in infancy by the unhappy events recorded in these papers , will now go forward smoothly, and that the Centre will make a valuabl e contribution to opera in this country .' London Orchestras Four major symphony orchestras (apart from the B .B.C. Symphony Orchestra) have been actively engaged in London since the end of Worl d War II . Although, generally speaking, their most important function ha s been the presentation of public concerts, all of them have been involve d in varying degrees with other activities such as recording, broadcasting , television, etc. The opportunities and conditions of work for orchestra l musicians in London differ greatly from those in other parts of the coun- try. Unlike the great provincial orchestras, their players are not engage d on a full-time permanent basis but on a sessional or concert basis . Many o f them do a good deal of outside work and, despite the arduous condition s and excessive hours, would seem to prefer that arrangement . There can b e no doubt that the situation is generally unsatisfactory, not only from th e artistic standpoint, but also, in the long run, from that of the player s themselves, if they are to enjoy better security of employment an d reasonable working conditions . This is not a new or recent development : the situation, if anything, is at present slightly better than it has been fo r many years, but the problem has only been exposed to the general publi c

20 through the recent widespread publicity about two of the orchestras whic h have been through major upheavals of control and management . Both have now established new boards of management drawn from the players and are trying to re-establish themselves . The Utopian solution of placing them, together with the other two well-established London orchestras, o n a full-time contract with subsidies on the scale of the great continental orchestras (say £200,000 per annum each) is not immediately attainable . As described in last year's Report, a scheme was devised in which th e Council,in partnership with the L.C.C., subsidizes orchestral concerts in th e Royal Festival Hall on a basis of a guarantee against loss . This has worke d as well as can be expected in its first year . Much remains to be done , however, both in co-ordinating the choice of programmes and in improv- ing rehearsal and working conditions . Attendances, except for som e special concerts under most eminent conductors, have been disappointing , though not to the extent which some Press reports have suggested . The comparative averages in 196263 and 196364 were 70 per cent and 68 per cent respectively. When the Royal Festival Hall re-opens early in 1965 , the public will have the opportunity of judging the efforts of the orchestra s and their public backers to provide subscription or voucher schemes , concerts in pairs and other innovations. A recent survey of the amount of work available in the Metropolita n area, including recordings, broadcasting, etc ., shows that there may not be enough work to keep all four orchestras adequately employed an d generously subsidized . The B.B.C. has recently announced, moreover, that it intends to develop its operations in such a way as to provide substan- tially increased opportunities for employment of musicians, by th e formation of new orchestras and otherwise . These developments are under discussion between the Corporation and other interested parties, including the Musicians' Union and the Arts Council . We are also considering ways of improving the general conditions o f work in the London orchestras ; and a scheme inviting the co-operation o f Local Authorities in East Anglia and the northern periphery of Greate r London is in active preparation, with the object of providing regular con- certs in many centres which have hitherto had few or none at all . The corollary of such a development must be that it is achieved without a sacrifice of quality-a quality which must be up to the highest inter - national standards . The Council and the L.C.C. are at present discussing with other interested parties detailed proposals designed to effect an d maintain an improvement in the situation.

The prospect for theatregoers in London was considerably transformed Theatre Companies in the year under review, first by the inauguration of a National Theatre Company at the Old Vic, and secondly by the announcement that the

21 activities of the Royal Shakespeare Company at the Aldwych Theatr e were assured of continuation as the result of successful negotiation wit h the Arts Council for grant-in-aid . This promise of good things to come wa s reinforced by the continuing productions of the English Stage Compan y and the Mermaid Theatre, and there was further enrichment as a result o f visits to the West End by companies from the Bristol Old Vic and the Oxford Playhouse . But there had been one irreplaceable loss ; in the early months of the year the final productions under the aegis of the Old Vic Trust were given in the Waterloo Road and, on June 8th, in the presence of her Royal Highness Princess Marina, and a distinguished audienc e which recalled the glorious history of this theatre since its early days unde r Miss Lilian Bayliss, the last performance of Measure for Measure was given . The theatre itself remained closed for four months while extensive alterations and improvements were made to the stage, backstage , auditorium and foyers and was reopened by the National Theatre Com- pany on October 22nd, 1963 (see page 31) . Meanwhile, the Royal Shakespeare Company kept up its stimulatin g productions in repertoire of both classical and contemporary plays . Among the former was the now internationally famous production o f King Lear with Paul Scofield in the title role, which was brought fro m Stratford-upon-Avon at the beginning of the year for a triumphant London season and world tour ; among the latter, a brilliantly provocativ e production of Hochhuth's The Representative which filled the theatre night after night and stimulated an unusual amount of controversy in th e Press, in the pubs, on the streets and on the buses . Early in 1964, Londo n audiences were able to see the first performances of a most ambitiou s programme, planned to celebrate the quatercentenary year of Willia m Shakespeare, with the staging of the Histories of the Wars of the Roses ; the three parts of Shakespeare 's Henry VI were mounted as Henry VI and Edward IV and followed by Richard III. These were all given firs t performances on one day-Saturday, January 11th-a fantastic achieve- ment-and were then played in repertoire . To add gaiety to the somewhat grim and gory story the company revived its 1962 production of the Comedy of Errors. Audiences at the Mermaid Theatre enjoyed a remarkable miscellany o f good things, starting with a highly diverting production of Naughton 's Alfie with John Neville in the title role, which was successfully transferre d to the West End . This was followed by Brecht's Galileo in which Bernard Miles repeated his memorable performance in the title role and which filled the theatre to near capacity during its short run. This was followe d by another Brecht premiere-Schweyk in the Second World War-and then came Dostoievsky 's The Possessed, and, early in the new year, The

22 Bacchae of Euripides . A programme of plays of such importance as these would make a memorable year in any theatre, but when it is realized tha t most were given two performances a day at the Mermaid, this makes the achievement all the more remarkable and praiseworthy. The English Stage Company at the Royal Court Theatre continue d with its valuable policy of presenting new plays . These included Frank Hilton's The Day of the Prince, Henry Living's Kelly's Eye and Barry Reckord's Skyvers. The company also gave the first British performances of Ionesco's Exit the King in which Sir Alec Guinness gave a brilliant an d distinguished performance . Early in 1964, the theatre was closed to prepare it for an extensive scheme of alteration and improvement, an d the company transferred its productions to the Queen 's Theatre in Shaftesbury Avenue, where they opened at the beginning of March with an outstandingly successful production of Chekhov's The Seagull . As usual, the Arts Council contributed a series of exhibitions to the Art Exhibitions London scene. Among the more important was the show of the work of George Grosz (d. 1959), the German satirist, which was shown in the Arts Council Gallery in June 1963 and attracted a great deal of lively interest. The series of one-man shows of eminent English painters was continue d with the exhibition of Ivon Hitchens's work at the Tate Gallery in July and August. The Arts Council's Edinburgh Festival exhibitions, Modigliani and Soutine, came to the Tate in September and October ; while Modiglian i was the more widely popular, the Soutine show was the first of any size to be shown in this country and found enthusiastic response from man y painters and younger visitors . Our exhibition of English medieval embroidery, Opus Anglicanum, was on show in the Victoria and Albert Museum from September 27th t o November 24th; it was widely praised as a fine exhibition with an un- usual subject. In October and November the Arts Council Gallery had an exhibitio n of drawings and watercolours by Paul Klee, which came from the Felix Klee collection, Berne, and covered the whole range of his oeuvre, with examples which were virtually unknown in this country . The Arts Council brought the Dunn International Exhibition of con- temporary painting, which vas organized by the Sir James Dunn Founda - tion at Fredericton, Canada, to the Tate in November and December . The year 1964 began with an unusual exhibition at the Arts Counci l Gallery, Ruskin and His Circle, in January and February . This exhibi- tion, which was designed to illustrate the enormous influence of Ruski n on his contemporaries, was the brain child of Sir Kenneth Clark and was greeted with critical acclaim not only in this country but also abroad.

23 The glories of the metropolitan scene are no longer chiefly in promise and prospect, but already in performance. Promise is still unquestionably there, and there is still shade in the picture, but London has taken it s rightful place among the artistic capitals of the world. It shall not be the fault of the Arts Council if the limitless human and material resource s available are not exploited to maintain and improve this position .

24 Touring and the Provinces

The potential conflict between the Council's twin obligation, to improve standards of execution and to increase the accessibility of the arts to th e public, is nowhere more apparent than in the consideration of tourin g policy and the resolution of touring problems . Speaking in the broadest generality, and with every reserve of numerou s exceptions, it may be said that the pre-war situation favoured quality i n metropolitan productions, while affording little more than quantity i n provincial entertainment . In towns and cities outside London, the scene was usually dominate d by one or more large theatres, commercially run as part of the establishe d touring `circuits'. Here might be seen, in addition to a long Christma s season of pantomime, visiting opera companies and ballets, spectacula r musical comedies, and star-spangled attractions `prior to West End production'. Since the Second World War, the circuits have lost so many fine theatres that this predominant feature of the situation has receded into the background . The mass audiences which supported them in pre - war days have probably passed, in the main, to `the Telly ' in perpetuity. Already before 1939 remarkable developments had taken place toward s the permanent improvement of quality in provincial towns in th e theatrical sector of the entertainment business . Numerous permanen t companies were established on a repertory basis, relying on dedicate d resident professional enthusiasts and generous local patronage . Outstand - ing examples were set by places like Oxford, Liverpool and Birmingham , though the financial status of all these enterprises was apt to be pre - carious . Since 1939, the number of permanent local non-profit-distributin g

25 `repertory companies' (who deserve a more attractive title) has increase d and, with the help of Arts Council grants and guarantees (including trans- port subsidies, financial support for the production of new and neglecte d plays, and grants for training designers and managers), these companies have been enabled to conquer new worlds . In the field of the lyric drama, the accent is still on touring : but since the war, the touring effort has been diversified . The Royal Ballet an d Sadler's Wells opera are still on the road, but other ventures have com e into being to satisfy other requirements. Opera for All is well known and designed specifically for the condition s in which it has to work-the local halls of small towns and othe r theatreless places. The criticism is often made that its work is seriousl y handicapped through its severely limited resources, especially in the lac k of an orchestra. This, of course, is undeniable, but even if an orchestra o f requisite quality and size could be recruited, it could not be accommodate d in 95 per cent of the halls where Opera for All performs, and its cost, eve n with much more generous subsidy, would price it right out of the marke t for which it is designed . Its claims are modest-`to introduce opera' to audiences and places where the real thing cannot be heard, and to sho w something of opera's special characteristic-an amalgam of music an d drama-and its conventions so that the audience will be stimulated to go and hear the larger companies with full resources whenever they can d o so. Its justification lies in the testimony of 15 years ' unbroken work covering 1,700 performances, given in one- or two-night stands, and a demand which goes on increasing year by year . Is there a place for more opera in the provinces on a scale which is larger than Opera for All but smaller than, say, Sadler's Wells? If `supply creates demand ' in the Arts, the answer must be given in th e affirmative, but the practical difficulties, apart from finance, at the present time are immense . Theatres of the right size and properly equipped ar e essential even for a small `cadet' opera company which some people wis h to see brought into being . Repertory theatres are seldom large enough i n stage, pit or seating, nor are they usually available for a week or shor t visit which interrupts a regular season of plays . The most popular opera s (excepting perhaps Mozart) call for production and orchestra on at least a Sadler's Wells scale . Some development on these lines is an importan t task for the future, but no less important is the case for establishing full - scale permanent opera in the North of England, inspired perhaps by th e example of ventures already established in Wales and Scotland . A project of this magnitude is likely to prove beyond the resources of a single city-even with liberal support from central funds-and will cal l for the co-operation of several major communities in active and joint support of a large scale professional organization, whose standards mus t

26 be comparable to the best of native opera, and at the same time giv e scope for developing regional talent . Ballet in the small centres has its own special problems, includin g difficulties of staging, lighting and sight-lines . These facilities are seldo m found in local halls, but the small companies receiving very limite d financial support-especially Minerva and Harlequin-are makin g superhuman efforts to bring high class ballet performances to thes e places . Both are gathering a bigger following and their performance s are steadily attracting wider recognition . On a larger scale, the work o f the Ballet Rambert and the London Festival Ballet, for example, is mad e possible only by subsidies of some magnitude . Plans for the continuanc e and development of these valuable and educative enterprises are under active consideration. The Western Theatre Ballet was first in the fiel d with a touring company specializing in modern and avant-garde produc- tions, adaptable to a wide variety of stage conditions . Reverting to the legitimate stage, and the proliferation of permanen t companies beside the long-established touring centres, an important ne w development is now emerging, with the possibility of regional touring an d exchange arrangements between the various provincial repertory theatres , not only without the loss of quality that necessarily occurs when large - scale metropolitan productions must be crammed into small-scale theatres , but actually with the valuable stimulus of competition and the benefits o f cross fertilization . Meanwhile, the conditions of existence on tour for the major metro- politan and national companies-the National Theatre, the Royal Ballet , the Royal Shakespeare, Sadler 's Wells and Ballet Rambert-becom e more and more precarious, with the disappearance of theatres, th e depression of monetary takings, and the dissipation of regular audiences . This is a vital question in which the Arts Council is obliged to tak e an active interest . In recent months we have brought the intereste d parties together for constructive discussion of the problems involved . Much can no doubt be achieved by effective co-operation in this field , but it will remain true that the presentation of nationally-subsidize d opera, theatre and ballet of metropolitan quality outside London normall y requires financial support from the rates in the centres visited . To conclude this survey of the provincial scene on an encouraging note , let us now briefly describe the outstanding event of the year, which took place at Nottingham. The new Playhouse was officially opened on Wednesday, December 11th, 1963 . The principal guest at the opening ceremony that night was Lord Snowdon, acting on behalf of Princes s Margaret who was unavoidably prevented from taking part in th e ceremony . In the course of his speech, Lord Snowdon declared : `This will not be just a new theatre in the provinces for actors rehearsing befor e

27 a London debut . With the amount of talent already involved it will immediately become a cultural centre, respected and envied internation- ally, making London itself look to its laurels .' And he went on: `In decid- ing, however narrowly, that a civilized community needs as good a living theatre as it can get, Nottingham is on the side of the future . I wish for the productions done in this theatre not only many artistic and commercial triumphs, but many fierce arguments in the foyer, in the buses and pubs and newspapers. I hope that acclamation and protest will thunder round its head.' During the ceremony Lord Snowdon handed to the Chairman o f the Playhouse Trust on behalf of the Corporation the 21 year s' lease of the new building. The opening production was Coriolanus, directed by Sir Tyron e Guthrie, and this was followed by The Importance of Being Earnest , The Life in my Hands (specially written for the company by Pete r Ustinov), the world premiere of The Bashful Genius (a play about Bernard Shaw), a new production of Semi-detached and a version of Calderon 's The Mayor of Zalamea prepared by David Brett . These productions were all played `in repertoire', a new policy for the Playhous e Trust, but one which has admirably justified itself, both in standards o f presentation and box office results. Public support of the company sinc e the opening of the new building has been on a consistently high level- very much higher than was ever achieved over a similar period in th e old building, which had 300 less seats . In the three-and-a-half months t o March 31st, 1964, the box office averaged 84 per cent of capacity, and thi s high average has been continued right through to the end of the season i n July. The hopes expressed by Lord Snowdon have fully materialized in the early months of this beautiful theatre ; it has been crammed night after night by happy, appreciative and predominantly young audiences , and its productions have become a conversational necessity to the publi c in Nottingham and for miles around . Even the London critics can't keep away!

28 Local Activities and the Amateur

In the long debate on the relative importance of raising the standar d of execution and increasing the accessibility of the arts, it has sometime s been suggested that the Arts Council might more often take the initiativ e or act as an instigator to stimulate local activity. The Council has i n general taken the view that before it intervenes a local demand must b e shown to exist, and applicants for Arts Council help must at least take th e first steps to help themselves . The attitude we think is reasonable and justifiable, although there has never been any question of a precise rule rigidly applied . In another part of this report there is some discussion of the financia l contribution in support of the arts by Local Authorities, but whatever may be the just division of the contribution as between central Govern- ment, local Government, commerce, industry and the patron at the bo x office, it is surely an argument of the plainest common sense that a local arts festival (for example) must, in the first place, be an outcome of loca l enterprise and enthusiasm. Here, however, the argument runs into a fresh complication from the Arts Council point of view . This local en- thusiasm is often generated by local amateurs, and indeed a local festiva l is often a meeting place for the amateur and the professional . As a matter of long settled policy, Arts Council subsidy is directed for the most par t to the support of the professional artist and not the amateur, although there are fields in which there can be fruitful collaboration and some way s have been found to bring aid to the amateurs, particularly where they are concerned with the employment of professional artists . Perhaps the largest single operation in this field is the Council's scheme for financial assistance to amateur choral and orchestral societies an d

29 music clubs affiliated to the National Federation of Music Societies . This scheme was inaugurated in 1946 and is designed to help societies to rais e their standards of performance at public concerts by providing part of th e cost of engaging professional conductors, soloists and orchestral players . This partnership between professional and amateur in the world of musi c is well established and of mutual benefit . Arts Council guarantees during the year 196364 of some £40,000 helped amateur societies in England t o pay out over £186,000 in fees to professional musicians . The Council i s also fortunate in being able to co-operate with such a broadly based and widely representative body as the National Federation of Music Societie s which now has many years of experience in administering a joint scheme with the Arts Council to the best advantage of its members . (Further details and statistics are given in Appendix A, p . 82.) It is an odd fact of economic life in this country that although mos t efforts to organize production on a co-operative basis have failed , `consumers ' co-operatives' have been promoted with great success . The traditional pattern shows itself in the field of the arts, and many art s centres, arts clubs and arts societies might be said to fall into the genera l category of consumers ' co-operative associations . There are signs that this movement is growing, and federating bodies have been set up in th e North East, the Midlands and the South West . The Arts Council can clai m to have taken more than a cautious interest in this development, and i n fact it has already given practical demonstrations of goodwill, but wher e should the boundaries be drawn? How far should purely amateu r activity be subsidized, and how far or how much further should the Art s Council advance into this debatable territory? The Education Authorities , of course, have wide powers insofar as amateur organizations promote cultural training and recreative activities. Is there a case for a special body, perhaps on the lines of the proposed Sports Council, to deal with amateur activities as part of a `youth service ' or as part of some wide r general social service concerned with public provision for `leisure '? It is probably not possible to answer these questions at this time and in thi s report, but they are questions thrown up by a developing situation, an d the fact that they are already a matter of discussion suggests tha t solutions may not be very far away .

30 The National Theatre and th e Royal Shakespeare Theatre

The National Theatre The alterations and improvements to the Old Vic Theatre, carried ou t in the summer of 1963, were completed just in time for the National Theatre Company to present its opening production there on Octobe r 22nd. This was Hamlet directed by Sir Laurence Olivier, and was followed by St Joan, Uncle Vanya, The Recruiting Officer, Hobson's Choice and Andorra . It was a remarkable achievement for a new company of such importance to mount,five productions in five months ; two of them of course had been previously shown at Chichester, but, none the less, thes e had to be adapted for the Old Vic stage . The whole company and staff ha d clearly worked under very high pressure, and it is good to be able t o record remarkable success at the box office for the period ending March 31st, 1964 ; 156 performances averaged 86 per cent of financial capacity with 127,000 paid admissions . In addition to all this, the company planned and mounted its first provincial tour, with visits to Newcastle upon Tyne at the end of March 1964 and continuing to Edinburgh, Birmingham and Cardiff with the first performances of a new production of Othello as well as Hobson's Choice and Uncle Vanya. This tour wa s also immensely successful at the box office, but the high cost of such touring was illustrated by the need for a supplementary subsidy from th e Arts Council of £12,000 to cover these four weeks, of which £1,000 ha s been allocated to the financial year 196314 . By March 31st, 1964, the accounts of the National Theatre Board showed that, with seven month s of actual playing and several weeks of preparation, there was an overal l deficit of £153,500 which was largely offset by grant-aid from the Art s Council of £131,000 .

31 The South Bank Theatre and Opera House Board announced during the year that it had submitted to its Advisory Panel the name of Mr Deny s Lasdun, F.R.I.B .A., as its unanimous choice for the architect of the new National Theatre, and this was approved. Since then, Mr Lasdun has been in close consultation with the Drama Advisory Committee, pre- viously set up by the South Bank Board and the National Theatre Board . His first proposals for the basic design of the new theatre have now bee n submitted to both Boards and are under active discussion .

The Royal Shakespeare Company In the course of the year, several meetings were held with repre- sentatives of the Company to discuss the details of the application submitted for an annual subvention . After careful consideration the Arts Council resolved to make representations to the Treasury on the urgen t financial needs of the company, and was eventually able to announce that agreement had been reached with the Treasury for the subventio n to be fixed at £80,000 (exclusi-, a of any touring) for 1964/65, and that thi s would be increased to £90,000 in 1965/66. This announcement had the effect of removing the threat to the closure of the Company 's operations at the Aldwych Theatre ; more importantly, it enabled the company to concentrate on long-term planning of its policies, both in London an d in Stratford upon Avon . In May and June of 1963, the company mounted a provincial tour , lasting four weeks and covering Edinburgh, Newcastle upon Tyne, Brad - ford and Manchester, for which a supplementary guarantee of £7,000 wa s offered by the Arts Council and fully called . The plays were A Mid- summer Night's Dream, and The Physicists . The Company also took part in the Theatre of the Nations Festival i n Paris where the now internationally famous production of King Lear was presented with triumphant success . Later in the year, this same pro- duction was toured, under the auspices and with the financial support o f the British Council, on a tour of Europe, the Far East, Canada and th e United States ; the principal cities visited included Berlin, Prague, Warsaw, Moscow, Leningrad, Washington, Toronto, Montreal an d New York, and the company earned the highest praise, not only fo r the compelling quality of the performances, but also for their splendi d work in public relations wherever they went . In the last weeks of th e financial year the Aldwych Theatre became the centre for a season o f plays presented by world famous theatres in celebration of the Shake- speare Quatercentenary year; productions by companies from the Com6die Francaise and the Schiller Theater inaugurated a memorable London season.

32 The Quatereentenary of

Shakespeare ' s Birth

Although the actual quatercentenary date of Shakespeare 's birth fall s within the period covered by the next Annual Report, the planning of the celebrations was part of the year under review . Because of this, and because the majority of the special events will have already taken plac e by the time this Report appears, it seems sensible to record somethin g of them here and now . As far back as June 1961 the Arts Council set up a 1964 Shakespear e Festival Committee to co-ordinate plans and, if need be, to initiate them . Representatives from the Arts Council of Northern Ireland, the British Broadcasting Corporation, the British Centre of the International Theatre Institute, the British Council, the British Travel and Holidays Association, the Council of Repertory Theatres, the Independent Televi- sion Authority, the 1964 Shakespeare Anniversary Council, the Theatre s National Committee, and the Council's own Poetry and Drama Panel s sat on this Committee which met periodically during the ensuing two an d a half years to discuss progress and to make recommendations to th e Council regarding applications for financial assistance. A sum of £25,00 0 was allotted by the Arts Council in the budget for 196465 for this purpose . The centre of the celebrations has been, of course, Stratford upo n Avon, where the Royal Shakespeare Company's sequence of the seve n History plays runs through until late November, and where a wide - ranging series of other events included the imaginative, large-scal e Shakespeare Exhibition, and also a special Festival season of recitals , concerts and lectures for which a separate subsidy of £10,000 was foun d by the Arts Council in its Arts Festivals Allocation . In the rest of the country it became clear at a comparatively early

33 stage that most of the provincial theatres intended presenting their customary annual Shakespearean production, the plays being chosen i n the most part from among the G .C.E. set plays for schools . The Festival Committee decided, therefore, to restrict its recommendations for ad- ditional help out of the limited funds available to the more ambitiou s projects, and to try to encourage the production of the lesser-known plays, particularly where there might be special geographical or historica l connections . To illustrate this, contributions were made towards th e costs of the complex programme of plays, not only by Shakespear e but also by his predecessors and contemporaries, arranged by th e Bristol Old Vic Trust, and involving, as well as the Theatre Royal and Little Theatre companies, the University Drama Department, th e Bristol Old Vic School and indeed a company of Bristol schoolboys ; the first known professional production of one of the apocryphal plays, Sir Thomas More, by the Nottingham Playhouse Company; and the pro- ductions of King John by the Northampton Repertory Company and Richard II by Lincoln 's Theatre Royal Company as part of that city's Shakespeare Festival . Grants were also made to the British Centre of the International Theatre Institute towards the cost of producing a British number o f World Theatre and organizing a Summer School on 'The Staging of Shakespeare's Plays'; to the British Film Institute to enable it to have special prints made of two early Shakespearean films for showing in its National Film Theatre season ; and to the City of London Festival in respect of certain of its music programmes relating to Shakespeare . The quatercentenary celebrations of Christopher Marlowe 's birth, occurring in the same year as Shakespeare 's, have undoubtedly bee n somewhat overshadowed . Nevertheless, every effort has been made to provide additional subsidy to those companies wanting to mark the occasion and notable productions of The Jew of Malta at Stoke on Trent , Tamburlaine at Cheltenham, Dr Faustus at Farnham, and Edward II at Leicester (the two latter interestingly juxtaposed mith Shakespeare 's Macbeth and Richard II respectively) resulted . The Arts Council itself was directly responsible for the commissionin g of poems in connection with the Festival of Poetry at Stratford upon Avon, for inviting Miss Helen Gardner to give three lectures on Shakes- peare in London, for promoting a recital of Marlowe 's poetry which was presented not only in London, but also in Canterbury and Coventry, an d for the exhibition, `Shakespeare in Art', held in the Council's own Gallery . The final work of the 1964 Shakespeare Festival Committee was th e issue of a comprehensive programme of all the professional events cele- brating the births of both Shakespeare and Marlowe, copies of whic h were sent all over the world.

34 Although, unlike certain European countries, no single sweeping claim can be made for Great Britain that all the plays of Shakespeare and Marlowe will have been professionally presented during 1964, there is no doubt that much of particular interest will have been produced as a direct result of this national commemoration that might not otherwis e have been. To it, for instance, we owe events as diverse as the Publi c Record Office display of specimens of Shakespeare 's signature, the issue by the Post Office of a commemorative series of postage stamps, the visi t of Italy's famous Compagnia dei Quattro to Glyndebourne in La Bisbetic a Domata (The Taming of the Shrew), the creation of two new ballets, The Dream and Images of Love, by the Royal Ballet Company, and the whole idea of the World Theatre Season at the Aldwych which one hopes ma y now be repeated annually . New Talent for Theatres

There is general awareness of the assistance which the Arts Counci l gives year by year in the form of grants and guarantees to non-profit - distributing theatre companies operating in London and the provinces , but very little is known of the recent developments which have take n place in instituting special schemes for the training and maturing of talent in the general service of theatre wherever it may be operating . The bes t known of the schemes, because it has been in existence for a much longe r period than any of the others, is the one concerned with encouraging ne w writers; in more recent years, the Drama Panel of the Arts Council ha s given its support and encouragement to schemes for the training of youn g designers, producers and administrators . All the schemes are based on th e belief that the creation of lively and progressive theatre depends upon a continuous supply of new talent in every section of the creative field ; a theatre which relies only on its classical traditions and past successes i s living on its capital and will inevitably become an exhausted theatre an d one which is out of touch with each succeeding generation . The Art s Council therefore agreed to set aside a small portion of its allocatio n for drama in each of recent years in order that experiments could be mad e with the object of ensuring that our theatres should be constantl y stimulated and enriched, as well as disturbed and even dismayed, by th e liveliest influences from practitioners in the arts by which it is nourished . The total fund available in the year under review for these experiment s was £11,000 or 2 per cent of the total drama allocation . The New Dram a Scheme used up £6,000 of this and the remainder was employed toward s extending the New Designers Scheme and instituting the Producers an d Administrators Schemes .

36 New Writers

The principal function of the New Drama Scheme is to encourage ne w writing for the theatre and its actual performance to the public . This is done in two ways . A limited number of bursaries are given in the form of direct grants to writers whose worth has been examined and approve d by members of the Drama Panel, specially qualified by their experienc e and reputation to recommend or reject whatever is submitted to them. The Award of a Bursary carries with it the best encouragement the Art s Council can offer to a promising writer to concentrate (at least for a time) on playwriting, but no obligations, conditions, options or sole rights ar e implicit in the award. The writer is left absolutely free to work how an d where he wishes, but the consent of the Arts Council is necessary before disposing of the rights of any play written in immediate consequence o f the award. This might seem to be a restriction on the playwright, bu t it is really intended as a protection for people who are mostly novice s when it comes to marketing their work. The amounts awarded in thes e cases range from £250 to £500 and rank for exemption from income tax . Those who have benefited from these awards in the past include : Arnold Wesker, Shelagh Delaney, Bernard Kops, John Hall, Clive Exton, Jame s Saunders and David Campton . Help was given during 196364 t o Antony Linter, Peter Everett, Maureen Duffy, Ray Butler, David Gran t and David Brett. The award of direct grants to writers is kept within a carefully res- tricted field, however . A much more extensive scale of operation is the system by which the Arts Council offers guarantees against loss to certain theatre companies which undertake the production of new plays . This scheme was started in 1952 with an allocation of £3,500 ; thirteen plays were submitted that year, but only two were considered good enough to justify a guarantee. In the year covered by this Report, the total alloca- tion for this purpose was £4,250 and was used by 18 theatres to enable 28 new plays to be given their first (and sometimes their second) pro- fessional production . These figures give some indication of the way in which the new dram a scheme has become a lively and permanent part of the policy of all th e theatres now assisted by the Arts Council . The greatest encouragement to new writers came initially through the managements of playhouses out - side London, which were prepared to act as laboratories for this experi- ment, to read the vast number of plays sent to them by inexperience d authors and, in a number of cases, to work with the writer on his script and help him to make it a much more effective piece of theatre . The fac t that all this was being done outside the fierce glare of the commercially - minded West End was of great value to the new playwrights, many of

37 whose early efforts would have been killed stone dead if they had bee n presented in London. But a most valuable impetus was given to the campaign for new drama in April 1956 when the Arts Council decided t o support the establishment of the English Stage Company at the Roya l Court Theatre in Sloane Square, with its declared policy of concentratin g almost exclusively on the production of original plays . And it is not to o much to say that the whole character of the English Theatre has bee n radically changed by the work which this company and certain out- standingly progressive provincial playhouses have done in giving en- couragement and recognition to new playwrights .

New Designers ' Scheme A scheme for the training of young designers was instituted in 1961 , when it became clear that a number of students at the various colleges o f Art were keenly interested in the theatre and needed help to find em- ployment in it . For some two years before this, the Arts Council had been encouraging such students by suggesting that they left their portfolio s in Drama Department for an extended period, so that they could be seen by any theatre drectorsi who were enquiring after new talent . This ide a had some useful results, but a more organized system for training was obviously now required . A sub-committee of the Drama Panel, compose d of designers and drectors,i was accordingly established, and Colleges of Art, as well as persons in the theatre-world known for their interest in this matter, were eventually notified that the Arts Council was prepared to sponsor and subsidize the placing of a small number of approve d students for training in repertory theatres . In selecting the theatres it wa s a necessary condition that there should be a resident company and a hea d of design who was willing to give training and experience to the student . In the first year, the selection was made on the portfolio submitted b y the students, but this evidence was thought not to be sufficient by itself and further discussion by the Panel led to the present system whereb y applicants are asked to prepare designs and a model, based on two plays , selected from a list agreed upon by the Sub-Committee . The plays for 196364 were Waiting for Godot and You Never Can Tell ; in the current year (196465) the plays were selected from Love's Labour's Lost, Th e Wild Duck, The Skin of our Teeth and A Taste of Honey . While this examination is proceeding discussions are held with th e directors and designers of selected theatres to ascertain whether the y would be willing to recommend to their boards of directors that a successful applicant should be employed as Assistant Designer for a ful l year at a minimum salary of £10 per week; the Arts Council offer woul d

33 be to pay £8 per week towards this. Once agreement to accept a trainee has been reached no stipulation is made as to the number of production s that these trainee-designers should carry out, but the hope is expresse d that they would be asked to design at least one production during th e year. The amount expended by the Arts Council on this scheme in 19636 4 was £2,496 on eight students, and in 196465 will be £2,984 on eight students. There is no doubt at all that in the very short time this scheme has been in existence it has proved immensely valuable, both to th e selected students and to the theatres involved, and has stimulated a ne w and lively interest in theatre design all over the country .

Training in Theatre Administratio n In the last Annual Report, it was announced that a scheme for trainin g theatre administrators, worked out in collaboration with the Council o f Repertory Theatres, would be put into operation in 19634 . This has been done, and the basis of training offered to candidates selected by the inter - viewing committee (composed of representatives of the Drama Panel an d C.O.R.T.) is for training to be given over a period of a year at a number o f selected theatres . The first six months of training is spent at a single theatre where the management has agreed to give the trainee the fullest possible experience in all departments of the theatre; the second six months are spent by the trainee at a number of other theatres where mor e intensive training in specific aspects of theatre administration, particu- larly suitable for the candidate, are given . At the end of the trainin g period, the trainee is free to find work wherever he or she wishes ; no obligation is incurred . During the first six months of training, a minimum salary of £10 per week is paid by the theatre, towards which the Art s Council contributes £8 . In the second six months of the year, the trainee receives a bursary award, calculated so as to include provision for all travelling and other approved expenses as well as subsistence . In addition to the full year 's course of training, short periods of fro m three to six months are arranged for those who already have a certain amount of experience in theatre management, and maintenance is pro- vided by means of bursaries individually assessed in each case . Inthe year 196364 five students were selected for training and the Arts Council's contribution towards this was £1,093 . As the scheme was launched part - way through the year, this represents only part of the possible intake; a scheme for 196465 is now under-way, and will provide for a larger numbe r of students, provided the quality is high enough. The schemes referred to above for New Drama, New Designers and Administrators have involved the voluntary participation of man y

39 members of the Drama Panel whose specialist knowledge and experienc e was essential to the success of these endeavours to train and absorb ne w talents in the theatre . The Arts Council is profoundly grateful to them .

40 Organizing an Exhibition

The public is now so accustomed to a service of art exhibitions, one following hard on the heels of the one before, that the preliminary organizing work is usually taken as much for granted as all that makes it possible to flip a switch and flood a room with light . Those members of the Art Department who are concerned in working on exhibitions don 't mind being taken for granted-in a sense we feel that the better we do our jo b the more invisible it is-but rather frequently we are asked : `Yes, but what do you actually doT The first work on an exhibition may be done as much as three or fou r years before it opens . A suggestion for an exhibition may come from one of many sources, and the first step is to assess its potential value in rela- tion to our past and future programme and our budget. Here we are advised by our Art Panel; they may think the idea worthless in itself, redundant, premature or belated, impossible physically or financially, or , in extreme cases, so worthwhile that we might have to postpone or cance l work on parts of our programme to fit it in. This can mean revising the financial and administrative priorities. Once over this hurdle, the exhibition is accepted as part of the provi- sional programme. It will probably be scheduled to open two or three years ahead and for a while it will perhaps be just a name on a list . Depending on the kind of exhibition it is, the work of organizing it wil l begin about two years or one year before it opens; if it is a major exhibi- tion, where the works we want to borrow may be much in demand fo r other exhibitions, preliminary investigations to discover whether certai n key works will be available will have to start very early. By this tim e we shall probably have selected and invited from outside our ow n

41 organization the expert on the artist or period who will choose the work s and write the introduction and descriptive notes for the exhibition cata- logue . The exact scope and purpose of the exhibition will be discusse d with our expert and we shall consult together over the list of works we want to borrow. At this stage we shall draw up a provisional budget fo r the exhibition, and it becomes the job of the organizer to watch expendi- ture and see that it stays within the limits foreseen or, if this cannot be done, to adjust the budget . Working to a budget is important to us, because funds are allocated a year in advance, and if we spend more tha n expected on two or three exhibitions we may find ourselves without the money to complete our year 's programme . The main items in this budget will be the cost of: insuranc e transport installation organizing costs printing the catalogue advertising (daily and weekly papers, posters, etc .) against all of which will be set income from the admission of the estimate d number of visitors, sale of catalogues and, if the exhibition is going o n tour outside London, the booking fee which we charge the galleries wher e it goes. Our expert will probably know the whereabouts of most of the works we want, but works of art (outside museums) change hands and a numbe r of new owners and addresses will have to be traced . Correspondence is a sizeable part of the organizer's work . Hundreds of letters to owners wil l have to be written (as persuasively as possible) asking for the loans , begging them to reconsider a refusal if the work is very important , satisfying them about the conditions of transport and display, asking fo r dimensions and photographs, thanking them afterwards; there will als o be letters to forwarding agents and packers abroad, insurance firms an d the like. We calculate that often as many as ten letters are written for every work in an exhibition . Meanwhile the organizer is collecting material for his catalogue : introductions, descriptive notes, photographs for the plates, etc ., and late r proof-reading the catalogue . A major disadvantage of temporary exhibi- tions is that the catalogue has to be made before the outside expert or the Arts Council organizer has seen the works on their arrival. A late cata- logue is one of the organizer 's midnight worries . A catalogue takes abou t six weeks with the printer, and it must be ready for the opening day . Owners cannot be expected to part with their possessions more than a few weeks before this date .

42 Space for posters and advertisements must be booked in advance an d the copy written for them . During this same period, the organizer will have to compile his final lis t of names and addresses for our transport department to send to our foreign forwarding agents all over the world . A schedule of arrivals from the various points of departure is made so that the works arrive in a stead y stream for Customs examination, unpacking and examination of th e work's condition . Decisions are taken about the actual wagon or aircraft in which groups of works are to travel . They are often accompanied by one of our transport staff, who must see that the wagon in which th e works are travelling is not left behind at some frontier, or that his famil y of packing cases does not miss the scheduled flight. A lot could go wrong in this very complex logistic operation, and it could easily precipitat e what the organizer regards as the supreme disaster-a postponed opening . A list will also have to be made of the insurance values and often special policies discussed with the insurance brokers ; everything mus t be covered from the moment it leaves the owner 's possession until it s return. When the works finally arrive and are checked by the Customs, th e organizer must carefully examine and note their condition, informin g both owners and the insurance assessor if he suspects damage in transit . (This has to be done again before the works are returned .) An organizer must next consider the hanging or installation of the exhibition . It is rare in these days to have more than a month (mor e often it is less) to complete the installation . Every exhibition seems to require its own special surroundings and presentation . Standards o f display are rising both in elaborateness and cost, and it is now widely expected that an exhibition shall present something of a performance a s well as just a group of works of art, arranged to relate logically an d aesthetically to their context, and shown so that they are easily visible . Modern display calls for rather elaborate lighting and structural back- ground. The weeks before an exhibition opens will be busy ones for th e organizer and the Arts Council staff doing the installation, with the hel p of outside exhibition contractors and electricians . Many objects nee d special show-cases or stands made for them, whole rooms must be painted , temporary walls and picture screens put up, and all in all an uncomfortably short time . At the same time invitations are sent out for the Press and Privat e Views; information and photographs made available to the Press and arrangements made for the staffing of the exhibition by catalogue an d ticket sellers and the men whose job it is to keep constant watch for th e safety of the works exhibited . With the exhibition opened it might seem that the organize r's work was

43 done, but the day to day running of the exhibition is the organizer 's responsibility and once it is finished the whole process already outline d has to be repeated with the machine in reverse gear . For a touring exhibition we shall make bookings several months ahead and the transport schedule for our vans carrying exhibitions all over th e country will be arranged . A member of our regional staff may be asked t o help with the installation of the exhibition when it is shown at a gallery in his region, and he will also check the condition of the exhibits . It is impossible in a generalized account such as this to mention all th e numerous, time-consuming details of the process of organizing exhibi- tions. Though a lot of the work may call for pedestrian accuracy in routine work there is also the quite different side of organizing, th e installation work, which calls for other skills . The intimate associatio n with the works of art which the final setting-up of an exhibition involve s is a source of satisfaction to organizers and a reward for the long an d complicated preliminaries to an exhibition.

44 Contemporary Manuscripts of Poetry

In the past, writers have rarely worried about the fate of their manu- scripts after printing and publication, and often they have been destroyed . But recently much interest has been shown in preliminary drafts , particularly in so far as `foul papers' can reveal something of the workings of the creative process; and attempts have been made to preserve them . In the case of poetry, much of the initiative has come from America . In 1936 the University of Buffalo started to build up a collection of manu- scripts of contemporary poets ' writing in English which is housed in the Lockwood Memorial Library. The scope of this extensive collection i s outlined in Poets at Fork, a collection of essays by Rudolf Arnheim , W. H. Auden, Karl Shapiro and Donald A . Stauffer, published in 1948 . Thousands of British and American poets are represented by their work- sheets and/or notebooks ; and in the case of W . H. Auden, Robert Graves and Dylan Thomas this material is particularly rich and extensive . More recently other American Universities have entered the field-notably Indiana and Texas-with the result that there has been an increasin g drain of poetry manuscripts across the Atlantic . At the present moment i t is true to say that any critic who wishes to study in depth the workin g methods ofcertainpoets, as revealed by their worksheets and/or notebooks , must be referred to one or other of the great American libraries (e .g. Buffalo for Robert Graves, Texas for Edith Sitwell, and so on) . That good prices are often paid for this manuscript material is a wind - fall that no one will grudge the poets, who ar e. so frequently underpaid i n other respects for their labour; but to some people it has seemed a pit y that this traffic should be almost wholly one-way . For some time past the Poetry Panel of the Arts Council has given thi s

45 matter careful consideration. It felt that steps should be taken to set up a National Manuscript Collection of Contemporary Poets, and thatif this wer e done, the example of such a collection might well be followed elsewher e in this country, particularly by Universities and Public Libraries. So it was with considerable satisfaction that the Arts Council found that the British Museum was prepared to join it in sponsoring such a collection ; and in the summer of 1963 the Pilgrim Trust generously provided a n initial grant of £2,000 to enable the scheme to be launched . The present arrangement is that the Arts Council, acting on the advic e of the Poetry Panel, has set up a special committee for this purpos e and gets in touch with selected poets, inviting them to contribute t o this Collection . The material is deposited, in the first instance on a loa n basis, in the British Museum, where it is separately listed and indexed b y the Department of Manuscripts . When a manuscript that has been bought for the Collection is finally transferred to the British Museum, the Trustee s intend to reimburse the fund with the amount originally paid for it; and in this way it is hoped the original fund will be gradually replenished, an d the reimbursements used for further purchases . A full list of the accessions during the first year, whether acquired b y purchase or gift, is given in Appendix D, and from this it will be seen that in less than twelve months the Collection has become representative o f the work of over thirty poets. The material ranges from working notebook s used by W. H. Auden, Roy Fuller, Philip Larkin, Edwin Muir, Peter Porter and Andrew Young, to worksheets of single poems such as the se t of twenty-one sheets that record the genesis and growth of Stephen Spender's Earth-treading stars that make dark heaven light, which is one of the poems specially commissioned for the Festival of Poetry at Stratfor d upon Avon during the Shakespeare Quatercentenary Celebrations . It is only fair to add that certain poets disapprove in principle of an y attempt to preserve their workshop material. For instance, when the Poe t Laureate was approached and asked if he would contribute to thi s Collection, he replied: `I have been thinking over the scheme you men- tion, and cannot help shrinking from letting untidy and unfinished paper s pass into a national collection . A good many years ago, Mr W. B. Yeats quoted some verses to me, partly on this subject . Accurst, who bring to light of day The writings I have cast away. But blest be he who shows them no t And lets the kind worm take the lot .' Such scruples are naturally to be respected . Nevertheless, it is to be hoped that other poets will prove willing and co-operative, so that in the cours e of time the Collection will become widely representative of the poets of today and of their working methods .

46 Public Performance of Copyright Poetry

For years it has been recognized that fees are payable when copyright music is performed in public ; and the institution of the Performing Bight Society has simplified their assessment, collection and distribution . In the case of copyright poetry the position is imperfectly apprehended, certainly by the public, and possibly even by the poets themselves . Composers are better organized than poets, comparatively few of who m are members of the Society of Authors, which as the professional bod y concerned with the welfare of authors generally could easily form a separate poets' section, as it already has for playwrights, translators an d screen writers, if there was a sufficiently strong demand among its members . In default of d irect action by poets themselves, their publishers frequently find themselves forced, whether contractually bound to do s o or not, to act as the poets' agents in collecting fees for public performanc e of their poetry . But here there is another difficulty. In the past, most publishers hav e failed to make it clear in the books of copyright poetry issued under thei r imprint that no part of such a book may be read aloud in public without express permission and payment of a fee to the copyright holder (usuall y but not invariably the poet), nor have they given an address or directio n to which applicants could address their enquiries. A further complication ensues because promoters of poetry reading s frequently fail to realize the full nature of their responsibilities in the eye s of the law. In particular, clubs and societies are apt to think that th e provisions of the Copyright Act do not apply to their normal programmes , since attendance is probably confined to members and the occasiona l

47 guest . This is not so. All such meetings come into the category of publi c performances, and fees for the use of copyright material are payable . In an attempt to clear up this confusing position, to obtain better term s for the poets or their heirs or assigns, and to simplify procedure for the organizers of public readings and recitals, the Arts Council on the advice of its Poetry Panel convened a Conference, the report and recommenda- tions of which are printed in Appendix D . This report has now receive d the approval not only of the Arts Council, but also of the Publishers ' Association and the Society of Authors, and the recommendations are being put into effect .

48

Scotland

New Horizons in Housing the Art s

In the Annual Report for the year 195960 the need was stressed fo r new civic theatres in Edinburgh and Glasgow . At the time there seeme d very little prospect of achieving this aim, but in the four years that hav e elapsed since then there has occurred something in the nature of a mino r revolution in civic thinking on this subject . Civic responsibilityfor concert halls has been accepted policy in these cities for a great many years, but it is only recently that theatres have come into the picture as necessary civic amenities. It gives the greatest pleasure to report that plans are now being made t o build new theatres in Edinburgh and Glasgow as well as a new concer t hall in the latter city to replace the St Andrew 's Balls which were destroyed by fire in 1962 . In addition there appears to be every possi- bility that the difficulties of housing the Burrell Collection will soon b e resolved and that this vast and internationally famous assembly o f paintings, sculpture, tapestries, armour, ceramics, silver and glass , representative of so many different ages and cultures, will before long be permanently on view in a woodland setting within the Glasgow cit y boundary. With its famous Citizens ' Theatre company, its great art col- lection, and its enlarged Scottish National Orchestra* all suitably housed , Glasgow bids fair to become one of the leading world centres of the arts . The Edinburgh story, though different, is equally exciting . The Inter - national Festival has been hampered from the start by the lack of a theatre large enough to house productions from the major opera com - * See page 56.

51 panies of the world. This situation is now to be remedied by the buildin g of a large civic theatre on a site adjacent to the Usher Hall . To make way for this scheme, which is understood to include the building of a ne w hotel and Festival offices, the old Lyceum Theatre is to come down . The Town Council has already bought the Lyceum and is running it tempor- arily as a civic theatre . It is the earnest hope of the Scottish Committe e that somewhere in this imaginative scheme a way may be found to hous e a resident professional repertory company of an artistic standard com- parable to that of the Citizens' Theatre in Glasgow .

Edinburgh International Festival The two specially featured composers at the 1963 Edinburgh Festiva l were Berlioz and Bartok. The Festival opened with a remarkable perform- ance of the Damnation of Faust conducted by Georg Solti with the Coven t Garden Orchestra and Chorus. Other orchestras appearing at the Ushe r Hall were the London Symphony, the Concertgebouw, the B .B .C. Symphony, the Bournemouth Symphony, the B .B .C. Scottish and the Scottish National. The Scottish National Orchestra also accompanied the Budapest Opera and Ballet in a triple bill of Bartok's three pieces for the theatre- Bluebeard's Castle, The Wooden Prince and The Miraculous Mandarin. Another feature of this year 's Festival was the emphasis on India n Music and Art. Several concerts were given by a group of distinguishe d Indian musicians, who also accompanied Balasarasvati, the greatest living exponent of Bharata Natyam dancing, in eight recitals, all of whic h were sold out . An important corollary to the Indian music and dancin g was the fine exhibition at the Royal Scottish Museum designed to point the close connection of one Indian art with another . Morning concerts, apart from their emphasis on Indian music and o n Bartok, commemorated the quatercentenary of the birth of Joh n Dowland . Recitals were also given by Isaac Stern, Leonard Rose an d Eugene Istomin, as well as by Yehudi Menuhin and many other inter - nationally famous artists . Opera was provided by the English Opera Group and the San Carl o Company from Naples . Britten's version of The Beggar's Opera proved a box office hit and, of the operas given by the Italian company, Don Pasquale drew the biggest crowds . Britten's The Rape of Lucretia in a new production was a great artistic success and the San Carlo Compan y's Luisa Miller and Adriana Lecouvreur were greatly enjoyed . Ballet at the Empire Theatre included, in addition to the Budapes t Company, eight performances by the Stuttgart State Theatre Ballet le d by John Cranko, and a similar number by the almost legendary Marth a

52 Graham and her company of . dancers from America paying only their second visit to the British Isles-a visit made possible by a special gran t of £3,000 from the Gulbenkian Trust . Drama was represented by playwrights of six different nationalities . A new Ionesco play, Exit the King (with Alec Guinness), and Shaw 's St Joan (from the Chichester Festival), had packed houses at all perform- ances. Ronald Duncan 's adaptation of Martin Walser 's The Rabbit Race played for two weeks at the Assembly Hall . A new play by the Australian Ray Lawler, The Unshaven Cheek, a revival of Ibsen 's Little Eyolf, and Roddy MacMillan 's Glasgow comedy All in Good Faith, completed the programme. The 1962 Writers ' Conference on the Novel was followed in 1963 by a Drama Conference which took place over a period of six days and was attended by a large number of dramatists and critics of international fame . Two concurrent art exhibitions organized by the Arts Council- Modigliani and Soutine-were shown in the Royal Scottish Academy. These were the first large-scale exhibitions of the paintings of these tw o artists to be held in Britain . The cost of producing the 1963 Festival was £318,000 . Box office an d other receipts amounted to £196,000, and grants and donations totalle d £110,500 . The deficit was met from the Festival Fund which now stands at the very low figure of £3,854. The Festival Society is taking steps to improve the state of its finances .

Other Festivals Concerts, plays, ballet and art exhibitions formed the basis of the eight- Montrose Festival day Montrose Festival of Music, Drama and Art which took place in Jun e 1963 under the direction of Watson Forbes . A series of chamber music recitals was given in the Old Church Hall ; the Town Hall was used for the plays and the choral and orchestral concerts ; two art exhibitions were shown in the Museum Gallery, including the Scottish Committee 's Watercolours and Drawings by Contemporary Scottish Artists, and there were exhibitions of work by Angus artists in various other halls . The sixth Stirling Festival Fortnight organized by Stirling Town Stirling Festiva l Council was held in May 1963 . Concerts included two by the Scottis h National Orchestra ; three solo recitals by Marion Studholme, John Ogdon and Campoli ; two popular concerts and a Scottish concert . The, Drawing Room Music Society of Glasgow gave a fine amateur perform- ance (with a fully professional chamber orchestra) of Britten 's opera , Albert Herring. A play festival was organized by the Scottish Communit y Drama Association . John Betjeman gave a lecture recital and Sir Compton Mackenzie and Eric Linklater took part in a discussion on `The

53

Writer in Scotland '. An exhibition of Modern Scottish Painting from D r Lillie's collection was shown and a number of sporting events conclude d the festivities.

Art Joan Eardley The sad and untimely death of Joan Eardley at the age of 42 was keenl y Memorial felt in Scotland . No fewer than 30,000 people visited the Scottish Com - Exhibition mittee's large Memorial Exhibition at its Glasgow showing ; over 400 people attended the opening ceremony which was performed by Hugh Adam Crawford who had taught Joan Eardley at the Glasgow School o f Art. Public appreciation of Joan Eardley's work may be judged by th e fact that, at the close of the second showing, in the Diploma Galleries o f the Royal Scottish Academy, Edinburgh, the entire stock of catalogues , which included those for the year's tour, had been completely sold out . The catalogue itself was enriched by two handsome colour plates which were contributed by several friends and admirers of the artist . A fact which perhaps the magnificence of the paintings tended t o obscure was that Joan Eardley's art, so full of the understanding of children, the seasons and the sea, had been produced in the comparatively short painting life of twenty years . Edinburgh Festival An exhibition which also broke records for attendances was Four Exhibitions Scottish Painters Eardley, MacTaggart, Philipson and Redpath- mounted in the Scottish Committee's own Gallery in Edinburgh durin g the Festival . The catalogue, which contained four colour plates, ful l biographical details and the innovation of a text in English, French an d German, was completely sold out . This was the first in what is hoped will be a series of Festival exhibitions designed to show visitors to the Edin - burgh Festival the work of Scottish artists . Another exhibition arranged by the Scottish Committee for th e Festival period was a memorial to another distinguished Scottis h painter, John Maxwell, who died in 1962 ; this was shown at the Scottish National Gallery of Modern Art . Maxwell 's poetic paintings, often fille d with flowers, seemed particularly at home in this gallery, set as it is in th e middle of the Royal Botanic Garden, then in full blossom . The catalogue, prepared by Douglas Hall, the keeper of the Gallery, contained a recor d of all known works by John Maxwell. At the Scottish Portrait Gallery for the Festival there was displayed The Scottish Domestic Scene . This consisted of paintings and prints show - ing the Scot at home, at fairs and markets, in the country and the town , during the first half of the nineteenth century. Continuing the Scottish theme the National Gallery of Scotland

54 arranged an exhibition entitled Allan Ramsay-His Masters and Rivals. The cost of the authoritative catalogue which accompanied this exhibitio n was met by the Scottish Committee, and the transport arrangements fo r this and other Festival exhibitions mentioned were carried out by the Committee's staff. The Scottish Committee is indebted to two private individuals for th e Touring Exhibition s loan of pictures which formed touring exhibitions-Old Master and Other Drawings, a selection from the collection of Mr Lewis Lyons ; and Modern Scottish Paintings, a selection of forty items from the large and importan t collection of Dr R . A. Lillie. A small exhibition of oils, monotypes and drawings by the late Rober t Colquhoun was also toured . To give some positive encouragement to younger Scottish painters th e Committee invited several recent students of the four Colleges of Art i n Scotland to submit two works each for the Young Scottish Contemporaries exhibition. The Committee's intention to buy six works from the exhibi- tion was also proffered as an encouraging carrot. In making the selectio n for the exhibition the members of the panel undertook their task full y aware that their own judgment would be measured at a future date b y the number of successful painters whose early work found a place in thi s exhibition . David Irwin, who wrote the introduction to the catalogue, found in the resulting exhibition of forty-six paintings by thirty-four artists a vital generation of younger painters and good indications for a rich harvest later . The Scottish Committee bought six works from the exhibition, but it i s to be regretted that throughout the exhibition's nine months' tour round Scotland not another single work was purchased . Growing interest is being shown in England in the work of Scottish Fourteen Scottish artists. A large exhibition, Fourteen Scottish Painters, was shown at the Painters Commonwealth Institute in London before coming to the Art Gallery , Kelvingrove, Glasgow . The Scottish Committee prepared the catalogue . The Committee noted with pleasure the series of commissions given t o Commercia l Scottish artists by Messrs A . Goldberg & Sons Ltd . for their new store in Patronage Edinburgh . These commissions included sculpture, stained glass an d tapestry. Another example of commercial patronage was the art com- petition organized by the Scottish Daily Mail with the Scottish Com- mittee's help; the subject was the new Forth Road Bridge and cas h prizes were awarded . Financial support was given to nine different bodies for various Support to activities-the A.B.B.O . group, the Aberdeen Artists' Society, the '57 Other Bodies Gallery in Edinburgh, the Galashiels Arts Club, `Ledlanet Nights ' for its art exhibition, the Scottish Society of Women Artists for loan work in their annual exhibition and the Stirling Festival.

55

Art Films and Last year's increase in the number of film shows and lectures wa s Lectures maintained ; nineteen film shows and eighty-six lectures were arranged. Purchases During the year the Committee bought fifteen paintings and one bronze . Five oils and one watercolour came from the Young Scottish Contempor- aries exhibition, and four watercolours from the annual exhibition of th e Royal Scottish Society of Painters in Watercolours ; the other six work s were selected from individual one-man shows . The Committee's collection of paintings and drawings by Scottish artists now totals 182.

Music Scottish National The work of the Scottish National Orchestra expanded further durin g Orchestra the year to a total of 205 performances. These included sixteen perform- ances for Scottish Opera, eight performances with the Budapest Oper a and Ballet and a symphony concert at the Edinburgh Festival. Thirteen `Proms' and thirty-six schools' concerts were given and Scottish Televisio n transmitted two studio concerts . The orchestra also made two recordings with Waverley Records-Prokofieff 's Fifth Symphony, under Alexander Gibson, and Elgar's Second Symphony, under Sir Adrian Boult . Its guest conductors included Jascha Horenstein and Sir William Walton durin g the main season, and Aaron Copland during the Proms . Two performances of Britten's War Requiem-the first in Scotland-were given in Edinburgh and Glasgow respectively ; a grant received from the Gulbenkian Founda- tion made these possible. The orchestra continued to face the severe problem of the inadequacy of its temporary home, the Glasgow Concert Hall, which had been place d at the disposal of the Society by Glasgow Corporation after the destructio n of St Andrew's Hall in October 1962. The Corporation announced that a new hall would be included in the plan to convert the Buchanan Stree t station site into an Arts Centre, but it appears that this plan is unlikely to be completed before 1969 at the earliest . Grants from local authorities increased by over £15,000 to a total of £63,249, of which nearly £58,000 came from the four Counties of Cities . The Society launched an appeal to commerce and industry for a n additional £30,000 per annum over the coming seven years . The chief purposes of the appeal were to increase the size of the orchestra, by gradual steps, from seventy-four to ninety-six players, to undertak e special projects not normally within its capacity, and to consider an over - seas tour . The response so far has been encouraging . After twelve years devoted service to the orchestra Mr William Fel l resigned from his post of General Manager in January 1964 . He has bee n succeeded by Mr Robert Ponsonby, a former Artistic Director of th e Edinburgh Festival, with the title of General Administrator.

56 During the year 108 concerts were presented by the thirty-nine music National Federatio n societies receiving guarantees against loss through the Scottish Commit- of Music Societies tee of the N.F.M.S.* Thirty-four of these concerts were given by ninetee n choral societies and included seven works by living composers as well a s performances of the usual classics . There were nine performances of Messiah and two of the B Minor Mass. Nine amateur orchestral societies gave a total of sixteen concerts, and fifty-eight recitals of chamber music were provided by twelve music clubs . Twenty-four of these chamber music recitals were given by string quartets . The following organizations gave series of concerts with help from the Other Concert Scottish Committee-The Saltire Society, the Edinburgh Lunch-Hour Societies Concerts in the National Gallery of Scotland, the Connoisseur Concert s Society, the College of Piping and the Edinburgh Organ Recitals Commit - tee. Guarantees were also given for single concerts in a number of towns . A notable feature of directly-provided music was the large proportion Music Tours of chamber music of very high quality which accounted for seventy-five out of the total of 134 concerts (a figure which also included thirty-seven operatic concerts). Visiting ensembles included Musica da Camera, Carl Dolmetsch an d Joseph Saxby, and Iris Loveridge, partnered during the first week of he r tour by Martin Ronchetti (clarinet) and during the second week by Evelyn Bothwell (oboe) . During this tour Beethoven's Waldstein sonata an d Chopin's Andante Spianato and Grand Polonaise Brillante were heard together with (in the clarinet concerts) Poulenc 's Sonata 1,962 and Weber's Grande Duo Concertante and (in the oboe concerts) Loeillet's Sonata in C Major and Gordon Jacob's Sonata, dedicated to Evelyn Bothwell . Other welcome visitors were John Shirley Quirk and Alasdair Graha m in a tour of eight concerts, and Raymond Cohen and Anthya Rael wh o gave two recitals . There was a considerable rise in the number of chamber music concert s given by artists resident in Scotland . The Edinburgh Quartet, expande d to form a Clarinet Quintet, gave thirteen performances of a concert con - sisting of the Mozart and Brahms clarinet quintets and the Quartettsatz of Schubert . Another group which was warmly received was the Scottish Committee's `Pleasures of Music' in which soprano, flute, violin and piano gave ten concerts which included Beethove n's Spring sonata, Bach's flute sonata in E minor, Handel's trio sonata in C minor, Haydn's On Mighty Pens, Purcell's From Rosy Bowers and Bach 's Sheep May Safely Graze. The newly-formed Edinburgh Wind Quintet gave three concerts, th e Edinburgh Quartet (as such) two concerts, and the Glasgow Trio (now re-named the Scottish Trio) had twelve engagements . * See also page 82 .

57

Opera and Ballet

Scottish Opera The Scottish Opera Society, under the direction of Alexander Gibson , continued its bold experiment of bringing internationally famous singer s to Scotland in first-class professional productions of opera with a Scottis h chorus and the Scottish National Orchestra. In May and June 1963 the following operas were performed in both Glasgow and Edinburgh : Otello (in Italian), Die Entfiihrung aus dem Serail (in English), and a double bill consisting of Dallapiccola's Volo di Notte and Ravel's L'Heure Espagnole, which were both sung in English. At the time of writing (June 1964) a further season has just ended ; this has been the most successful so far with an average increase in audience s of 25 per cent over last year. The company again visited Edinburgh a s well as Glasgow, repeating last year's very successful production o f Otello, and adding to it Don Giovanni and Gounod's Faust. For this 1964 season grants totalling £21,000 were provided by the corporations of Glasgow and Edinburgh, the Musicians' Union, the Glasgow Arts Theatre Trust, the Gulbenkian Foundation and the Scottish Committee of th e Arts Council . Sadler 's Wells Opera In November 1963 Sadler 's Wells Opera visited Aberdeen, Edinburgh and Glasgow with a repertoire which included The Magic Flute, Don Pasquale, I Pagliacci with its stable-mate Cavalleria Rusticana, and Offenbach's La Belle Helene . Opera Tours The demand for opera continues to grow in the towns and villages o f Scotland and a record total audience of just over 7,700 enjoyed th e Scottish Committee's tours of Opera for All and the Intimate Oper a Company. In its four-week tour Opera for All gave three performances o f A Dinner Engagement by Lennox Berkeley, preceded by excerpts from Gluck's Orpheus, five performances of Cosi fan Tutte and nine perform- ances of The Barber of Seville. The Intimate Opera Company, whose tour of twenty performances included Stornoway, Skye and Orkney (Shetland was regrettably cancelled owing to fog) as well as a wide area of the main- land, brought a repertoire consisting of Arne 's Thomas and Sally, In a Garden by Myer Kupferman and The Elements of Love by Emmanuel Chabrier. Amateur Opera Financial assistance towards the cost of engaging professional musician s was given again this year to the Glasgow Grand Opera Society (Aida and Ernani), the Drawing Room Music Society (Albert Herring), the Edin- burgh Opera Company (The Bartered Bride) and the Bellahouston Musi c Society (Le Comte Ory) . Ballet Tours The Ballet Rambert scored an outstanding success during their fort - night's tour which included a week at Perth Theatre followed by one - night stands at Forfar, East Kilbride, Dunoon and Troon, and a two-night

58 stand at Greenock . Full presentations of Coppelia were given at the first three, Giselle and Fagade were seen at Troon and Greenock, and a pro - gramme of mixed ballets was presented on the second night at Greenock . The Company was visiting Forfar and Dunoon for the first time : at Forfar a special matinee for schoolchildren was given in addition to the evening show and the audience totalled 1,435 ; at Dunoon, for one performance , the audience was 635 . In all 7,847 people saw the performances . A warm welcome was extended to the Harlequin Ballet which made it s second tour of Scotland in October. A delightful, light-hearted programm e was seen by audiences over an area extending from Stornoway and Sky e in the north to Newton Stewart, Moffat and Dumfries in the south . A notable newcomer to Scotland was Cilli Wang whose highly original and sophisticated performances intrigued and delighted nearly 1,40 0 people during her short tour of one week . Help was given to the Edinburgh Ballet Club towards the cost o f Amateur Ballet engaging professional solo dancers and musicians for eight performance s at the Lyceum Theatre, Edinburgh . The programme included Swan Lake Act II and the premiere of Pavane for Mary with music by Leighton Lucas and choreography by Marjorie Middleton .

Drama In May 1964 the Citizens ' Theatre completed its twentieth season . Glasgow Citizens' Twelve plays were presented of which four were given three-week runs . Theatre Two of these were Macbeth and Much Ado about Nothing, the latter opening in April 1964 to mark the Shakespeare quatercentenary . Two new plays on Scottish themes were given their first productions : Battle Royal by Bruce Baillie and Armstrong 's Last Goodnight by John Arden. The Arden play, which received a special Arts Council guarantee , attracted the attention of the national press and received many favourable reviews, some of which commended the very high standard of acting an d production. Other notable productions were The Relapse, Six Characters in Search of an Author, Hobson's Choice, The Physicists and Pygmalion . Following the previous year's large increase in attendance, the Citizen s' 196364 season showed a further increase of 12'J per cent in the average weekly audience. The management has been encouraged by these successe s to embark on a policy of three-week runs for all plays in the coming season . The prestige of the Citizens ' has never been higher and there is no doub t that this theatre is now established as one of the major repertory theatre s in Great Britain. Undismayed by the loss of his theatre in the fire of June 1963, M r Dundee Repertory George Geddes, the Dundee theatre's ever optimistic chairman, searche d Theatre around for alternative premises . A disused church was very soon acquired

59 and the interior most efficiently reconstructed for its new purpose . In less than four months from the date of the fire the company reopened to a distinguished first night audience with John Osborne's Martin Luther . The new theatre has 100 fewer seats than the old one, which means tha t the most successful productions play to fewer people than in the past . For instance many people were unable to obtain seats for Twelfth Night in March 1964. Like most other good repertory theatres in towns with populations o f less than 200,000, Dundee has for many years adopted the practice o f fortnightly runs . For the coming season the Directors have decided on a new and adventurous policy for so small a theatre . In August 196 4 Dundee will be the first Scottish repertory theatre to adopt a `repertoire ' system. With an augmented company and two producers there wil l always be at least three plays in production, with a change of bill ever y two nights. Edinburgh Gateway A further increase in attendance of 20 per cent marked the Gateway Company Company's 196364 season. This welcome rise continues the trend reporte d last year . Particularly encouraging is the growing number of young peopl e who now come regularly to this theatre . The season, which opened i n August 1963 with Roddy MacMillan 's All in Good Faith, continued until March. Thirteen plays were presented including The Merry Wives of Windsor, which ran for three weeks and was a great success with schoo l parties. Other authors included were Moliere, Shaw, Brecht, Priestley , Bridie and Ustinov. Perth Repertory Perth Theatre Company continued its policy of presenting two play s Company in repertory on alternate evenings over the period of a fortnight . This still appears to the management the best way of obtaining two weeks ' rehearsal for each play in a small town which cannot sustain one produc- tion for more than seven performances . It is, however, an undeniabl y expensive method of running since it entails keeping a large enoug h company to split into two each fortnight, and half the actors are idle ever y second night. Audiences were maintained at about the same level as the previous year , when the harsh winter weather kept away many of the theatre 's countr y patrons. In view of this season's mild winter the Perth managemen t regard this as very unsatisfactory . Two touring companies covered fifty-one rural towns and village s throughout Scotland last summer with Billy Liar, The Aspern Papers , The Shadow of Doubt and Arms and the Man. At Perth The Merchant of Venice was presented in November, and in April 1964 a special productio n of Romeo and Juliet was mounted as a contribution to the Shakespeare celebrations . Out of a total of thirty-three productions, twenty-thre e qualified for a bonus under the Scottish Committee 's Approved Plays

60 Scheme, but the public mostly showed an obstinate preference for th e other ten . Clouded by the financial losses of the previous year, Pitlochry's Pitlochry Festival thirteenth season opened with My Dearest Angel, a new play concerning Society Victoria and Albert by R. F. Delderfield. Sir William D 'Avenant's The Wits and Henrik Ibsen's Hedda Gabler followed, but it was the three popular comedies in the Pitlochry six-play repertoire which attracted th e largest support: James Bridie 's Meeting at Night and Peter Whitbread 's Foursome Reel, both Highland comedies, proved the most popular, wit h Gordon Daviot's Cornelia not far behind. Increased seat prices, strict economies and strenuous fund-raisin g efforts achieved a more balanced economy which resulted in a reduce d working loss of £3,042, compared with £9,282 in 1962 (and £2,198 in 1961) . Attendances averaged 62 per cent of capacity, and paid admission s exceeded those of 1962 by 2,247, reaching 60,256 for the twenty-five-wee k season . The Governors continued their improvements to the theatr e building but maintain that lack of funds prevents the full flowering of thei r avowed policies . Nearly 20,000 people visited the Byre Theatre between April an d St Andrews : December 1963. During this period fifteen plays were presented, the Byre Theatre authors ranging from Wilde and Shaw to Wesker, Shaffer and Turner . This little theatre with its seventy-five seats continues to serve a useful purpose, not only in providing good entertainment for townspeople and visitors, but also as a training ground for young actors, producers an d stage staff. Seating only sixty, Edinburgh's Traverse Theatre is one of the smalles t Edinburgh: Traverse theatres in Britain . It is also one of the newest . Since it opened in January Theatre Club 1963 this enterprising experimental theatre club has attracted a member - ship of well over 2,000, and has played to a steady 90 per cent of capacity . The club occupies four floors of an old building just off the Royal Mile , which was at one time a notorious lodging house . The theatre, on the first floor, and the club-room, restaurant and coffe e bar above, are reached by a narrow spiral stone staircase, the theatr e itself being a room only 40 feet by 14 feet . The audience sits in two risin g blocks of seats on opposite sides of the acting space, which crosses th e room from wall to wall (hence the name) and measures only 12 feet b y 14 feet. The actors enter down two aisles which they reach from th e dressing rooms below. The Traverse, being a club theatre, is not subjected to censorship . The management is therefore free to experiment with uncut productions o f plays which cannot be seen elsewhere . They gave the first performance i n Scotland of Alfred Jarry's nineteenth-century satire Ubu Roi (an early example of the Theatre of the Absurd), and the first performance in

61

Britain of Christian Dietrich Grabbe 's Comedy, Satire, Irony and Deeper Meaning. Among other authors whose works have been performed ar e Arrabal and Betti ; Sartre, Ionesco and Genet ; O'Neill and Faulkner ; Albee, Donleavy and Pinter ; Shaw, Ibsen and Strindberg; as well as a number of new British playwrights . A small amount of financial help has already been made available by the Scottish Committee of the Arts Council in the form of guarantee s against loss for the first production of certain new plays and grant s towards the cost of hiring costumes and wigs . The Committee will continue to watch this experiment with the greatest interest . Approved Plays The Scottish Committee 's special scheme for encouraging those Scheme repertory theatre managements already in receipt of basic grants t o include a high proportion of `worthwhile ' plays in their seasonal pro- grammes was extended in 196364 to include the Byre Theatre in S t Andrews . Running costs at the Byre are small compared with the large r repertory theatres, and the bonus rate was therefore correspondingly reduced. The results of the scheme for the year ended March 31st, 1964 , are shown in the following table : Total Plays Excess Bonus Bonus Productions Approved over Rate Paid £ £ Citizens 16 13* 8 200 1,600 Dundee 17 14 8 200 1,600 Gateway 12 9 5 200 1,000 Perth 33 23 12 200 2,400 Pitlochry 6 3 1 200 200 Byre 14 9 4 20 80

98 71 6,880

New Drama Of the four new plays submitted in 1963/64 by theatres for guarantee s Scheme against loss on their first productions two were successful in receiving the recommendation of the Committee 's Play Panel : V Minus One by John Hubbard at the Glasgow Citizens ' Theatre (May 1963)-£250 . Comedy, Satire, Irony and Deeper Meaning by Christian Dietrich Grabbe (translated by Barbara Wright) at the Traverse Theatre, Edinburgh - £100. Four new plays in twelve months out of a total of some 110 presented by the seven theatres eligible to take part in the scheme is rather dis -

* In addition two plays were submitted by the Citizens' Theatre for guarantees unde r the New Drama Scheme .

62 couraging. In the hope of improving this situation in the current year th e Scottish Committee has raised the -maximum guarantee available to th e five larger repertory theatres for the first production of a new play fro m £350 to £500 as from April 1st, 1964 . These guarantees are of cours e offered only in respect of plays recommended by the Committee 's Play Panel. Although without the year under review, it should be reporte d that the Glasgow Citizens' Theatre has already qualified for the full£500 with its splendid production of John Arden's Armstrong's Last Goodnight . In the first year of its operation in Scotland the Citizens ' Theatre New Designers ' collaborated with the Scottish Committee in the training of a new scenic Scheme designer recommended by the Council's Drama Panel . Miss Jay Clements was appointed for one season as assistant to the theatre's resident designer . It is hoped to continue this arrangement with the Citizens ' in the current year. It is good to report that, for once in a while, weather conditions were Drama Tour s kind to the Scottish Committee's drama tours . To mark the Shakespeare Quatercentenary, the Citizens ' Theatre toured Twelfth Night on a circuit comprising the southern and central areas of the country. This was the first time that Shakespeare had been undertaken on these tours and the result was so successful that the venture will probably be repeated . Packed houses, including substantial school parties, were reported every - where and a total audience of 4,326 attended the twelve performances . At the end of the tour under the auspices of the Education Committee th e company visited a number of Glasgow schools where they played to larg e audiences of delighted children : a happy example of collaboration between the local authority, the theatre and the Arts Council. The new Scottish Touring Theatre presented The Heiress in a three- week tour mainly in the north and including Stornoway, Skye and Shet- land. Over 8,300 people enjoyed performances by the Children 's Theatre in May and June . Eleven performances were given, in small places, by the Two Strolling Players, including a special programme entitled The Magi c of Shakespeare. During the year Edinburgh was fortunate in being visited by the two Visiting Companie s chief British theatre companies . In May 1963 the Royal Shakespeare Company brought productions of A Midsummer Night 's Dream and Durrenmatt 's The Physicists, and in March 1964 the National Theatre made its first excursion across the border with an all star cast, includin g the Director, Sir Laurence Olivier . The plays were Hobson's Choice and the historic production of Uncle Vanya, first seen at the Chichester Festival in 1963 . This was a magnificent treat for those who were luck y enough to obtain seats . It is, however, regrettable that neither of thes e companies were able to appear in Glasgow as well .

63 Appointments, Retirements, Honours The following retired from the Committee during the year : Mr Charles Carter, Mr George Geddes, Mr T . Grainger-Stewart, Mr Charles Graves , Mrs Eric Linklater and Mr Hugh Marshall . Mr Geddes and Mr Grainger-Stewart were reappointed for a further term. In addition the following were appointed to serve on the Scottish Committee : Mr Colin Chandler, Mr J . B. Dalby, Dame Jean Roberts an d Colonel A . D. Vickers. We record, with deep regret, the death of Dr J . A. Greig, who made a distinguished contribution to the work of the Committee's Play Panel an d Drama Subcommittee. The Committee heard with great pleasure that, for long service to musi c in Scotland, Mr Hugh Marshall was appointed an Oficerf of the Order of the British Empire (O .B.E.) in the Queen's Birthday Honours List for 1964 .

64

Wales

Provision for Drama

Both Sarah Siddons and her youngest brother Charles Kemble wer e Welsh; they were born in Brecon while the strolling band of players, of which their parents were members, was touring the Welsh border country . All the other nine Kemble children were English; they were born at various points between Warrington and Worcester . Slight though th e Kembles' connection with Wales is, they are almost the sole representa- tives of the professional theatre recorded in the Dictionary of Wels h Biography. Wales 's dramatic tradition is slender . In the eighteenth and nineteenth centuries English touring companies visited some of the more anglicized areas where there was a `polite society ' to form an audience, but as nonconformity grew during the first half of the nineteenth century, so drama became increasingly alien to most of Wales. In the early years of this century new theatres were built in some of th e industrial areas . These were mostly taken over by London managements ; indigenous drama was then, as now, almost entirely an amateur activity . The majority of these theatres declined with the coming of the cinema an d finally died with the appearance of television. The only repertory theatre still performing throughout the year is at Swansea . There was even a danger recently that the sole remaining theatre in Cardiff, the New, woul d be demolished to make way for an office block or be used for bir_go . Fortunately the City Council has now taken a seven-year lease on th e theatre and put it under the control of a Trust comprising ten members o f the City Council and eight co-opted members . The theatre began its civic existence on September 23rd, 1963, with a three-week season by the Wels h

67 National Opera Company. With a seating capacity of 1,400, the average attendance to the end of March was 69 . 22 per cent. In other parts of Wales the Welsh Committee continued for many year s the policy established by C .E.M.A. (which was in itself in the tradition of the eighteenth century strolling players) to take plays to as many theatreless areas as possible . The Committee has persevered with these tours long after they have been abandoned in England . It is however increasingly difficult to maintain professional standards with one-nigh t stands in makeshift halls . In any case these tours did little to establish a permanent organization for drama (from 1957 to 1961 only one actor an d actress returned for a second tour) or to encourage Welsh dramatists , actors, producers and designers . The Arts Council has made two attempts to establish an organization i n Wales to provide for drama . The first was at Swansea in 1948 when a permanent company was established, firstly under the direction of Lione l Harris and later under that of Cliffoid Evans . Unfortunately this experi- ment failed . According to the Arts Council 's Report for 195051, amon g the factors which emerged during the post-mortem on the enterprise were : `(a) there must be an active preliminary interest among local citizens an d a solid centre of box office support; (b) there must be full control of the theatre building and not a mere tenancy of it .' The Arts Counci l's second attempt to set up an organization to provide for drama in Wales began in 1962 when the Welsh Committee establishe d the Welsh Theatre Company, with Warren Jenkins as Artistic Director . This national company was formed both to tour Wales and to appear a t the New Theatre, Cardiff. On tour, the aim has been to establish a few centres with adequate facilities where it would be possible to perform for at least three night s and preferably for a week . The company began its autumn tour by playin g Anouilh 's Antigone and Gwyn Thomas 's The Keep for a week at Colwyn Bay's civic theatre, The Prince of Wales . However, at some of the othe r centres only two performances were possible and then only because tw o plays were being presented. In the spring there was a tour of Macbeth which was helped considerably by the co-operation of many Loca l Education Authorities . Any national theatre company must serve the whole of Wales . The company cannot, however, travel everywhere and anywhere . If it is to be firmly established it must stay for longer periods in each of the centres a t which it plays . Potential patrons living in isolated areas must be encour- aged to travel some little distance to performances . To help them the Welsh Committee has implemented a transport subsidy scheme . Before a plan for a limited number of centres can be a success a new kind of local organization is also needed. The experience gained of organizing orchestra l

68 concerts is helpful . Large-scale concerts in rural areas like Cardiganshire and Pembrokeshire can only be held in one or two centres . Even so there is widespread interest because the members of the organizing committee s come from every part of the county. As an experiment a County Theatre Committee has been established in Cardiganshire and the Wrexha m district. These committees have resulted in an immediate increase in the audiences at performances by the Welsh Theatre Company . The presentation of plays at the New Theatre, Cardiff, involves even greater problems . It is difficult to mount plays on the large New Theatre stage when they have toured Wales . Certain plays have therefore to be produced especially for the New . The company's four-week autumn season at the theatre began with a spectacular production of War an d Peace. This was followed by Antigone and The Keep and David Turner's Semi-detached . Large-scale productions are, however, very expensive t o produce, especially when they are only given one week's performance . The average attendance for the season was 54 per cent, which in a theatre seating 1,400 is as good as can be expected for a company at the beginnin g of its career. Even so, because of the high running costs of such a larg e theatre, aheavy subsidy was needed and the half-empty theatre was depres - sing for both company and audience . In such a situation it is impossible for the Welsh Theatre Company to develop a forward looking policy, or experiment and present new plays by contemporary Welsh authors. No national theatre company can grow in Wales until it has a theatre of its own. It was one of the main recommendations of the Welsh Com- mittee's Housing of the Arts Report in 1959 that a National Theatre building be erected in Cardiff. In 1961 a group of four Welshmen, Lor d Aberdare, Mr Clifford Evans, Sir Cenydd Traherne and Mr Saunders Lewi s (they were later joined by Alderman Lincoln Hallinan) formed themselve s into the St David 's Trust to further the cause of the National Theatre . Unfortunately, in the light of its experience in providing drama for Wales , the Welsh Committee has been unable to agree with the architectural proposals of the Trust . The St David 's Trust 's architect has drawn up plans for a multi-purpose theatre with an auditorium which can b e decreased in size from 1548 to 948 by lowering its ceiling . This theatre would house drama, opera and ballet ; it would be the home of the Wels h National Theatre Company ; it would also be used by the Welsh National Opera Company and visiting non-commercial companies . All the evidence collected by the Welsh Committee suggests that, although multi - purpose theatres have been built in many parts of the world, they are unsatisfactory . Even if the architectural problems could be solved, the financial and organizational difficulties of running such a theatre would b e so great as to destroy any attempt to establish a National Theatre Company. With so slender a theatrical tradition Wales needs above al l

69 else a theatre where a company can build up from the beginning a per- manent organization with its own full-time staff of producers, actors , designers and technicians . As such a company will have to develop its own style and policy it cannot know what facilities it will need in the future . It is therefore essential to begin with a small theatre seating between 50 0 and 700 but which has a large and flexible stage ; a theatre over which the company has complete control so as to project its own image and experiment at will . The provision of drama in Wales is further complicated by the presence of two languages. It was hoped that a large portion of the Welsh Theatr e Company would be bilingual; it was a major disappointment that only one or two Welsh-speaking actors were recruited . It will take time t o build up a Welsh-speaking company : at present it is only the B .B.C. who can offer the Welsh-speaking actor continuity of employment that wil l enable him to become a professional. As an experiment, therefore, the Welsh Committee co-operated with the B .B.C. in a joint venture . The Committee commissioned Mr Tom Richards to write a play ( Y Tad Afradlon) suitable for both television and the stage . This was produced by Mr Herbert Davies of the B .B.C., and the actors (with one exception) were on contract to the B .B.C. This company went on a tour of Wale s from March 16th to 21st and then gave a performance at the New Theatre, Cardiff, before an invited audience and this was televised . This was a most valuable experiment and there will be similar co-operation in a production of Macbeth at the 1964 National Eisteddfod . Despite much progress in recent years it is still difficult to foresee a secure future for professional drama in Wales . Both geography and tradition are against the establishment of the professional theatre. It is only by perseverance and constant experiment with different types o f provision and organization that any progress can be made . Theorizing an d grandiose dreams can lead nowhere. The Provision of Orchestral Concerts There have been two attempts to set up a permanent orchestra i n Wales, the first in the inter-war period, and the second in 1950 whe n twenty-three local authorities commendably joined together to raise a penny rate to maintain a professional orchestra. Unfortunately the total sum that could be raised was too small to found a permanent orchestra . Nevertheless some of the authorities formed the Orchestral Association of Wales and this body organized tours by established British orchestras . Soon, however, enthusiasm dwindled and a tour by the London Philhar- monic Orchestra in 1953 was supported by only four authorities . Despite this setback the Orchestral Association decided in 1954 to found the Orchestra of Wales ; again only four authorities gave their support .

70 Inevitably the experiment was a failure, and the following year a n orchestra of twenty players was assembled . Now, however, only two local authorities responded and both were disappointed with the standard of the performance . Thereafter few orchestral concerts were given in Wales outside the festivals and National and International Eisteddfodau . This year the Welsh Committee has put into action a plan to steadily increase the num - ber of concerts given by visiting orchestras until it is possible to create a permanent Welsh orchestra. Earlier attempts to create an orchestr a failed because of the lack of a tradition of concert going, the absence of local organizations and a central co-ordinating body, and the paucity o f suitable halls . In recent years, however, a few new halls have been built , strong local organizations have been set up in some parts of Wales and the Welsh Committee has itself undertaken the work of central organiza- tion: it plans and organizes the tours, engages the orchestra, conducto r and soloists, and prints publicity material and programmes . Local com- mittees are responsible for local advertising, ticket sales and hall arrange- ments and most bear some financial responsibility. The variety of local organizations and concert halls was discussed in the Arts Council Repor t for 196263. As a result of this activity the number of orchestral concerts ha s increased from five in 196162 to thirty-five in 196364 . There were fiv e tours, by the Halle Orchestra, the Bournemouth Symphony Orchestra, . the Royal Liverpool Philharmonic Orchestra, the London Philharmoni c Orchestra and the London Symphony Orchestra . Conductors include d Pierre Monteux, Paul Tortelier, Constantin Silvestri and Charles Macker- ras, and the soloists included Paul Tortelier, Manoug Parikian, Sylvia Stahlman, Giuseppe Campora and Osian Ellis . Concerts by chamber orchestras were organized at Bangor, Dolgellau, Menai Bridge, Rhyl , Aberystwyth, Barry, Monmouth, Pembroke, Pontypool, Port Talbot an d Ystrad Mynach, centres where the halls are too small for a performanc e by a full-scale orchestra . The response throughout Wales has been good, though better in Sout h Wales than in the North . With the halls now available it is unlikely tha t the number of concerts can be increased significantly during the next tw o or three years. Before a permanent orchestra can be created, much work has to be done . The formation of such an orchestra is not really feasible until a concert hall is built in Cardiff.

Provision for Exhibitions The number of exhibitions presented by the Welsh Committee of th e Arts Council has increased as follows : 1960/6147; 196162 63; 196263 71;

71 196364 98 . One of the main problems of the Committee is housing majo r exhibitions in Cardiff. The National Museum of Wales is understandably loth to clear its major galleries for large temporary exhibitions . This problem will be alleviated somewhat when the new extensions to th e Museum are completed . The Welsh Committee and the Museum Council have now come to an agreement whereby two major Arts Counci l exhibitions can be held at the Museum every three years . This plan goe s some way to meet the difficulty but there is still a great need in Cardiff fo r facilities for regular large visiting exhibitions either at the Nationa l Museum or in a separate civic or national institution . The other major problem of the Committee in implementing its ar t policy has been the paucity of exhibition rooms with adequate facilitie s and supervision for showing smaller touring exhibitions of original work . Until recently such exhibition rooms were found at the National Museum and National Library, Turner House, Penarth, the civic museums at Newport and Merthyr Tydfil, the Glynn Vivian Gallery, Swansea, an d the libraries at Welshpool and Wrexham . Large areas in west, mid an d north Wales were without facilities of any kind . The University College of North Wales has now opened its gallery at Bangor (see Arts Counci l Report for 1962163) and during its first year has had an exciting series of exhibitions, many of which were mounted by the University Colleg e itself. The experience gained in equipping the Arts Council Gallery i n Cardiff was invaluable in planning this and other new galleries . The University College at Aberystwyth has also established an exhibitio n room, and the Carmarthenshire Local Education Authority has opened a well-equipped exhibition room at the old art school in the centre o f Carmarthen. There are plans for an exhibition room at the old grammar school, Beaumaris, and initial discussions have taken place for establish - ing such a room at Brecon. If all these schemes come to fruition , Wales will have a network of exhibition rooms at which original work s can be shown . The Welsh Committee has also arranged many exhibitions of bot h original works and reproductions in temporary premises in various parts of Wales . It may well be that in the future the Committee should concen- trate on those places which have adequate facilities and a paid staff. Thus, although the number of centres where exhibitions are held might decrease , the number of exhibitions and the people seeing them could well increase.

Aid to Artists The ultimate aim of all the work of the Welsh Committee is to encourag e Welsh artists, both the `creators' and `interpreter s'. In a sense everything the Welsh Committee does helps the artist by creating a milieu in which

72 the arts can flourish, but the Committee also gives much direct help . For example, the Committee has commissioned the work of many Wels h composers . Recently it has turned its attention more to facilitating th e performance of new works. By giving grants towards copying costs an d extra rehearsals it has made possible the inclusion of works by contem- porary Welsh composers in a number of festivals . Welsh works have also been included in many of the orchestral tours organized by the Committee . This can often have far reaching results . To give some instances: the inclusion of Alun Hoddinott's Welsh Dances in the programme of a tour conducted by Paul Tortelier resulted in Hoddinott being invited to write a cello concerto for Tortelier . Hoddinott's Harp Concerto, included in the programme of the tour by the London Symphony Orchestra, was late r performed by the orchestra at the London Festival Hall. Daniel Jones's Dobra Niva Suite, included in a programme given by the Royal Philhar- monic Orchestra, and his Ieuenctid Overture, played by the Bournemouth Symphony Orchestra on a Welsh tour, were later given a number of performances by these orchestras elsewhere . The Welsh Committee is always under pressure from composers to increase the number and the length of Welsh works performed o n orchestral tours and to include a larger number of composers . The Committee, however, has to take into account the response of audience s and gauge the amount of contemporary work they are prepared to accep t in any programme . The Committee must at all costs maintain standards : more harm than good is done to Welsh music by trying to press distin- guished orchestras and conductors to perform inferior or immature work . The Welsh Committee consistently seeks to arrange for as many Wels h musicians as possible to perform in Wales . In recent concerts directly organized by the Committee the following Welsh artists have taken part : Geraint Evans, Wyn Morris, Osian Ellis, Gwyneth Jones and Margaret Price. In an attempt to encourage young artists at the beginning of thei r career, a Young Singers ' Competition was arranged in association with the Welsh Region of the National Federation of Music Societies . A priz e of £25 and six engagements with societies affiliated to the Federation in Wales was offered . The competition was won by Miss Janet Price. The most important help to young singers is given by the Opera Trainin g Centre established by the Welsh National Opera Company . All but one of the eight students who entered the Centre in October 1962 were Welsh . In the autumn of 1963 all eight joined the Company 's `Opera for All ' Group and also took part in the Company 's major productions . This was the Welsh National Opera Company's first experience of organizing an `Opera for All' Group, which had a very successful year touring Wale s and the West Country. The Welsh Committee's collection of paintings and sculpture now

73 numbers 230. The Committee organizes a number of exhibitions by Welsh artists: in 196364 these included `Two Painters : Brenda Chamberlain and Ernest Zobole ', and a large exhibition of drawings by Welsh artists show- ing their method of working. For many years the Committee has organize d an annual open exhibition of the work of Welsh artists. This year, in order to encourage younger artists, the exhibition was confined to painters an d sculptors under the age of 30 and two prizes of £150 and £100 were offere d for painting and sculpture respectively . The selection panel was Mr Ala n Bowness, Mr Terry Frost and Mr Ralph Brown, and the prize winners were: Ian Tyson and David Horn, £150 each ; John Wright and Glynn Williams, £100 each. The Welsh Committee felt that despite this aid there was a need fo r even more direct help for artists and writers . For this reason it established three bursaries, one of £750 for artists and two of £500 each for writers i n English and Welsh respectively . The recipients were given great freedom : the purpose of the bursary was to enable them to travel or to develo p their work in any other way thought appropriate . The art selectio n committee, Mr Alex Gordon, Mr Josef Herman and Mr John Russell, gav e the award to Mr Jeffrey Steele, the young Cardiff artist, so that he coul d give up teaching for a period and devote himself to painting and t o studying the implications of the psychology of perception for his work . The literature panel, Professor Gwyn Jones, Sir William Emrys Williams , Sir Thomas Parry-Williams and Mr Alun Llewelyn-Williams, awarde d bursaries to the novelist Mr Ron Berry and the Welsh dramatist Mr Hu w Lloyd Edwards . The former used his bursary to `buy time' to write, the latter to visit European theatres .

Welsh Committee The following members of the Welsh Committee retired at the end of 1963: Dr Daniel Jones, Professor W. Moelwyn Merchant, Professor Gwyn Jones, Mr S . Kenneth Davies, Mr Alun Llywelyn-Williams, Sir Emry s Evans and Principal Thomas Parry . Professor Gwyn Jones was re - appointed as Chairman, and Mr S . Kenneth Davies, Mr Alun Llyw-elyn - Williams and Sir Emrys Evans were re-appointed . Mr Alfred Francis, Professor T . J. Morgan and Mr Clifford Williams were appointed member s of the Committee from January 1st, 1964 . Dr Elwyn Davies, who succeeded Sir Ben Bowen Thomas as Welsh Secretary at the Ministry o f Education, became an ex officio member of the Committee .

74 Welsh Office The Welsh Committee suffered a great loss during the year with th e death in a car accident of Dennis Curthoys, Assistant Director in Drama . His contribution to the development of the Welsh Theatre Company wa s considerable. His death was not only a severe loss to the Welsh Committee , but, as numerous letters and messages of appreciation have shown, t o drama and to the arts as a whole in Wales . Mr Tom Cross, Assistant Director for Art, resigned to become Lecture r in Fine Art at the University of Reading . He was succeeded by Mr Pete r Jones.

75

Music, Opera and Ballet Appendix A

Music

New arrangements to finance the Royal Festival Hall concerts by the London Sym- Orchestral Concert s phony, the London Philharmonic and Philharmonia Orchestras were announced in last in Londo n year's Report and took effect in April 1963 . Previously, each orchestra submitted it s proposals and application to both the Arts Council and the London County Council, wh o made independent offers to each orchestra . The Arts Council/L.C.C . Joint Orchestral Committee now co-ordinate the programm e proposals of each orchestra and subsequently offer guarantees against loss out of a common pool to which both Councils contribute in equal parts. For the financial year 196364, guarantees totalling £72,000 were offered to these three orchestras in respect o f eighty-six concerts given between April 1963 and March 1964 . The London Symphony Orchestra presented twenty-seven concerts specially designe d to celebrate the Orchestra's Diamond Jubilee. Berlioz's opera Beatrice and Benedict, the Gurrelieder of Schonberg, Benjamin Britten's War Requiem, and a Bartok programm e were all memorable evenings . In addition to many guest conductors, Pierre Monteux, th e orchestra's principal conductor, directed what was to be his last concert season with al l his accustomed skill and undiminished brilliance . The London Philharmonic Orchestra gave twenty-nine concerts which included a Beethoven cycle under Professor Joseph Krips, and the first performance in this countr y of Pablo Casals' El Pessebre conducted by the composer, who bad not visited this country since 1945 . The Artistic Director of the orchestra, John Pritchard, conducted a majo r proportion of the concerts, although many distinguished foreign and native guest con- ductors and soloists were engaged . The Philharmonia Orchestra gave thirty concerts, ,seven of which were devoted to th e annual Beethoven Festival under Dr Otto Klemperer . Other conductors included Giulini, Schmidt-Isserstedt and Sir Adrian Boult, whose concert included Hoist's rarely heard Hymn of Jesus . Towards the end of the season, Mr Walter Legge, the Orchestra's founde r

79 and artistic Director, announced his decision to suspend the Philharmonia Orchestra' s activities for an indefinite period. A determined effort by the players of the orchestra t o remain together has resulted in the constitution'of The New Philharmonia Orchestra , under which title the orchestra now plays . Concerts at the Royal Festival Hall will not be resumed until February 1965, and in the intervening period the three orchestras will present a limited number of concert s at other halls, both in Central and Outer London, with the support of both the London County Council and the Arts Council. London Philharmonic The London Philharmonic Orchestra presented a total of fifty-six symphony concerts Orchestra Ltd . in the South-East and Home Counties, all of which were assisted by Local Authorities Concerts outside jointly with the Council. In the tenth annual series of `Industrial' Concerts at the Royal London Albert Hall eight concerts were presented to large audiences from industrial and com - mercial organizations . The orchestra gave thirteen concerts in Western Germany wit h John Ogdon as soloist . City of Birmingham The City of Birmingham Orchestra gave 218 public performances during a year notabl e Orchestra for its artistic and financial results. Mr Hugo Rignold has agreed to serve for a furthe r period of three years as principal conductor . The first performance of Sir Arthur Bliss's Mary of Magdala was given under the drectioni of the composer at the Three Choir s Festival in Worcester and repeated in Birmingham during the Winter Season . Elizabeth Maconchy's Serenata Concertante was, like the Bliss work, commissioned by the Feeney Trust and performed both in Birmingham and at the Royal Festival Hall, when th e orchestra visited London. Bournemouth The Bournemouth Symphony Orchestra presented a total of 212 performances whic h Symphony Orchestra included radio and television broadcasts and appearances with opera and ballet com - panies. The season's programmes included twenty-two works by British composers an d other contemporary music was well represented . The orchestra appeared for the first tim e at the Edinburgh International Festival and at the Royal Opera House, Covent Garden , with the Bolshoi Ballet Company . These, together with concerts at the Royal Festival Hall, have earned for the orchestra wide acclaim from the National Press and a rating a s one of the best in the country at the present time . One hundred and eleven Local Authorities contributed a sum of £44,040 which included the Bournemouth Corporation's offer of £28,500 . This valuable assistance reflects a sympathetic and confident attitude towards the orchestra by the Western Authoritie s Orchestral Association whose support has steadily increased since the Association wa s formed in 1958 . Halle Orchestra During the Halle Concerts Society's 106th season, the orchestra undertook 216 concert s plus a further eight during a tour of Scandinavia . It was Sir John Barbirolli's twenty-first season as the Halle's conductor-in-chief, and the programmes were designed to includ e many of the works introduced by him to Manchester audiences during the past two decades . Contemporary works, new to Manchester, included Britten's War Requiem, Walton' s Variations on a Theme of Hindemith, the Ttaelfth Symphony by Shostakovich, and the first public performance of Arnold Cooke's Second Symphony, which was also played fo r the first time in London . We record with regret the sudden death of Mr George Weldon, associate conductor fo r twelve years . He was a popular and much esteemed artist with both orchestra an d audiences. As his successors, Mr Lawrence Leonard and Mr Maurice Handford have bee n appointed joint associate conductors .

8 0 The Royal Liverpool Philharmonic Orchestra completed a successful first year of 195 Royal Liverpool concerts with their new Musical D irector, Charles Groves. His programmes included philharmonic Orchestr a Britten's War Requiem and a concert performance of the complete third act of Die Meistersinger. Despite an increase of 20 per cent on admission prices for seats at al l concerts, audiences were notably larger than in previous years, and the financial result at the end of the year has been the best in the orchestra's history. During the year it wa s announced that Mr Gerald Macdonald, who has been the orchestra's General Manager sinc e 1956, was leaving to take up an appointment with the B .B .C . He is succeeded by Mr Stephen Gray who, until recently, was General Manager and Secretary of the Philharmoni a Orchestra. The Northern Sinfonia, based on Newcastle and our only permanent chamber orchestra, The Northern gave 154 concerts. This total included appearances in all the larger centres of the north- Sinfonia Orchestra east, broadcast performances and concerts in the Menton Chamber Music Festival wit h the Isaac Stern Trio under the direction of Milton Katims . For the first time since it s formation the orchestra was engaged to accompany the Palatine Opera Group i n Stravinsky's The Rake's Progress, and Opera for All in four performances of The Barbe r of Seville in Durham, Consett, Billingham and Darlington . Mr Rudolf Schwarz and the young Canadian conductor Mr Boris Brott have been appointed jointly to succeed M r Michael Hall, who resigned during the year . Important engagements during the year for Philomusica of London included the York Chambe r and Edinburgh Festivals, and Dartington Summer School . The closure of the Victoria and Orchestra s Albert Museum, due to a strike by the custodian staff, caused the usual summer season o f concerts to be transferred to the Wigmore Hall, which proved to be unsuccessful an d severe financial losses were incurred . The orchestra has resumed its former collaboration with the Handel Opera Society, fo r whom it played at Sadler's Wells, the Aberystwyth Arts Festival and the St Pancra s Arts Festival . In the coming year the orchestra looks forward to a busy summer which will includ e its first visit to Western Germany for the Schwetzingen Festival and the British Week a t Dusseldorf. The English Chamber Orchestra and Music Society gave three concerts in the Roya l Festival Hall at which the soloists included Yehudi Menuhin and Paul Tortelier . Thre e programmes of unusual interest compiled from the lesser-known works of Handel an d Haydn were presented at the Victoria and Albert Museum jointly with the Palladia n Concert Society . The 152nd Season of the Royal Philharmonic Society consisted of six concerts at the Royal Philharmoni c Royal Festival Hall . The distinguished French musician Pierre Boulez, though an society unfamliar figure on the conductor's rostrum, directed one concert, and was accorde d critical acclaim for his interpretations of both classical and contemporary scores . The Brighton Philharmonic Society's series included five concerts by London and other Brighton Philharmonic national orchestras . The programmes included a good proportion of twentieth-century Society Ltd. and British music. Excellent attendances for each concert augur well for the 196416 5 season which will celebrate the fortieth anniversary of the Society . Several new names appeared in the list of composers represented in programmes of the Contemporary Musi c Macnaghten Concerts, whose particular aim is to present contemporary music of differing Societies trends in which British composers predominate . Benjamin Britten's fiftieth birthday wa s marked by a special programme of his music which included three tributes from Richard

8 1

Rodney Bennett, Nicholas Maw and Malcolm Williamson . An Anglo-Italian programme attracted a capacity attendance for no fewer than seven premieres by the Luciano Beri o ensemble . The Music Section of the Institute of Contemporary Arts presented three concerts o f British and foreign twentieth-century music. Composers specially represented include d Hindemith, Eisler and Harrison Birtw-istle whose Narrations and Precis received firs t performances . The Society for the Promotion of New Music broadened its programmes by includin g music by several generations of British composers. At the Twentieth Anniversary Concer t in the Wigmore Hall, works by Alexander Goehr, Francis Chagrin (the Society's founder) , Michael Tippett, Vaughan Williams, Benjamin Britten and Matyas Seiber were per- formed . Invitations to present new works at Music Festivals outside London are spread- ing the Society's work over a greater area, and programmes in collaboration with the Music Departments of Universities are being planned as a result of the successful concer t given in Cambridge during the Music Degrees Quincentenary week in February 1964 . National Federation Membership of ]Music Societies Sixty-two new societies were affiliated to the Federation during the year, bringing th e overall membership in Great Britain up to : Choral Societies 48 0 Orchestral Societies 13 8 Choral and Orchestral Societies 6 1 Chamber and Music Clubs 19 1

87 0

Financial Aid Four hundred and seventy-nine larger Clubs and Societiesin England were offered guaran - tees towards the cost of professional conductors, solo artists and orchestral players takin g part in public concerts : 333 Choral and Orchestral Societies' £30,18 5 146 Music Clubs £6,980 In addition forty-five smaller Clubs and Societies were offered guarantees amounting t o £700 . Scottish and Welsh Societies are shown in their appropriate sections of the Report . Regional Activitie s Many Regional Committees arranged study sessions for choir members under th e guidance of well-known professional conductors in order to introduce new repertoires t o Societies. In two Regions, special conductors ' days were arranged under expert super- vision, and proved to be very popular . N.F.M.S . Award for Young Artists (for Contralto in 1963 ) Winner: Ruth Little, who received a small cash prize and twenty engagements wit h affiliated societies in all parts of the country . Runners-up : Alfreda Hodgson, Yvonne Minton . Adjudicators : Sir Thomas Armstrong, Mr Frederic Cox, Miss Astra Desmond an d Dr W . K . Stanton; Miss Norma Procter judged the preliminary heats .

• Of the above total, 164 Societies and Clubs also received financial assistance from Local Authoritie s and 57 from Local Education Authorities .

82 Annual Course for Conductor s Held at the Music Department, University of Newcastle upon Tyne, on Septembe r 13th and 14th, 1963. Attended by twenty-one conductors. Lecturers and Tutors: Lionel Bentley, Meredith Davies, Myers Foggia, Alexande r Gibson, Graham Trencher, Dr J . E. Wallace. Annual Conference IIeld at Lytham St . Annes on May 4th and 5th, 1963 . Attended by some 300 delegates . During the Conference, a concert was given by two of the local Societies (Choral an d Orchestral) and the final adjudication of the N .F.M .S. Award took place . A number of concert organizations and regional music festivals whose activities fal l Other Music outside the scope of the National Federation of Music Societies are assisted drectlyi by the Activities Council. The following list gives details of the localities in which these events took place in 1963/64, the figures in brackets indicating the number of performances in each case .

ALRESFOR D CHICHESTER Southern String Orchestra (1 ) Southern String Orchestra (1 ) ARUNDEL COVENTR Y Southern String Orchestra (1 ) Coventry Orchestra (1 ) BEDFORD John Georgiadis String Quartet (1 ) London Mozart Players (1) DAWLISH Midland Sinfonia Orchestra (1 ) Dawlish Arts Festival (5) BIRMINGHAM DERBY Asian Music Circle (1) London Mozart Players (1) Orchestra da Camera (6) Midland Sinfonia Orchestra (1 ) BOGNOR REGIS DUNSTABL E Southern String Orchestra (1 ) Renaissance Singers (1) BRIGHTON FAKENHAM Asian Music Circle (1 ) Fakenham Festival of Music and Art (3 ) BRISTOL GRASMERt Paragon Concert Society (3 ) Laurance Turner String Quartet (1) BROMSGROVE HASLEMERE Bromsgrove Festival of Music (13 ) Southern String Orchestra (1) CAMBRIDG E HEREFORD Asian Music Circle (1) London Mozart Players (1) Chelsea Opera Group (concert HINGHAM, near Norwich performances) (3 ) London Mozart Players (1) London Mozart Players (2) HOUNSLO W CHELTENHAM Joachim Orchestra (3) London Mozart Players (1 ) IPSWIC H Midland Sinfonia Orchestra (1 ) Bournemouth Symphony Orchestra (1 ) CHESTER London Mozart Players (1 ) City of Chester Symphony Orchestra (2 ) Slovak Philharmonic Orchestra (1 ) CHESTERFIELD ISLEWORTH Midland Sinfonia Orchestra (1) Joachim Orchestra (1)

83 KENDAL NORTHAMPTON Mary Wakefield Westmorland Festival (2 ) Midland Sinfonia Orchestra (1 ) KINGSTON UPON THAMES NORWICH Thames Chamber Orchestra (1 ) London Mozart Players (3) LEWE S OXFORD Lewes Music Festival (1 ) Chelsea Opera Group (concer t Nicholas Yonge Society (chamber performances) (3 ) concerts) (4) London Mozart Players (1 ) LONDO N PERSHOR E Asian Music Circle (4) London Mozart Players (1 ) Elizabethan Singers (5 ) PETWORT H Fine Art Orchestra (1) Southern String Orchestra (1 ) Francis Chagrin Ensemble (1 ) READIN G Haydn Orchestra (1 ) London Mozart Players (3) Heinrich Schutz Choir (1 ) Hirsch Chamber Players (3 ) ST BEES London Bach Society (3) St Bees Festival of Music (6) Musica Antica a Nuova (1 ) SALISBURY Park Lane Group (1 ) Salisbury Guildhall Winter Concerts (5) Polyphonia Symphony Orchestra (3 ) SOUTHAMPTO N Redcliffe Festival of British Music (2) London Mozart Players (1) Renaissance Singers (1 ) STAMFORD South Place Sunday Concerts (2b) Midland Sinfonia Orchestra (1 ) Tilford Bach Festival Choir (1 ) SUTTON COLDFIELD Workers' Educational Association- City of Birmingham Symphony London District (1 ) Orchestra (section) (4 ) LOWESTOFT TILFORD, near Farnham London Mozart Players (1) Tilford Bach Festival (3 ) MALVERN TWICKENHA M London Mozart Players (1 ) Thames Chamber Orchestra (1 ) MANCHESTER WARWIC K Asian Music Circle (1 ) Warwick Festival (1 ) Manchester Tuesday Mid-da y Concerts (24) WINCHESTER MICKLEHAM AND V'ESTHUMBLE Southern Cathedrals Festival (2 ) Mickleham and Westhumble WOOD GREEN Music Festival (3 ) Alexandra Orchestra (1 ) MONTACUTE, near Yeovil WORSBROUGH DALE, near Barnsley Philomusica of London (2 ) St Thomas' Festival of Music (3) NEWBURY YOR K Newbury String Players (2) Lemare Orchestra (4 )

84

Opera and Ballet The activities of Covent Garden Opera, Royal Ballet and Sadler's Wells Opera com- panies will be reported in the Annual Reports of the Royal Opera House and Sadler' s Wells Trust to be published shortly . The following notes record briefly some of the major activities of other companie s receiving financial assistance from the Council . The principal production of the past season has been Britten's new work Curlew English River-` a parable for Church performance' . Given for the first time at Orford Church , Opera Group during the 1964 Aldeburgh Festival, the production has also been seen at the City o f London, King's Lynn and Holland Festivals . The Group also presented an entertainmen t called English Eccentrics by Malcolm Williamson based on Dame Edith Sitwell's boo k of that title at the Aldeburgh and City of London Festivals . The New Opera Company were associated in the first stage performance in England o f The New Opera Prokofiev's The Love of Three Oranges by Sadler's Wells Opera . Two of the company' s Company earlier productions, Volpone by Francis Burt and Ravel's L'Heure Espagnol, were trans- ferred and produced respectively by Sadler's Wells and Scottish Opera . One performance of a new opera by Daniel Jones, The Knife, was presented in a `workshop production ' at Sadler's Wells by the company. The 1963 season of the Handel Opera Society was extended to two weeks at Sadler' s Handel Oper a Wells with a repertoire of three Handel operas . In addition to a revival of its 1962 pro- Society duction of Jephtha the Society mounted a new production of Giulio Cesare in Italian with Joan Sutherland as Cleopatra . For its third production the Society invited the Birming- ham Musical Society to bring their production of Xerxes to London under the d irection of Anthony Lewis . The Society also staged two performances of an interesting and little - known Haydn opera L'Infedelta Delusa at the St Pancras Town Hall. Intimate Opera Company gave fifty-eight performances for music clubs, festivals , Intimate Opera repertory theatres and schools throughout Great Britain. This was the first full seaso n under the artistic drectioni of Stephen Manton who has been associated as a soloist wit h the Company for many years . New operas introduced into the repertory were In a Garden, to a Gertrude Stein libretto, by the American composer Myer Kupferman, an d Chabrier's Une Education Manquee-in an English translation with the title The Elements of Love. Three groups went out on tour each with a repertoire of three programmes and gave a Opera for All total of 254 performances: Groups based on Londo n Director: Douglas Craig Musical Director : Raymond Leppard Group 1 : Seventy-two performances in England and seventeen in Scotland . Repertoire: Rossini's The Barber of Seville; Mozart's Cosi fan Tutte ; Gluck's Orpheus (abridged) with Lennox Berkeley's A Dinner Engagement. Group 2 : Seventy-two performances in England . Repertoire: Puccini's La Bohime ; Donizetti's Don Pasquale; Cimarosa's The Secret Marriage . Group presented for the Arts Council by the Welsh National Opera Company and based on Cardiff Director : John Moody Musical Director : Charles Groves

85

Group 3 : Fifty-seven performances in Wales and thirty-six in England . Repertoire : Puccini's La Bohbme; Rossini's Cinderella; Verdi's Rigoletto. At the end of its tour, Group 1 was joined by the Northern Sinfonia Orchestra a t specially selected halls in Co. Durham for four performances of The Barber of Seville conducted by Raymond Leppard . This experiment, the first of its kind, provided valuabl e experience; it could not have been carried out without very generous financial assistanc e given by the North-Eastern Association for the Arts . Three groups have already started out on a similar pattern of touring for the current season . The Cardiff Group is again presented for the Council by the Welsh National Opera Company, and Groups 1 and 2 have been assembled and prepared for the Council by th e London Opera Centre . The Arts Council continues to be responsible for financing, booking, and routing arrangements for all the groups . Local Opera During the year the Council gave assistance towards the professional costs of eightee n Performances different opera productions, including a triple-bill at Maidstone and double-bills at Bristo l and Orpington . The following list indicates where the operas named were performed an d the number of performances : BOUGHTON, RUTLAND . The Queen of Cornwall: Rutland Boughton Trust-London , St. Pancras, 2 BRITTEN, BENJAMIN . The Rape of Lucretia: Morley College Opera Group-London , Lambeth, 4 DITTERSDORF . The Doctor and the Apothecary: Kentish Opera Group-Orpington, 3 GOUNOD. Faust' : Northumberland Teachers' Opera Group-Newcastle, 6 HANDEL. Agrippina: Unicorn Theatre Club-Abingdon, 4 MASCAGNI . Cavalleria Rusticana: Bristol Opera School, 4 MENOTTI . The Telephone : Maidstone Opera Group, 5 MOZART. The Impressario : Maidstone Opera Group, 5 The Marriage of Figaro: Ashleyan Opera Group-Leicester, 6 PURCELL . Dido and Aeneas: Maidstone Opera Group, 5 ROSSINI . The Barber of Seville: Hintlesham Festival Club, 3 The Italian Girl in Algiers : Opera da Camera- Corby, 2 ; Stamford, 1 ; Uppingham, 1 SAINT-SAENS . Samson and Delilah : Liverpool Grand Opera Company, 4 STRAVINSKY. The Rake's Progress: Palatine Opera Group-Durham, 3 WILDER, ALEC . The Lowland Sea : Bristol Opera School, 4 WILLIAMS, VAUGHAN . Sir John in Love: Bath Opera Group, 3 Kentish Opera Group-Orpington, 3 WILLIAMSON, MALCOLM . Our Man in Havana : Rostrum Ltd . - London, Sadler's Wells, 6 The last-mentioned was a fully professional production with Hoover Ltd . as the prin- cipal sponsors ; it has since been revived at Sadler's Wells during June/July 1964. Th e Council also assisted a performance of the medieval music-drama The Conversion of Saint Paul by the Sacred Music-Drama Society in St Dunstan's-in-the-West in Fleet Street . Ballet Rambert In addition to playing twenty-eight weeks in the Provinces, the Ballet Rambert gav e its usual summer season at Sadler's Wells . A new ballet, The Travellers, by the company's

• First performances in which the English translation by Leonard Hancock (joint winner with Elwy n Nott-Bower of the Council ' s 1961 competition for a new English version) was used .

86 own choreographer, Norman Morrice, was added to the repertory after a first performance at the Spoleto Festival, where the company played for three weeks. A four-week tour of the Near East included visits to Athens, Cairo, Cyprus and Teheran, where the compan y performed before the Shah of Iran-the first British company to do so . Western Theatre Ballet continued to develop its reputation for new and experimental Western Theatre work. Eight weeks in the South-Western region included visits to the Bristol Theatre Ballet Royal, Cheltenham Festival and Nuffield Theatre, Southampton . A five-week tour in the North-East, two weeks in Northern Ireland and a four-week Christmas season at th e Prince Charles Theatre, London, were new and important bookings . Houseparty, a new work specially created by Peter Darrell for television, and Mods and Rockers, also b y Darrell with music by the Beatles, have both been great popular successes . The company visited the U.S .A. for the first time when it appeared for two weeks at the Jacob's Pillo w Dance Festival. Appearances on the continent included the British Week in Munic h and a tour of Sweden, Norway and Finland . Some modest expansion was possible in bringing ballet to various centres and theatre- Other Ballet less towns not visited by other companies. Fifty performances by the Minerva Ballet Activities Company and sixty-five by the Harlequin Company were assisted during the year . The Council also contributed towards the cost of professional assistance in a week of per - formances given by the North-West Regional Committee of the Royal Academy o f Dancing at its Liverpool Centre .

87 Appendix B Drama 1 Grants and Guarantees for the year ended 31st March, 1964

Revenue New Grant Drama & or Capital !Neglected Transport Training Guarantee Expenditure Plays Subsidies Schemes TOTAL

A. ENGLAND £ £ £ £ £ £ Barrow- in Furness : Renaissance Theatre Trust Company Limited 3,000* 300* 150* 3,45 0 Birmingham Repertory Theatre Limited 14,000 750* 400* 15,15 0 Birmingham : Alexander Theatre (Birmingham ) Limited 250 352 60 2 Bristol Old Vic Trust Limited 14,000 825* 500* 224 15,54 9 Bromley Productions Limited 3,500 250 170* 3,92 0 Cambridge Arts Theatre Trust 800* 80 0 Canterbury Theatre Trust Limited 4,250* 200* 4,45 0 Cheltenham Everyman Theatre Company Limited 5,000 330* 144 5,47 4 Chesterfield Civic Theatre Limited 3,500* 100* 3,60 0 Chichester Festival Theatre Trust Limited 5,000 3,000* 8,00 0 Colchester Repertory Company Limited 5,000 500* 750* 6,25 0 Coventry : Belgrade Theatre Trust (Coventry) Limited 14,000 875* 147* 15,02 2 Croydon : New Pembroke Theatre (Croydon) Limited 2,000 2,00 0 Darlington Civic Theatre Limited 3,000* 3,00 0 Derby Playhouse Limited 4,000 200 400* 4,60 0 Farnham Repertory Company Limited 2,000 S00* 41 2,54 1 Guildford Theatre Club Limited 2,500 2,500 Harrogate (White Rose) Theatre Trust Limited 2,000 450 300* 30 2,78 0 Horachurch Theatre Trust Limited 5,000 5,000 Ipswich Arts Theatre Trust 5,500 250 250* 42 6,04 2 Leatherhead Repertory Company Limited 5,000 400 300* 150* 43 5,89 3 Leicester Theatre Trust 3,000 500 250* 200* 232* 4,18 2 Lincoln Theatre Association Limited 6,500 1,000* 450 350* 291 8,59 1 Liverpool Repertory Theatre Limited 5,000 5,000 London: English Stage Company Limited 20,000 15,000* 35,000 Hampstead Theatre Club Limited 250* 250 London Academy of Music an d Dramatic Art 1,000* 1,00 0 Mermaid Theatre Trust 6,000* 1,000 384 7,384 National Theatre Board 130,000 130,000 New Shakespeare Company Limited 1,000 1,000 Old Vic Trust Limited 45,000 45,000 Pioneer Theatres Limite d Theatre (Workshop) 3,000 144 3,144 Repertory Players 85 8 5 Royal Shakespeare Theatre 47,600* 232 47,23 2 Loughborough and District Theatre Association Limited 1,500 1,50 0

Carriedforteard 367,250 26,900 3,610 5,925 2,306 405,991

88

Revenue Ne w Grant Drama & or Capital Neglected Transport Training Guarantee Expenditure Plays Subsidies Schemes TOTA L

£ £ £ £ £ £ Brought forward 367,250 26,900 3,610 5,925 2,306 405,99 1 Margate Stage Company Limited 75* 75 Newcastle: Flora Robson Playhouse 5,000 100* 5,100 Northampton Repertory Players Limited 5,500 1,000 800* 7,30 0 Nottingham Theatre Trust Limited 17,000 800* 550* 443* 18,793 Oldham Repertory Theatre Club 2,500 2,000* 4,500 Oxford : Meadow Players Limited 12,000 225 104 12,32 9 Plymouth Arts Guild 1,000* 1,000 Richmond Theatre Productions Limited 1,000* 200* 1,200 Richmond : Georgian Theatre (Richmond ) Trust Limited 500 500 Salisbury Arts Theatre Limited 6,000 250 800* 250 7,30 0 Sheffield Repertory Company Limited 6,500 4,500* 200* 11,20 0 Su,nderla-d : Empire Theatre 2,000 200* 2,200 Windsor Repertory Company : Capoco Limited 1,000 216 1,21 6 York Citizens' Theatre Trust Limited 2,500 550* 3,05 0 Touring: Century Theatre Limited 5,600* 225 200* 6,02 5 Mobile Theatre Limited 1,000 1,00 0 Prospect Productions Limited 2,225 350 150* 2,72 5 Studio Theatre Limite d (Theatre in the Round) 6,000* 2,500* 655* 350* 9,50 5 The British Centre of the Internationa l Theatre Institute 250 25 0 Council of Repertory Theatres 350 35 0 National Council for Civic Theatres 300 300 Training Scheme Bursary 1,045* 1,04 5 New Drama Bursaries and Expenses 1,617* 1,61 7

£441,975 £40,400 £8,007 29,825 £4,364 £504,57 1

B . SCOTLAN D Dundee Repertory Theatre Limited 9,000 3,100 1,600 200* 13,90 0 Edinburgh Gateway Company Limited 4,250 1,000 200* 5,45 0 Edinburgh: Traverse Theatre Club 100 10 0 Glasgow Citizens' Theatre Limited 13,000 1,850 200* 264 15,31 4 Perth Repertory Theatre Limited 8,250 2,400 200* 10,85 0 Pitlochry Festival Society Limited 3,000 1,000 200 4,20 0 St Andrews : Byre Theatre 300 80 38 0 The British Centre of the International Theatre Institute 25 25

£37,825 £4,100 £7,230 £800 £264 250,21 9 s Maximum commitments are given, not necessarily the amounts paid .

89

Appendix B Drama 2 Theatre Companies: Details of Costs, Revenue and Subsidies 1960163

Subsidies and Donations

Key : a=1962/63 Total Approximate b=1961/62 Theatre Total Net As equivalent Industry Trusts and c=1960/61 Operating Trading Percentage *Arts Local to a local Independent and other ~p COMPANY Cost Revenue of Cost Council Authorities rate of Television Com .nerce supporters O

A . ENGLAND £ £ £ £ Pence £ £ £ 1 Barrow in Furness: Renaissance Theatre a 18,484 12,400 67 2,850 1,000 2/7ths - 1,012 90 1 Trust Company Limited b 15,184 13,058 86 1,050 1,025 - - 1,050 4 1 c - - - 200 - - - - - 2 Birmingham Repertory Theatre Limited a 55,902 35,173 63 14,313 5,000 - - - - 2 b 51,387 34,427 67 10,620 5,000 - - - - c 54,671 33,358 63 10,375 7,000 - 1,500 - - 3 Bristol Old Vic Trust Limited a 69,863 44,996 61 14,570 250 - - -- 8,030 3 b 59,977 49,305 81 8,450 250 - - - 52 6 c 59,032 51,221 87 8,000 250 - - -- 1,23 5 4 Bromley Theatre Trust Limited a 56,930 47,551 84 1,069 - - - - - 4 b ------c - - - 5 Canterbury Theatre Trust Limited a 26,732 18,292 68 4,200 6,604 2-3/4ths 600 - 450 5 b 18,751 11,566 62 3,200 6,609 - 600 - - c 21,403 15,192 71 2,400 6,855 - 500 6 Carlisle Theatre Trust Limited a 34,228 18,808 55 4,800 10,422 2-2/3rd. -- -- - 6 b 23,8061 13,455 56 3,670 7,934 - 250 c 44,953 37,849 84 2,300 3,500 - 7 Century Theatre Limited a 12,057 7,774 64 3,750 650 - - - 511 7 b 8,7481 4,669 53 2,625 - - - - 103 c 9,062 4,515 50 2,500 - - - - 433 8 Cheltenham Everyman Theatre Company a 42,131 31,455 75 6,295 3,100 6/11the - 209 1,546 8 Limited b 26,771 21,602 81 3,375 2,900 - - - 338 c 50,721 39,068 77 2,125 - - - 227 500 9 Chesterfield Civic Theatre Limited a 15,373 9,572 62 3,100 2,775 2/3rds - - - 9 b 11,663 6,921 59 2,000 2,775 - - c 14,347 9,149 64 1,000 2,800 -- 3,026 10 Colchester Repertory Company Limited a 27,533 17,735 64 5,475 3,662 8115ths - 57 847 1 0 b 27,275 19,236 70 3,650 3,500 - - - 92 3 c 23,323 18,052 77 2,130 3,763 - - - 890

11 Coventry: Belgrade Theatre Trust (Coventry) a 111,627 89,395 80 15,025 6,750 1/3rd - - - 1 1 Limited b 107,863 89,140 83 10,425 6,750 - 500 - - c 111,986 89,914 80 9,750 6,750 - - - -

12 Croydon: New Pembroke Theatre Limited a 12,1631 9,071 75 1,450 - - - - 722 1 2

13 Derby Playhouse Limited a 28,518 23,971 84 5,115 1,225 5/36ths - - - 1 3 b 27,344 25,648 94 2,841 950 - S00 - - c 23,924 22,938 96 1,300 750 - 500 - -

14 English Stage Company Limited a 199,309 171,507 86 20,416 2,605 - - - 2,421 1 4 b 255,625 243,839 95 8,000 2,500 - - - 3,45 5 c 114,626 112,749 99 8,000 75 - - - 1,802

15 Farnham Repertory Company Limited a 15,830 12,302 78 2,595 70 1/30th - - 88 1 5 b 12,052 11,258 93 1,000 50 - - - 173 c 12,578 10,656 85 500 50 - 1,300 - 237

16 Harrogate (White Rose) Theatre Trust a 35,016 30,973 88 2,300 - 1112th 19 - 2,250 1 6 Limited b 44,470 36,756 83 1,380 - - 625 - 1,275 c - - - 12 - - - - -

17 Hornchurch Theatre Trust Limited a 29,661 19,525 66 5,000 5,000 2/3rds - - - 1 7 b 28,133 18,763 67 3,000 5,000 - - - - c 34,8271 24,161 69 2,375 10,153 - - - -

18 Ipswich Arts Theatre Trust a 30,481 23,592 77 5,700 - - 100 218 100 1 8 b 28,684 24,487 85 4,000 585 - 200 223 - c 26,118 21,409 72 4,000 - - - 260 -

19 Leatherhead Repertory Company Limited a 26,451 19,959 75 5,750 550 1/5th 500 - - 1 9 b 26,482 21,880 82 3,000 550 - S00 - - c 22,071 20,072 91 2,000 550 - 500 - -

I'D 20 Lincoln Theatre Association Limited a 32,4861 24,051 74 10,000 2,093 1/2 250 - 1,419 2 0 b 41,382 30,169 73 5,423 2,523 - 750 - 45 2 c 41,472 32,824 79 7,551 5 - 3,000 - 85 1

21 Loughborough and District Theatre a 8,682 6,294 73 1,500 815 1/3rd - 250 75 2 1 Association Limited b 9,333 6,285 67 1,500 725 - - 280 8 5 c 8,785 6,083 69 1,500 685 - 10 280 75

Notes: • The amounts shown in the Arts Council column are for the financial years ending March 31st and represent the total grants offered by th e Arts Council, together with guarantees against loss still outstanding at that date . t In these cases, the figures apply to a period other than twelve months . In all other cases the period is for a full year but not necessarily ending on March 31st. There are many cases in which further financial assistance is given to theatres by way of indirect subsidy from local authorities and othe r bodies (e.g. nominal or reduced rents, remission of rates, services or goods given without charge, etc .) .

Subsidies and Donations

Key: a=1962/6 3 Tota l Approximate b=1961/62 Theatre Total Net As equivalen t Industry Trusts and c= 1960/6 1 Operating Trading Percentage *Arts $Local to a local Independent and other COMPANY Cost Revenue of Cost Council Authorities rate of Television Commerce supporters

A . ENGLAND £ £ £ £ Pence £ £ £ 140 t12 22 Mermaid Theatre Trust Limited a 148,955 159,816 107 7,200 - - - - - 2 2 b 125,419 118,160 94 2,500 - - - c 31,537 18,467 59 5,000 - - - - 4,109

23 Mobile Theatre Limited a 18,029 15,043 83 1,000 - - - - 31 2 3 b 21,899 19,559 89 3,000 - - - - 6 1 c 23,580 18,797 80 3,000 - - 200 - 5 4

24 Northampton Repertory Players Limited a 41,979 37,237 89 6,375 - - 793 - - 2 4 b 38,287 33,711 88 4,395 - - 270 c 35,101 31,955 91 3,632 2,500 - - - - 25 Nottingham Theatre Trust Limited 60,246 42,898 {214,8 - - - 2 5 6} 71 9 0,700 150 - c 43,170 29,464 68 11,102 - - - - 1,33 2

26 Old Vic Trust Limited a 236,605 121,506 51 83,000 - - - - 6,429 26 b 210,965 131,556 62 80,000 - - - - 6,67 9 c 186,073 129,946 70 40,000 - - - - 6,42 9 27 Oldham Repertory Theatre Club a 26,201 27,589 105 2,000 - - - - - 27 b 26,653 23,389 88 1,000 - - - - 16 7

28 Oxford: Meadow Players Limited a - - - 12,424 - - - - - 28 b 42,536 25,245 59 13,000 - - - - 2,000 c 38,582 24,789 64 6,450 - - - - 2,21 7

29 Richmond Theatre Productions Limited a 47,517 48,490 102 1,200 ------2 9 b - - - 100 - - - - -

30 Royal Shakespeare Theatre a 581,679 538,613 93 10,000 - - -~ - 5,000 3 0

31 Salisbury Arts Theatre Limited a 29,444 21,578 73 7,750 546 1/5th 600 - 470 3 1 b 28,596 23,389 82 4,632 496 - 600 - 570 c 28,816 23,903 83 2,790 466 - - - 1,741

32 Sheffield Repertory Company Limited a 28,599[ 23,669 83 6,250 - - - - - 32 b - - - 31 - - - - - c - - - 130 - - - - -

33 Studio Theatre Limited a 15,776 6,941. 44 4,901 500 - - - 1,000 33 - (Theatre in the Round) b 7,8871 4,499 57 2,150 780 - 300 - 2,21 7 C 11,702 5,063 43 2,240 759 - - - 2,835

34 York Citizens ' Theatre Trust Limited a 46,159 38,547 83 2,150 181 - - - - 34 b 44,767 40,095 90 1,000 - - - - -

B. SCOTLAND £ £ £ £ Pence £ £ £

1 Dundee Repertory Theatre a 32,268 18,922 59 9,800 4,000 1/4th - - - 1 b 29,467 20,107 61 5,300 3,000 3/16tbs 60 - - c 29,209 20,408 70 4,100 2,000 1/8th 200 - 11 7

2 Edinburgh Gateway Company a 24,261 16,383 68 5,908 2,000 1/24th - - - 2 b 18,212 12,151 67 4,514 2,000 1/24th - - 60 c 21,664 12,273 57 4,000 1,000 1/34th - - 90 0

3 Glasgow Citizens' Theatre a 56,817 39,517 70 13,810 6,200 1114th - - 178 3 b 45,178 29,554 65 6,720 5,000 1/17th - - 2,16 3 c 41,463 31,445 76 6,375 2,500 1126th 260 350 14 0

4 Perth Repertory Theatre a 39,630 25,746 65 10,391 1,0001 2/7ths - - 2,334 4 b 41,454 27,548 66 7,580 1,00011 1/3rd - - 4,550 c 39,909 27,614 69 7,432 1,000 2/5ths 260 - 3,296

5 Pitlochry Festival Theatre a 43,192 33,910 78 2,500 - - - - 935 5 b 35,705 33,507 94 11,800 - - 260 - 2,24 2 c 33,572 30,169 90 1,350 - - 350 - 2,72 2

6 St Andrews, Byre Theatre 3,843 3,129 82 300 100 1/28th - - 324 6 b 3,865 3,166 81 150 - - - - 54 9 c 3,391 3,026 89 - - - - - 36 5

Notes : ' The amounts shown in the Arts Council column are for the financial years ending March 31st and represent the total grants offered by the Arts Council, together with guarantees against loss still outstanding at that date . t In these cases, the figures apply to a period other than twelve months . In all other cases the period is for a full year but not necessarily ending on March 31st. There are many cases in which further financial assistance is given to theatres by way of indirect subsidy from local authorities and other bodies (e.g. nominal or reduced rents remission of rates, services or goods given without charge etc.). 11 In addition to this grant from the Town Council, a contribution of £350 was received from Perth County Council .

Appendix C Arts Council Exhibitions held in Great Britain during the period April 1963-March 1964

England Paintings, Drawings, Sculpture, etc . Arts Council Collection: British Painting Before 1940 E Arts Council Collection: British Painting, 1940-1949 E Arts Council Collection: British Painting 1950-195 7 Arts Council Collection: New Painting 1958-196 1 Arts Council Collection: Recent Trends in Paintin g S Arts Council Collection: 20th Century Drawing s Arts Council Collection : Sculpture Vanessa Bell, 1879-196 1 W Construction : England Drawing Towards Paintin g Malcolm Drummond . 1880-194 5 Dunn Internationa l W Clive Gardiner The Gregory Fellow s George Grosz, 1893-1959 Ivon Hitchen s WS Drawings and Watercolours by Paul Klee from the Felix Klee Collection, Bern e NI Elias Martin, 1739-181 8 Robert Medle y S Modigliani and Soutine WS Henry Moore Opus Anglicanum: English Medieval Embroidery Painting Towards Environment S Lucien Pissarro Ruskin and his Circle 20th Century Scottish Painting Sengai Sickert Situation Six Young Painters, 1964 The Arts of Thailan d WS Three Contemporary Painters, 196 3 W Towards Art Karel Vogel, 1897-196 1 Young Contemporaries, 196 3

Graphic Art and Stage Design Arts Council Collection : British Etchings 1860-1960 Arts Council Collection : Foreign Etchings 1890-196 0 Arts Council Collection : Contemporary Prints Arts Council Collection : Designs for the Theatr e W Arts Council Collection : Contemporary British Lithograph s S New Prints Three Stage Designers

94 Reproductions and Photograph s W Abstract Art W George Braqu e W Edgar Degas Peole de Paris W English Art W Modern German Painting 1900-1960 W Modern Gouaches and Watercolours W Hans Holbein the Younger W Wassily Kandinsky Paul Klee W Landscape in Art, Part 1 : Up to Impressionis m W Landscape in Art, Part 2 : After Impressionism Lettering on Building s W Joan Mir6 W Pablo Picasso, Part 1 : 1900-192 5 W Pablo Picasso, Part 2 : 1925-196 0 W Portrait Painting Rembrandt and his Contemporaries Les Sources du Vingtieme Siecle (The Arts in Europe from 1884-1914 ) W Still Life Thirty Painters of the 15th Century W Vincent van Gogh

64 exhibitions were held in 170 separate buildings in 132 different centres (354 showings ) including 16 held in the Arts Council, the Tate Gallery, and the Victoria & Albert Museum) . Included in the above are 38 showings held in Wales in 16 separate buildings in 12 differen t centres, 8 showings held in 5 separate buildings in 5 different centres in Scotland and 1 showing in 1 centre in Eire . NOTE : W Also exhibited in Wales S Also exhibited in Scotlan d E Also exhibited in Eir e NI Also exhibited in Northern Ireland

Scotland A Selection from the 1962 Society of Scottish Artists Exhibition A Selection from the Collection of the Scottish Committe e Modern Scottish Paintings from the Collection of Dr R . A. Lilli e Robert Colquhoun 1914-1962 Watercolours and Drawings by Contemporary Scottish Artist s Old Master and Other Drawings from a Private Collection The Scottish Domestic Scen e Allan Ramsay, His Masters and Rivals Four Scottish Painters John Maxwell Memorial Young Scottish Contemporarie s Joan Eardley Memoria l Fourteen Scottish Painters

21 exhibitions (including 8 from England) were held in 31 buildings in 24 centres (64 show- ings in all).

Wales Drawings from the Welsh Committee's Collectio n New Paintings and Sculpture from the Welsh Committee's Collection Welsh Painting and Sculpture Graham Sutherland-Drawings of Wales

95 Two Painters : Brenda Chamberlain and Ernest Zobole Welsh Collection Welsh Drawing s British Sculpture Cubism and Abstract Art Impressionism 33 exhibitions (including 21 from England and 1 from Scotland) shown in 42 differen t buildings in 33 centres (98 showings in all) .

96 Poetry Appendix D

The Arts Council has now decided to extend its bursaries to poetry ; and on the advice Poetry Bursary of its Poetry Panel the following scheme has been approved :

1. £750 has been set aside to be awarded annually in the form of one or more bursaries to poets writing in English. The intention is to enable these poets to concentrate o n their craft for a limited period . 2. No submissions from poets themselves or from their agents will be entertained . A candidate must be recommended to the Arts Council by a responsible member of th e literary profession who knows him and his work . In the event of the candidate being successful, his sponsor will be expected to keep in touch with him during the period o f his bursary and to make a brief report when it is over . 3. At the time of the submission, the sponsor should forward to the Arts Council example s of the poet's previous work, i .e . one or more published volumes, or a substantial portio n of a work in progress . 4. Poets may be of any age . 5. It is hoped that if a candidate is engaged in certain regular jobs (such as teaching) th e bursary will be used to enable him to obtain leave of absence for a period of not les s than three months. Where a candidate is a free-lance, the bursary is intended to giv e him time to concentrate on his poetry . 6. Though it is hoped that a body of work will emerge as the result of such a bursary, this i s not made a condition of the award . No more is expected than that the bursar shall us e the extra time so acquired in the practice or meditation of his art . 7. These bursaries will be awarded by the Arts Council on the advice of its Poetry Panel . Submissions for any particular year should be made not later than December 31 st of th e preceding year .

The 1964 award has been made to Martin Bell.

97

Tours by Poets A tour of the north east was undertaken by Charles Causley and Peter Redgrove under the auspices of the North Eastern Association for the Arts. The places visited were : - Sunderland April 19th, 1963 Newcastle upon Tyne April 20th, 196 3 West Hartlepool April 22nd, 196 3 Ashington April 23rd, 196 3 Durham April 24th, 196 3 Whitby April 25th, 196 3

A year later Patricia Beer and R . S. Thomas toured the south west under the auspice s of the South Western Arts Association, and visited the following places :- Swanage May 11th, 196 4 Bruton May 12th, 196 4 Mid-Somerset Arts Federation May 13th, 196 4 Barnstaple May 14th, 196 4 Exeter May 15th, 1964

Commemorative The Council commemorated the 400th anniversary of the birth of Christopher Marlowe Recitals and the 100th anniversary of the death of John Clare with special recitals at 4 St. James' s Square, S .W .I . The programme of the Marlowe Recital, which was edited by Bonamy Dobree and produced by Michael Bakewell, illustrated Marlowe's qualities as a poet apart from his genius as a dramatist . The readers were Jill Balcon, David Spenser and Joh n Westbrook and the recital was given at : - The Marlowe Theatre, Canterbury May 17th The Arts Council, London, S .W .1 May 21st Lecture Theatre, The Herbert Art Gallery, Coventry May 22n d The Clare Recital was given at the Arts Council on May 27th . The programme, which was edited and produced by Patrick Garland, contained material drawn from Clare' s poetry and prose, as well as miscellaneous extracts from memoirs, journals, newspape r reports and letters by his contemporaries . It was introduced by Edmund Blunden, and th e readers were Rosemary Harris and Patrick Garland .

Stratford upon At Stratford upon Avon the 1963 Poetry Festival (June 30th to August 25th), which i s and Guardians of Shakespeare's Birthplace, was d irected b y Avon promoted by the Trustees Poetry Festival Patrick Garland . The Poet of the Year was Stevie Smith . Special programmes wer e devised by David Benedictus, John Carroll, Richard Marquand and Mischa Scorer as wel l as Patrick Garland . An exhibition on'William Shakespeare to Christopher Fry', arrange d by John Carroll, was staged during the period of the Festival. For 1964 Patrick Garlan d was joined by Richard Marquand as Assistant Director . The opening recital at the Tow n Hall on July 5th was devoted to a reading of the fifteen poems that had been specially commissioned by the Arts Council to commemorate the quatercentenary of Shakespeare' s birth (see p . 34) .

Poetry Boole Society For 1963 the Society appointed Ian Fletcher and Ted Hughes as its Selectors and on their advice the following books were chosen : -

9 8 Sailing to an Island by Richard Murphy (Faber) Poems by Alexander Baird (Chatto & Windus) The Burning Perch by Louis MacNeice (Faber ) The Survivors by Patricia Beer (Longmans) The following books received the Society's recommendation:- The Broken Places by George MacBeth (Scorpion Press ) Notes on Cafes and Bedrooms by Rosemary Tonks (Putnam) With Luck Lasting by Benard Spencer (Hodder & Stoughton ) A Peopled Landscape by Charles Tomlinson (Oxford University Press ) Flight to Africa by Austin Clarke (Dolmen Press) Collected Poems 1924/61 by Geffrey Grigson (Phoenix House ) Notes While Travelling by Brian Higgins (Longmans ) Bulletins accompanying each choice carried poems by George MacBeth, Rosemar y Tonks, Bernard Spencer, Charles Tomlinson, Geoffrey Grigson and Brian Higgins . A special poetry supplement edited by Alan Ross was distributed to members at Christmas . Members also received a Check List of New Verse published in 1962 . The membership o f the Society stood at 720 (as against 768 in 1962) . This fall was partly attributable to the fact that in 1963 the Society's annual subscription was raised from two guineas to £2 10s. The Society's biennial Festival of Poetry, which was held at the Royal Court Theatr e (July 15-20th, 1963) and directed by Patric Dickinson, was noticed at length in the Arts Council's Annual Report for 1962/63 .

List of Accessions to the National Collection, 196364 The National 1 . Edwin Muir Manuscrip t (a) Notebook containing drafts of several of his last poems most of which were included i n Collection of the Collected Poems (Faber) Contemporary (h) Manuscript drafts of four of his poems Poets (c) Chorus of the New Dead (London, Hogarth Press, 1926) . The printed text is heavily corrected throughout with the intention of producing a revised version (d) The Song . As printed in The London Magazine with manuscript corrections [bought from Mrs Willa Muir] 2. Cheltenham Literature Festival: Guinness Prize Poems 1957/63 Manuscripts of the prize poems, including much worksheet material . The poets repre- sented in this collection are :- Patricia Beer Mark Richards Irene Dayton Ken Smit h Paul Dehn Helen Spalding Marion Lineaweaver Randolph Stow Herbert Lomas Nathaniel Tarn Norman MacCaig Alastair W . Thomso n H . W. Massingham Terence Tiller W. S . Merwin Laurence Whistler Richard Murphy A. E . Wyld e Sylvia Plath William Younger John Press [presented by Mr Eric W . White]

9 9 3. Roy Fulle r Notebook containing drafts of about a dozen poems written between June 1954 an d November 1955, most of which were included in Brutus's Orchard (Andre Deutsch, 1957 ) [presented by Mr Roy Fuller ] 4. Peter Porte r Two notebooks containing drafts of many poems written between 1958 and 1964, includ - ing twenty-four that were included in Once Bitten, Twice Bitten (Scorpion Press, 1961), Penguin Modern Poets 2 (Penguin Books, 1962) and Poems Ancient and Modern (Scorpion Press, 1964) [bought from Mr Peter Porter ] 5. Andrew Young A large Account Book containing drafts of Into Hades (Rupert Hart-Davis, 1952) bein g changed into Out of the World and Back (Rupert Hart-Davis, 1958) . This notebook als o contains a manuscript draft of the prose book, The Poet and the Landscape (Ruper t Hart-Davis, 1962) [bought from Canon Andrew Young] 6. W. H. Aude n Early notebook containing ninety-nine poems written between 1928 and 1936 . Twelve of these have been published: some of them in Poems 1928, Poems (Faber, 1930), and The Orators (Faber, 1933): the remainder are unpublished . A large number of leaves have bee n partly or completely cut away, presumably because they contained poems that Aude n wanted to be considered for publication . (See the description of No . 143 in Sotheby' s Catalogue of Autograph Letters and Literary Manuscripts, May 11th, 1964 . ) [bought at Sotheby's, May 11th, 1964] 7. Philip Larki n A notebook containing drafts of numerous poems written between October 1944 an d March 1950. Some of these have been published in The North Ship (The Fortune Press , 1945) and The Less Deceived (The Marvell Press, 1955) [presented by Mr Philip Larkin] 8. Poems for William Shakespeare, 1964 Worksheets of nine of the Fifteen Poems for William Shakespeare commissioned by th e Arts Council for the 1964 Festival of Poetry, Stratford upon Avon, sponsored by th e Trustees and Guardians of Shakespeare's Birthplace, as follows : -

Two Sonnets Edmund Blunden A Visit to Stratford Charles Causle y Sonnet 155 Roy Fuller Reading M.N .D . in Form 4B• Peter Porter Edmund to Gloucester W . D. Snodgrass `Earth-treading stars that mak e dark heaven light' Stephen Spender Goats and Monkeys (also, At Lampfall•) Derek Walcot t All Compact Vernon Watkins Message to Dr Hotson David Wright

[All these worksheets were purchased from the poets, except those of the two poems marked with an asterisk, which were presented by the poets concerned . ]

100

Report of the Copyright Conference Public

A . COPYRIGHT AND PERFORMANCE Performance of 1 . Copyright in Poetry Copyright Poetry Section 2 of the Copyright Act 1956 deals with the question of copyright in literary, dramatic and musical works. This makes it clear that, in the case of poetry, copyright subsists in every original poe m which is unpublished, and where an original poem has been published, copyright shall subsist in the work `i f (a) the first publication of the work took place in the United Kingdom, or in another country to which this section extends, or (b) the author of the work was a qualified person at the time when the work was first published, o r (c) the author had died before that time, but was a qualified person immediately before his death' . Copyright subsisting in such a work continues to subsist until the end of the period o f fifty years from the end of the calendar year in which the poet died . In the case of poetry published posthumously, copyright continues to subsist until fifty years after the calendar year in which the poems concerned were published .

2 . Public Performanc e The acts restricted by the copyright in a poem include `performing the work in public' . There is no legal definition of a public performance, and each case must be decided on it s merits . But it seems to be accepted that any performance is a public one that is no t restricted to members of the home circle of whoever is responsible for the performance, and this means that, in addition to readings and recitals in theatre and halls advertised a s being open to members of the public, all meetings of literary and poetry clubs to hear poetry read aloud normally come under the category of `public performances', even if the audience o n these occasions is confined to club members . It should be remembered that the owner of the copyright has the power to refuse permissio n for hislher work to be performed in public: so in the case of the public performance of poetry it is essential for permission to be obtained from the poet or hislher agent prior to any performance .

3 . Performance of Poetry in Schools The Copyright Act 1956 provides (Section 41) that where copyright poetry is read i n class in the course of the activities of a school by a person who is a teacher in, or a pupil in attendance at, the school, the performance shall not be taken to be one in public if th e audience is limited to pupils or teachers of the school and others (e .g . managers, governors or inspectors) directly connected with the school activities. All other performances a t which copyright poetry is read in schools are, therefore, to be regarded as in public .

B . PERSONS AND BODIES INTERESTED IN PUBLIC PERFORMANCES OF POETR Y There are three categories of persons or bodies concerned: - (i) the copyright owners, who may be the poets or their heirs or assigns or the agents thereof, (ii) professional bodies concerned with poetry readings and recitals, and with vers e speaking , (iii) the audience .

101 These categories are organized as follows:- (i) There is no professional association of poets as such, but many of them are members o f the Society of Authors. They usually place the subsidiary public performance rights of their poetry in the hands of their publishers. There are a few cases, however, where th e Society of Authors acts as agent for a poet or his heirs . (This is the case today [1964 ] with Eiluned Lewis and John Masefield; and the estates of Lascelles Abercrombie , Laurence Binyon, Walter de la Mare, Rose Fyleman, A . E. Housman, James Joyce, Richard le Gallienne, Katherine Mansfield, James Stephens, R. L . Stevenson , Katherine Tynan and Sir William Watson.)

(ii) The chief bodies known to be concerned with the professional presentation of spoken poetry in public theatres, halls, etc., are :- Apollo Society Arts Council of Great Britain Barrow Poets Company of Nine Poetry Book Society (through its biennial festivals of poetry ) Stratford upon Avon Poetry Festival

(iii) (a) Audiences for performances in public theatres and halls are for the most par t drawn from the general public ; but the following organizations include poetr y readings in their programmes for members :- Poetry Society Contemporary Poetry and Music Circle English Association Institute of Contemporary Arts National Book Leagu e P.E .N. Royal Society of Literature Midlands Arts Association North Eastern Association for the Art s South Western Arts Association

(6) It is also possible that members of various social and educational organizations ; like the following, may be affected :- English-Speaking Union National Council of Social Servic e National Federation of Women's Institute s National Union of Townswomen's Guilds Workers' Educational Associatio n Extra Mural Departments of Universitie f

102

C. RECOMMENDATIONS 1 . The following scales of fees are recommended: (a) In the case of public performances where there is paid admission by the publi c

For halls with a capacity of For a copyright poem of over 250 250 or under

s. d . s. d. 30 lines or less 12 6 10 0 31-50 lines 15 0 12 6 51-100 lines 17 6 15 0 every extra 50 lines 10 0 extra 7 6 extr a

(b) In the case of recitals or performances given by a club or society where there is n o paid admission by the public but the attendance of members is covered wholly or i n part by their subscription to the parent body

For rooms with a capacity of For a copyright poem of 50 or under over 50

d . s. d . 50 lines or less 5S* 0 7 6 51 lines or more 7 6 10 0

2. In order to facilitate the collection of fees, it is recommended that wherever possibl e copyright owners should grant a blanket licence (see below) to an approved body concerne d with the professional presentation of spoken poetry (see B(ii)) . Under this arrangement th e licensor(s) would allow the performance of copyright poems without the need to obtai n prior permission, provided the poems read in public were read complete and uncut, du e acknowledgements were made, and fees paid in accordance with the above scale, while th e licensee would agree to render an account to the licensor(s) concerned every six months (at the end of June and December) of the poems so used and to make payment accordingly. N .B . It is always possible for a poet and publisher to agree to waive or reduce a copy- right fee where they feel such a course is justifiable, e .g . in the case of schools where copy - right poetry is read to pupils (and teachers) for the purposes of education and as part o f the school curriculum . 3. At the 1952 Conference on Copyright Poetry, the following recommendation wa s passed:- `The Publishers' Association should be asked to recommend its members to giv e permission to any bona fide festival (e .g . the English Festival of Spoken Poetry or any affiliated member of the British Federation of Music Festivals) for copyright poems t o be included without fee among the test pieces set in competition festivals at which a public adjudication is given . This privilege would not cover a public performance by the festival prize-winners, in which case the scale of charges recommended in Claus e (2) above would operate; nor would it carry with it the right to print the poem(s) concerned in the syllabus or programme or any other festival publication . N.B . Atten- tion is drawn to the fact that in the case of music a similar arrangement has been i n force for some years between the Performing Right Society and the British Federatio n of Music Festivals .'

10 3

The 1964 Conference was glad to know that this recommendation had been acted on by the Publishers' Association and its members. It renewed the recommendation that bon a fide festivals should be allowed to include copyright poems without fee among test piece s set in competition festivals at which a public adjudication is given, on the understanding that this privilege did not cover public performances by the festival prize-winners, an d it recommended that this privilege should be extended to cover the Verse-Speakin g Examinations run by the Poetry Society . 4. In order to make it clear that certain poetry is copyright and to help promoters an d organizers of public performances to know whom to approach regarding its use, it is recommended that the Publishers' Association be requested to draw the attention of all their members to the desirability of printing some such notice as the following in all book s of copyright poetry issued by them: -

All rights in this book are reserved . No part of it may be reproduced in any manner whatsoever or read aloud in public without written permission, except in the case o f brief extracts embodied in critical articles, reviews or lectures . For information apply to

5. It is recommended that the scale of fees as set out in (1) above be reviewed every thre e years, and the list of approved bodies concerned with the professional presentation o f spoken poetry as mentioned in (2) above and set out in B(ii) be reviewed annually .

Licence Application I/We (name and address of applicant) hereby apply for permission to perform in public by reading or recitation copyright poem s by poets details of whose names and publishers are given on the verso of this licence on th e understanding that regular returns of the poems so used shall be made to the publisher s concerned on the prescribed forms every six months on January 1st and July 1st .

Agreement I/We

being licensor(s) of the works of

are hereby prepared to allow

permission to read or recite in public poem(s) by the above poet(s) on the following conditions: - (i) that six monthly returns are made to us of the poem(s) so used on the prescribed form s and payment made every six months in accordance with the agreed scale of fees ; (ii) the poem(s) must be performed without additions, alterations or omissions, except b y permission of the poet(s); (iii) the name of the poet and, where applicable, of the publisher, must be printed on al l programmes relating to the performance of the poem . N.B . This licence is valid for the twelve months period It covers `live' public performances only. Performances by broadcasting, television o r gramophone record are specifically excluded .

104

SCALE OF FEE S a) In the case of public performances where there is paid admission by the publi c

For halls with a capacity of For a copyright poem of over 250 250 or unde r

s . d . s. d . 30 lines or less 12 6 10 0 31-50 lines 15 0 12 6 51-100 lines 17 6 15 0 every extra 50 lines 10 0 extra 7 6 extra

(6) In the case of recitals or performances given by a club or society where there is n o paid admission by the public but the attendance of members is covered wholly or in part by their subscription to the parent bod y

For rooms with a capacity of For a copyright poem of 50 or under over 50

s. d . s . d . 50 lines or less 5 0 7 6 51 lines or more 7 6 10 0

105 A

Notes on the Accounts

These notes are given in amplification of the Annual Accounts whic h follow. 1. To conform with modern accounting practice the Accounts ar e presented to the nearest pound. 2. During the year one piano of a book value of £260 was presented t o the Royal Ballet School Limited and one of a book value of £170 wa s presented to the British Institute of Recorded Sound . The Theatre and Concert Hall Equipment Account and the Capital Account have been correspondingly reduced in the Balance Sheet . 3. The expenditure of £8,995 out of the Reserve for Special Art s Projects covered the purchase for the Council's permanent collection of a representative selection of smaller works by Henry Moore . 4. Advance expenditure was incurred on the Shakespeare Quater- centenary Celebrations and £3,490 of this can be found under the Shake- speare Festival, 1964, contained in Schedule 1 . The Arts Festivals section of Schedule 3 contains a grant of £3,000 offered to the 1964 Shakespeare Anniversarv Council at Stratford upon Avon and a further £7,000 wa s offered to this Council by way of guarantee in 196465 . 5. In the Opera and Ballet section of Schedule 3, subsidies to thre e organizations include grants earmarked for capital purposes as follows :- Royal Opera House, Covent Garden Limited £60,000 Royal Ballet School Limited £15,000 London Opera Centre for Advanced Trainin g and Development Limited £3,900 6. The Drama section of Schedule 3 includes certain grants to theatre s for capital purposes, and a detailed analysis of this expenditure is given i n

108

the table following p . 88. A separate section of the same table gives a n analysis of grants to theatres in Scotland . 7. The grant of £300 to the Nottingham Theatre Trust Limited in th e Art section of Schedule 3 represents the third and final instalment of a contribution of £900 towards the cost of carrying out a design by Geoffrey Clarke for the embellishment of the new Nottingham Civic Theatre . 8. In the Arts Associations section of Schedule 3, subsidies to two organizations include grants earmarked for capital purposes as follows :- St Austell Society of Arts £200 Shaftesbury and District Arts Club £300 9. In Schedule 3 an amount of £36,000 is shown under Symphon y Orchestras for the Arts Council/London County Council Joint Orchestra l Committee . An equal amount was provided by the London County Counci l and the total sum was divided equally, £24,000 each, between the London Philharmonic Society Limited, the London Symphony Orchestra Limite d and the Philharmonia Concert Society Limited to finance a series of concerts at the Royal Festival Hall. 10. The Special Funds, in Schedule 5, include the National Manuscript Collection of Contemporary Poets which received an initial grant of £2,000 from the Pilgrim Trust during the year ended March 31st, 1964 . This amount, together with interest received, is represented in Schedule 6 by Cash on Bank Deposit and the cost of manuscripts acquired and hel d at March 31st, 1964 .

109

Appendix A The Arts Council of Great Britain

1962/6 3 £ £1,793,51 3 General Expenditure on the Arts in England (see Schedule 1) 2,270,02 1 127,16 1 General Operating Costs in England (see Schedule 2 ) 134,23 1 9,434 Capital Expenditure Transferred to Capital Account 22,12 3 1,250 Transfer to Theatre Royal Bristol Reserve Fund 1,000 Reserve for Loans to Associated Organisations 747 Sale ofInvestments 144,666 Grant to Scottish Committee 174,60 0 108,290 Grant to Welsh Committee 140,43 2 32,726 Balance carried down 10,269

£2,218,787 £2,751,67 6

40,153 Balance carried forward to Balance Sheet 50,42 2

£40,153 £50,422

110

Revenue and Expenditure Account for the year ended 31 st March, 19 6 4

1962/63 £ £ £2,190,000 Grant in Aid: H.M. Treasury 2,730,00 0 7,570 Repayment of Loans - Cancellation of Grants, Guarantees and provision for 13,882 expenses in previous year not required 8,15 7 1,508 Amount Transferred from Reservefor Special Art Projects 8,99 5 Amount Transferred from Specific Reserve: 3,000 Coventry Cathedral Festival - Sundry Receipts : Interest: Bank and Investment 3,19 0 Proceeds of Sale of Assets 606 Miscellaneous 728 2,827 4,524

92,218,787 £2,751,67 6

7,427 Balance brought forward, at 1st April, 196 3 40,15 3 32,726 Balance brought down 10,269

£40,153 £50,42 2

11 1

The Arts Council of Great Britain

Liabilities 1963 Capital Account £ £ Balance as at 31st March, 1963 118,12 6 Add Capital Expenditure during year transferred from Revenue and Expenditure Accoun t 22,12 3 Book Value of gifts and legacy received : Pictures and Sculptures 61 0

140,85 9 Less Book Value of Assets written off: Office Equipment 25 4 Reproductions 31 2 Lithographs 57 1 Book Value of Assets sold : Office Equipment 40 4 Motor Vans and Cars 1,57 7 Book Value of Assets donated: Theatre and Concert Hall Equipmen t 43 0 - 3,548 £118,126 137,31 1 47,295 Grants and Guarantees Outstanding 110,02 3 Credit Balance s 26,964 Sundry Creditors and Accrued Liabilities 42,09 0 15,669 Special Funds (see Schedule 5) 17,96 0 Reserve for Special Art Project s Balance as at 31st March, 196 3 28,492 Less amount transferred to Revenue and Expenditur e Accoun t 8,995 28,492 19,49 7 Revenue and Expenditure Account 40,153 Balance as at 31st March, 1964 50,422

£276,699 Carried forward £377,303

11 2

Balance Sheet as at 31st March, 1964

Assets

1963 Office Equipment £ £ At valuation as at 31st March, 1956, and additions a t cost less items sold or written off to 31st March, 196 3 18,01 0 Additions at cost during year 1,39 5

19,40 5 Less items sold or written off during year 658 £18,010 18,747 Motor Vans and Cars At cost as at 31st March, 196 3 13,66 1 Additions at cost during year 1,43 6

15,09 7 Less items sold during year 1,577 13,661 13,52 0 Cello Account 100 At valuation as at 31st March, 1960 10 0 Theatre and Concert Hall Equipmen t At valuation as at 371st March, 1956, and additions a t cost less items sold or written off to 31st March, 196 3 11,39 6 Additions at cost during year 2 8

11,42 4 Less items donated during year 430 11,396 10,994 Art Exhibition Equipment At valuation as at 31st March, 1956, and additions at cost less items sold or written off to 31st March, 1963 12,78 1 Additions at cost during year 995 12,781 13,776 Lithograph s At cost 57 1 571 Less items written off during year 57 1

Pictures and Sculptures At cost as at 31st March, 196 3 54,44 7 Additions at cost during year 18,26 9 Gifts and legacy received during yea r 610 54,447 73,326 Reproductions At valuation as at 31st March, 1957, and additions at cost to 31st March, 196 3 7,160 Less items written off during year 312 7,16 0 6,84 8 402 Wigmore Hall Canteen Stock 37 1

£118,528 Carried forward £137,68 2

11 3

The Arts Council of Great Britain

Liabilities

1963 £ £276,699 Brought forward 377,303

Note : No provision has been made for depreciation o f Assets : renewals are charged to Revenue .

£276,699 £377,30 3

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account and Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council of Great Britain and of th e state of their affairs. Signed : E. G . COMPTON , Comptroller and Auditor-General, Exchequer and Audit Department, 5th August, 1964 .

114

Balance Sheet as at 31st March, 1964

Assets 1963

£118,528 Brought forward 137,68 2 Loans to Associated and Other Organizations Secured by Mortgage Balance as at 31st March, 196 3 2,87 5 Less repaid during year 12 5 - 2,75 0 Secured by Investment 3,33 0

6,08 0 Unsecured and only conditionally recoverable Balance as at 31st March, 196 3 1,500 Less Reserve 1,500

6,205 6.08 0 Special Fund Investments (see Schedule 6) 14 9 115 At cost or at market value at date of transfer 17,960 Investments 4j per cent British Electricity Guaranteed Stock 1974/7 9 2,41 9 (Market Value £2,467 ) Equities Investment Fund for Charitie s 2,432 (Market Value £2,079 ) 4,85 1 4,85 1 63,400 Grants and Guarantees Paid in Advance 169,03 0 Debit Balances Sundry Debtors and pre-payment s 8,30 5 Expenditure on future exhibitions in preparation 2,49 7 Due from Scottish Committee 7 2 Due from Welsh Committee 263 In Transit from Welsh Committee 105 25,949 11,24 2 Cash On Bank Deposi t 24,50 0 On Current Accoun t 5,45 8

29,95 8 Add Imprests 39 7 In han d 103 43,65 1 30,45 8

£276,699 £377,30 3

Chairman : COTTESLOE

Secretary-General: NIGEL J . ABERCROMBIE

115

The Arts Council of Great Britain Schedule I General Expenditure on the Arts in England for the year ended 31st March, 1964 £ £ £ Music Opera and Ballet Grants and Guarantees (see Schedule 3) 1,324,482 Directly Managed Performances (Opera for All) : Gross Expenditure 21,50 3 Less : Revenue 13,978 7,525 Symphony Orchestra s Grants and Guarantees (see Schedule 3) 258,500 Other Activities Grants and Guarantees (see Schedule 3) 52,557 Wigmore Concert Hall : Gross Expenditure (including costs of repairs to building) 13,28 0 Less : Revenue 11,89 3 1,38 7 Less : Surplus on Wigmore Hall Catering 295 1,092 Audition Expenses 63 1,644,21 9 Drama Grants and Guarantees (see Schedule 3) 503,83 5 Art Grants and Guarantees (see Schedule 3) 10,004 Net Cost of Exhibitions (see Schedule 4) 53,68 8 Art Films Tours : Gross Expenditure 2,200 Less : Revenue 689 1,511 65,203 Festivals Grants and Guarantees (see Schedule 3) 18,152 Poetry Grants and Guarantees (see Schedule 3) 4,07 2 Poetry Library and Miscellaneous Expenses 120 4,19 2

Arts Grants and Guarantees (see Schedule 3) 27,320 Associations

Arts Centres Grants and Guarantees (see Schedule 3) 3,61 0 and Arts Club s Shakespeare 3,490 Festival 1964

Net Expendturei transferred to Revenue and Expenditure Account £2,270,02 1

116

The Arts Council of Great Britain General Operating Costs for the year ended Schedule 2 31st March, 1964

£ £ £ Salaries and Wages : Music 13,490 Drama 9,51 6 Art 23,79 3 Finance 16,10 5 Administration 26,232 89,13 6

Superannuation 9,870 99,006

Travelling and Subsistence 5,80 0 Rent and Rates 11,02 6 Fuel, Light and House Expenses 3,96 0

Publicity and Entertainment 4,61 5 Office and Sundry Expenses 9,824

Transferred to Revenue and Expenditure Account £134,23 1

Note: Endowment benefits due to members of the Pension Fund are assured b y Policies held by the Council .

117

£ £ Brought forward 1,635,53 9 Drama tBarrow-in-Furness: Renaissance Theatre Trust Company Limited 3,45 0 tBirmingham Repertory Theatre Limited 15,15 0 Birmingham: Alexandra Theatre (Birmingham) Limited 250 tBristol : Old Vic Trust Limited 15,325 tBromley Productions Limited 3,920 tCambridge Arts Theatre Trust 800 tCanterbury Theatre Trust Limited 4,450 tCheltenham Everyman Theatre Company Limited 5 9330 tChesterfield Civic Theatre Limited 3,600 tChichester Festival Theatre Trust Limited 8,00 0 tColchester Repertory Company Limited 6,25 0 tCoventry : Belgrade Theatre Trust (Coventry) Limited 14,87 5 Croydon: New Pembroke Theatre (Croydon) Limited 2,00 0 tDarlington Civic Theatre Limited 3,000 tDerby Playhouse Limited 4,60 0 tFarnham Repertory Company Limited 2,500 Guildford Theatre Club Limited 2,500 tHarrogate (White Rose) Theatre Trust Limited 2,75 0 Hornchurch Theatre Trust Limited 5,00 0 tIpswich Arts Theatre Trust 6,00 0 tLeatherhead Repertory Company Limited 5,85 0 tLeicester Theatre Trust 3,95 0 rLincoln Theatre Association Limited 8,300 Liverpool Repertory Theatre Limited 5,000 London : tEnglish Stage Company Limited 35,000 tHampstead Theatre Club Limited 25 0 tLondon Academy of Music and Dramatic Art 1,000 tMermaid Theatre Trust 7,00 0 National Theatre Board 130,00 0 New Shakespeare Company Limited 1,00 0 Old Vic Trust Limited 45,00 0 Pioneer Theatres Limited (Theatre Workshop) 3,00 0 Repertory Players 8 5 tRoyal Shakespeare Theatre 47,00 0 Loughborough and District Theatre Association Limited 1,50 0 tMargate Stage Company Limited 7 5 tNewcastle: Flora Robson Playhouse 5,100 tNorthampton Repertory Players Limited 7,300 tNottingham Theatre Trust Limited 18,350 tOldham Repertory Theatre Club 4,50 0 Oxford : Meadow Players Limited 12,22 5 tPlymouth Arts Guild 1,00 0 tRichmond Theatre Productions Limited 1,200 Richmond : Georgian Theatre (Richmond) Trust Limited 500 tSalisbury Arts Theatre Limited 7,050

Carried forward £460,985 £1,635,53 9 t Maximum commitments are given, not necessarily the amounts paid .

119

Brought forward 460,985 1,635,53 9 Drama tSheffield Repertory Company Limited 11,20 0 (continued) tSunderland : Empire Theatre 2,200 Windsor Repertory Company : Capoco Limited 1,000 tYork Citizens' Theatre Trust Limited 3,050 Touring: tCentury Theatre Limited 6,025 Mobile Theatre Limited 1,00 0 tProspect Productions Limited 2,72 5 tStudio Theatre Limited (Theatre in the Round) 9,505 The British Centre of the International Theatre Institute 25 0 Council of Repertory Theatres 35 0 National Council for Civic Theatres 30 0 tBursaries and New Drama Expenses 1,61 0 less: Receipts 729 88 1 tTraining Schemes 4,364 503,83 5 Art Birmingham: Mixed Company Exhibition 2 0 tBournemouth Arts Club 12 0 Brentwood Arts Society 3 0 tBristol: Royal West of England Academy 10 0 tBromley Art Society 5 0 tBruton Art Society 5 0 Christchurch: Red House Museum and Art Gallery 6 0 tCirencester Arts Club 10 0 Colchester Art Society 4 0 Folkestone : New Metropole Arts Centre 7 5 Ilkley Art Club 3 0 Lake District Art Gallery Trust 50 0 London: Institute of Contemporary Arts 3,00 0 tSociety for Education through Art 33 5 The Finsbury Art Group 40 tFree Painters Group 5 0 tThe London Group 500 Trustees of the Whitechapel Art Gallery 1,000 United Kingdom National Committee of the International Associatio n of Plastic Arts 200 tWomen's International Art Club 350 tYoung Contemporaries 1964 300 tMidland Group of Artists 1,00 0 Newcastle Society of Artists 5 0 tThe Newlyn Society of Artists 300 Nottingham Theatre Trust Limited 300 Oxford: Bear Lane Gallery Limited 50 0 tThe Penwith Society of Arts in Cornwall 60 0 Peters9eld Arts and Crafts Society 2 5 Welland Valley Arts Society 1 0 tBrigit Barry-Stained Glass Film 15 0 tSamaritan Films-J . W . M . Turner Film 40 0

550 less: Art Film Receipts 281 269 10,004

Carried forward £2,149,37 8 t Maximum commitments are given, not necessarily the amounts paid .

120

Brought forward 2,149,378 Arts Aldeburgh Festival of Music and the Arts 2,00 0 Festivals tBath Festival Society Limite d 2,50 0 Cambridge Festival Association Limite d 25 0 Cheltenham Arts Festivals Limited: Cheltenham Festival of British Contemporary Music 2,50 0 Cheltenham Festival of Literature 400 2,90 0 Haslemere Festival : The Dolmetsch Foundation 55 0 King's Lynn : The St George's Guildhall Limited 1,00 0 Leeds International Pianoforte Competitio n 50 0 Little Missenden Festival 15 0 Ludlow Festival Society Limite d 75 0 Stratford upon Avon : 1964 Shakespeare Anniversary Council 3,00 0 Stroud Festival of Religious Drama and the Arts 15 0 Worcester: Three Choirs Festival Association Limite d 90 2 York Festival Society Limite d 3,500 18,15 2

Poetry The Apollo Society 44 0 The British Institute of Recorded Sound (Recorded Literature Grant ) 5 0 Cley Women's Institute (Little Festival of Poetry, Cley-next-the-Sea ) 1 3 Contemporary Poetry and Music Circle 5 0 tThe Poetry Book Society Limited : General 70 0 Festival of Poetry 1,86 9 2,56 9 tThe Shakespeare 'Birthplace Trus t 40 0 Poetry Publications : t°Ambit ' 10 0 t`The Review' 20 0 t`Stand' 12 0 t`Universities Poetry' 130 4,07 2

Arts North Eastern Association for the Art s 22,00 0 Associations tMidland Arts Association : Administratio n 32 5 South Western Arts Association : Administratio n 2,00 0 Arts Centres and Clubs: Blandford Arts Club 7 0 tBridgwater and District Arts Centre Limited 27 5 Chippenham and District Society of Art s 3 5 Crewkerne Arts Club 4 0 Dawlish Arts Festival s 2 5 tDevon Guild of Craftsme n 2 0 tExeter Arts Group 12 5 Falmouth: Royal Cornwall Polytechnic Society 30 0 tIsle of Purbeck Arts Club 5 0 Kingsbridge Music Society 2 5 tLaunceston Arts Society 5 0 Mid-Somerset Arts Federation 5 0

Carried forwar d £25,390 £2,171,60 2 t Maximum commitments are given, not necessarily the amounts paid.

121 £ £ Brought forward 25,390 2,171,60 2 Arta South Western Arts Association : Arts Centres and Clubs (continued ) Associations tNewton Abbot and District Society of Arts 4 5 (continued) tPlymouth Arts Centre 300 tSt Austell Society of Arts 50 0 tShaftesbury and District Arts Club 60 0 tTaunton Deane Arts Society 5 0 tTruro Three Arts Society 50 tWarminster Arts Club 50 tWeston-super-Mare Society of Arts 3 5 tWeymouth and South Dorset Arts Centre 300 27,32 0 Arts Centres tAlfreton and District Arts Association 175 and Arts Basingstone Theatre Association Limited 50 Clubs tBeccles and District Arts Society 2 5 tCamberwell Arts Council 2 5 tCannock Arts Council 3 5 tCoventry Arts Centre : The Umbrella Club 250 tCrewe and District Music and Arts Society 2 0 Cromer Society 4 5 tDudley Arts Council 10 0 tEston and Ormesby Guild of Arts 3 0 tFrodsham Music and Arts Club 2 5 tHartlepools Arts Association 10 0 Hastings: Stables Trust Limited 30 0 tHuntingdonshire Music and Arts Society 5 0 tKettering and District Three Arts Club 5 0 tKing's Lynn : St George's Guildhall Limited 35 0 tLeek and District Arts Club 80 tLincoln Society of Arts 45 Manchester Institute of Contemporary Arts 325 tMarple Arts Group 30 Middlesbrough Little Theatre Limited 35 0 tNewmarket and District Arts League 40 Rosehill Arts Trust Limited 500 Solihull Society of Arts 4 0 tStafford and District Arts Council 20 0 tTamworth Arts Club 2 0 tTring Arts Society 5 0 tWaltham Holy Cross Arts Council 5 0 tWest Wight Arts Association 4 5 tWlutby: Three Arts Club 10 0 Wolverhampton Civic Hall Arts Society 2 5 tWorcester : S .A.M .A . 5 0 tWorsley Art and Music Society 3 0 - 3,61 0

£2,202,53 2

t Maximum commitments are given, not necessarily the amounts paid .

122

The Arts Council of Great Britain Art Exhibitions Schedule 4 £ £ Gross Expenditure : Transport 32,71 5

Organising 15,00 0 Insurance 13,44 2 Printing 15,52 3 Publicity 8,49 2 Materials 10,98 2 Hiring Fees 701 96,855

Less Revenue: Admissions 18,392 Catalogue Sales 12,25 6 Exhibition Fees 12,519 43,167

Net Expenditure transferred to Schedule 1 £53,68 8

123

The Arts Council of Great Britain Schedule 5 Special Funds

£ £ £ Pilgrim Trust Special Fun d

As at 31st March, 1963 1,666 Add: Income during year 72 1,73 8 H.A . Thew Fund

Capital Account 7,77 3 Income Account : Balance at 31st March, 1963 19 0 Add: Income during year 378

568 Less: Payments during year 30 7 - 26 1 - 8,03 4 Mrs Thornton Fund

Capital Account 5,12 4 Income Account : Balance at 31st March, 1963 27 0 Add : Income during year 25 8 - 528 5,65 2 Arts Council: Theatre Royal, Bristol, Reserve Fun d As at 31st March, 1963 647 Add : Income during year 276

92 3 Less : Payments during year 409 - 51 4 National Manuscript Collection of Contemporary Poet s Income during year 2,022

Total Special Funds as per Balance Sheet £17,96 0

124

The Arts Council of Great Britain

Special Fund Investments as at 31st March, 1964 Schedule 6

Nominal Market Boo k Value Value Value

Pilgrim Trust Special Fun d 5 per cent Treasury Bonds 1986/89 744 666 64 7 Equities Investment Fund for Charities 619 758 65 0 Cash on Bank Deposit 44 1 - 1,73 8

H. A . Thew Fund 3 per cent British Transport Stock 1978/88 2,105 1,400 1,93 7 3,j per cent Conversion Stock 2,810 1,644 2,76 8 Equities Investment Fund for Charities 2,922 3,579 3,06 8 Cash on Bank Deposit 26 1 - 8,03 4

Mrs Thornton Fun d 2j per cent Consolidated Stock 665 283 48 9 5j per cent Conversion Stock 1974 (P.O. Issue) 200 201 20 3 3 per cent British Transport Stock 1978/88 355 236 33 7 5j per cent Funding Stock 1982/84 110 108 10 0 5 per cent Treasury Bonds 1986/89 1,825 1,633 1,58 8 Equities Investment Fund for Charities 2,217 2,716 2,32 8 Cash on Bank Deposit 607 5,65 2 £14,572 £13,22 4

Arts Council : Theatre Royal, Bristol, Reserve Fund Cash in Bank Current Account 51 4

National Manuscript Collection of Contemporary Poets Edwin Muir Manuscripts 25 0 Cash on Bank Deposit 1,772 2,022

Total Special Fund Investments as per Balance Sheet £17,96 0

12 5

The Council's Committee in Scotland

1962/63 £ £132,143 General Expenditure on the Arts (see Schedule l) 156,80 9 17,509 General Operating Costs (see Schedule 2) 18,85 6 1,209 Capital Expenditure Transferred to Capital Account 1,326

£150,861 £176,99 1

4,870 Balance brought down 12 8 2,104 Balance carried forward to Balance Sheet 1,97 6

£6,974 £2,10 4

126

Revenue and Expenditure Account for the year ended 31st March, 196 4

1962/63 £ £ £144,666 Grant from the Arts Council of Great Britain 174,600 Cancellation of Grants and Guarantees in 507 previous year not required 72 1 106 Amount Transferred from Reserve for Capital Purchase 7 2 Sundry Receipts:

Interest on Deposit Account 10 4 Insurance Claim on Theatre and Concert Hall Equipment destroyed or damaged by fire 1,13 1 Proceeds of Sale of Assets 17 5 Miscellaneous 6 0 712 1,47 0 4,870 Balance carried down 128

£150,861 £176,99 1

6,974 Balance brought forward at 1st April, 1963 2,10 4

£6,974 £2,104

12 7

The Council's Committee in Scotland

Liabilities

1963 £ £ £ Capital Account Balance as at 31st March, 1963 27,968 Add Capital Expenditure during year transferred from Revenue and Expenditure Account 1,326

29,29 4 Less Book Value of Assets sold : Motor Car 64 7 Book value of Assets destroyed or damaged by fire : Theatre and Concert Hall Equipment 1 9 131 1,77 8 £27,968 27,51 6 10,785 Grants and Guarantees Outstanding 6,24 2 Credit Balances Sundry Creditors and Accrued Liabilities 4,71 0 Due to Headquarters 7 2 3,322 4,78 2 Reserve for Capital Purchase 7 2 Less Amount transferred to Revenue and Expenditure Account 7 2 72 -

£42,147 Carried forward £38,540

128

Balance Sheet as at 31st March, 196 4

Assets

1963 £ £ Freehold Property £8,307 11 Rothesay Terrace, Edinburgh 8,307 Office Equipment At valuation as at 31st March, 1955, and additions at cost, less items sold or written off, to 31st March, 1963 3,43 3 Additions at cost during year 27 9 3,433 3,71 2 Motor Cars At cost as at 31st March, 1963 2,098 Less items sold during year 647 2,098 1,45 1 Piano Account 200 At valuation as at 31st March, 1955 20 0 Theatre and Concert Hall Equipment At cost as at 31st March, 1963 4,10 6 Less Book Value of Assets destroyed or damaged by fire during year 1,13 1 4,106 2,97 5 Pictures, Sculptures and Tapestry At cost as at 31st March, 1963 8,72 8 Additions at cost during year 70 7 8,728 9,43 5 Reproduction s 672 At cost 67 2 Lithographs At cost as at 31st March, 1963 42 4 Additions at cost during year 34 0 424 764

£27,968 Carried forward £27,51 6

129

The Council's Committee in Scotland

Liabilities 1963 £ £42,147 Brought forward 38,54 0 Revenue and Expenditure Account 2,104 Balance as at 31st March, 1964 1,976

Note: No provision has been made for depreciation of Assets : renewals are charged to Revenue.

£44,251 £40,51 6

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required an d I certify, as the result of my audit, that in my opinion this Account an d Balance Sheet are properly drawn up so as to exhibit a true and fai r view of the transactions of the Arts Council's Committee in Scotland and of the state of their affairs. Signed: E . G. COMPTON, Comptroller and Auditor-General, Exchequer and Audit Department, 5th August, 196 4

130

Balance Sheet as at 31st March, 196 4

Assets

1963 £ £ £27,968 Brought forward 27,51 6 Loans to Associated and Other Organisations Unsecured and only conditionally recoverable 12,00 0 Less Reserve 12,00 0

Debit Balance s Sundry Debtors and payments in advance 4,17 8 Expenditure on future drama tour in preparation 2 5 4,310 4,20 3 Cash On Bank Deposit 5,00 0 On Current Account 3,71 2 In hand 8 5 11,973 8,797

£44,251 £40,51 6

Chairman of the Scottish Committee : C. H. MACKENZI E

Secretary-General: NIGEL J . ABERCROMBIE

13 1

The Council's Committee in Scotland Schedule I General Expenditure on the Arts for the year ende d 31st March, 1964

£ £ £

Music Oper a Grants and Guarantees (see Schedule 3 ) 6,00 0 Ballet Grants and Guarantees (see Schedule 3) 400 Tours : Gross Expenditur e 3,51 6 Less : Revenue 1,986 1,530 1,930 Symphony Orchestr a Grants (see Schedule 3 ) 54,500 Other Activities Grants and Guarantees (see Schedule 3) 4,70 1 Directly Provided Concerts: Gross Expenditure 10,478 Less: Revenu e 3,823 6,655 11,35 6 Drama Grants and Guarantees (see Schedule 3) 50,21 9 Tours: Gross Expenditur e 7,098 Less: Revenu e 2,517 4,581 54,800 Art Grants and Guarantees (see Schedule 3) 519 Exhibitions : Gross Expenditure 7,307 Less: Revenu e 2,09 2 - 5,21 5 Art Films: Gross Expenditure 41 6 Less: Art Film Fees and Catalogue Sale s 101 31 5 Guide Lecturers' Fees and Expense s 1,128 Less: Fees received 308 - 820 6,869 Festivals Grants and Guarantees (see Schedule 3) 20,400 Poetry Grants and Guarantees (see Schedule 3) 70 Arts Centres Grants and Guarantees (see Schedule 3) 88 4 an d Arts Clubs

Net Expenditure transferred to Revenue and Expenditure Account £156,809

132

The Council's Committee in Scotland General Operating Costs for the year ended Schedule 2 31st March, 1964

£ Salaries and Wages 12,74 8 Superannuation 92 7 Travelling and Subsistence 1,00 1 Rates, Fuel, Light and House Expenses 2,08 1 Publicity and Entertainment 17 9 Office and Sundry Expenses 1,920

Transferred to Revenue and Expenditure Account £18,85 6

Note : Endowment benefits due to members of the Pension Fund are assure d by Policies held by the Council.

133

The Council's Committee in Scotland Schedule 3 Grants and Guarantees for the year ended 31st March, 1964

£ £ Music Opera Scottish Opera Society 4,500 Amateur Operatic Societies 1,500 6,000 Balle t Edinburgh Ballet Club 400 Symphony Orchestr a Scottish National Orchestral Society Limited 54,500 Other Activitie s tCollege of Piping 17 5 tConnoisseur Concerts Society 15 0 tEdinburgh Lunch Hour Concerts 300 Edinburgh Organ Recitals Committee 8 0 tEdinburgh University Singers 15 0 tFerranti Musical Society 70 tNational Federation of Music Societies 3,50 0 Saltire Society 9 4 tSt Giles Singers 7 5 tDirect Grants and Guarantees to Music Clubs (£50 and under) 107 4,70 1

Drama British Centre of the International Theatre Institute 2 5 tDundee Repertory Theatre Limited 13,90 0 tEdinburgh Gateway Company Limited 5,45 0 Edinburgh : Traverse Theatre Club 10 0 tGlasgow : Citizens' Theatre Limited 15,31 4 tPerth Repertory Theatre Limited 10,85 0 Pitlochry Festival Society Limited 4,20 0 St Andrews Play Club-Byre Theatre 380 50,21 9

Art Aberdeen : A .B .B .O . Group 2 5 Aberdeen Artists' Society 1 1 tEdinburgh : '57 Gallery 100 Falkirk Arts and Civic Council 1 2 tGalashiels Arts Club 7 5 tGlasgow : Citizens' Theatre Limited 9 0 Kinross : Ledlanet Festival Art Exhibition 8 0 Scottish Society of Women Artists 5 0 Stirling : Smith Art Institute and Museum 76 519

Festivals Edinburgh Festival Society Limited 20,00 0 Montrose Town Improvement Association 400 20,40 0

Carried forward £136,73 9

t Maximum commitments are given, not necessarily the amounts paid .

134

Brought forward 136,739 Poetry `New Saltire' Magazine 5 0 tScottish Association for the Speaking of Verse 20 - 7 0 Arts Centres tGreenock Arts Guild 35 0 and tKelso and District Music Society 10 0 Arts Clubs tMelrose Music Society 10 0 Tain and District Music Society 10 0 tTroon Arts Guild 234 88 4

£137,693

t Maximum commitments are given, not necessarily the amounts paid.

135

The Council's Committee in Wales

1962/63 £ £83,219 General Expenditure on the Arts (see Schedule 1) 115,188 19,089 General Operating Costs (see Schedule 2) 21,869 9,420 Capital Expenditure Transferred to Capital Account 7,177 1,861 Reserve for Capital Purchases -

£113,589 £144,23 4

89 Balance brought down 904 2,872 Balance carried forward to Balance Sheet 1,968

£2,961 £2,87 2

136

Revenue and Expenditure Account for the year ended 31st March, 1964

1962/63 £ £ £108,290 Grant from the Arts Council of Great Britain 140,43 2 Cancellation of Guarantees and provisions for fees and expenses 452 in previous year not required 41 2 4,054 Amount Transferred from Reserve for Capital Purchases 1,86 1 Sundry Receipts : Interest on Deposit Account 57 5 Proceeds of Sale of Assets 3 0 Miscellaneous 2 0 704 - 62 5 89 Balance carried down 904

£113,589 £144,234

2,961 Balance brought forward at 1st April, 1963 2,872

£2,961 £2,872

13 7

The Council's Committee in Wales

Liabilities

1963 £ £ Capital Accoun t Balance as at 31st March, 1963 19,87 3 Add Capital Expenditure during the year transferred fro m Revenue and Expenditure Account 7,17 7

27,05 0 Less Book Value of Assets sold : Office Equipment 14 5 £19,873 26,90 5 17,969 Grants and Guarantees Outstanding 14,42 5 Credit Balances Sundry Creditors and Accrued Liabilities 1,92 4 Due to Headquarters 263 1,980 2,187 Reserve for Capital Purchases Balance as at 31st March, 1963 1,86 1 Less Amount transferred to Revenue and Expenditure Account 1,86 1 1,861 -

Revenue and Expenditure Account 2,872 Balance as at 31st March, 1964 1,968

Note: No provision has been made for Depreciation of Assets : renewals are charged to Revenue .

£44,555 £45,48 5

I have examined the foregoing Account and Balance Sheet . I have obtained all the information and explanations that I have required and I certify, as the result of my audit, that in my opinion this Account an d Balance Sheet are properly drawn up so as to exhibit a true and fair view of the transactions of the Arts Council's Committee in Wales and of the state of their affairs . Signed: E . G. COMPTON , Comptroller and Auditor-General . Exchequer and Audit Department . 5th August, 1964 .

13 8 Balance Sheet as at 31st March, 196 4

Assets

1963 £ £ Freehold Property - 56 Ruby Street, Cardiff 4,30 0 Office Equipment At cost as at 31st March, 1963 4,37 1 Additions at cost during year 45 0

4,82 1 Less items sold during year 14 5 £4,371 4,67 6 Motor Vans and Car s At cost as at 31st March, 1963 3,45 8 Additions at cost during year 79 9 3,458 4,25 7 Theatre Properties and Equipmen t At cost as at 31st March, 1963 1,498 Additions at cost during year 198 1,498 1,69 6 Pictures and Sculptures At cost as at 31st March, 1963 7,833 Additions at cost during year 1,036 7,833 8,869 Art Exhibition Equipment At cost as at 31st March, 1963 2,55 2 Additions at cost during year 394 2,552 2,946 Reproductions 161 At cost 16 1 50 Loans to Associated and Other Organisations 50 Debit Balances 2,535 Sundry Debtors and payments in advance 10,11 7 Cash On Bank Deposit 6,88 8 On Current Account 1,45 0 In hand 7 5 22,097 8,41 3

£44,555 £45,485

Chairman of the Welsh Committee : GWYN JONE S Secretarv-General : NIGEL J . ABERCROMBIE

13 9

The Council's Committee in Wales Schedule 1 General Expenditure on the Arts for the year ended 31st March, 1964 £ £ £ Music Opera Grants and Guarantees (see Schedule 3 ) 50,750 Drectlyi Managed Performances (Opera for All) : Gross Expenditure 5,898 Less : Revenu e 3,539 2,35 9 53,109 Other Activitie s Grants and Guarantees (see Schedule 3) 7,21 4 Drectlyi Provided Concerts : Gross Expenditure 31,04 8 Less : Revenu e 15,265 15,78 3 22,99 7 Drama Grants and Guarantees (see Schedule 3) 1,703 The Welsh Theatre Company: Administration and Operational Expenditur e 5,260 English Language Tours: Gross Expenditure 25,35 7 Less : Revenue 13,028 12,329

Welsh Language Tours: Gross Expenditure 2,39 7 Less : Revenue 687 1,71 0 21,00 2

Art Grants and Guarantees (see Schedule 3) 2,02 7 Exhibition Expense s 7,29 1 Less: Exhibition Fees and Catalogue Sales 1,306 5,98 5 Art Films: Gross Expenditur e 36 0 Less: Art Film Fees and Catalogue Sale s 201 15 9 Guide Lecturers' Fees and Expense s 12 8,18 3 Festivals Grants and Guarantees (see Schedule 3) 8,80 1 Poetry and Grants and Awards (see Schedule 3 ) 625 Literature Recitals : Gross Expenditure 633 Less : Revenue 16 2 - 471 1,09 6

Net Expenditure transferred to Revenue and Expenditure Account £115,18 8

140

The Council's Committee in Wales General Operating Costs for the year ending Schedule 2 31st March, 1964

Salaries and Wages 10,937 Superannuation 77 1 Travelling and Subsistence 2,50 6 Rent, Rates, Fuel, Light and House Expenses 3,135 Publicity and Entertainment 2,18 4 Office and Sundry Expenses 2,336

Transferred to Revenue and Expenditure Account £21,86 9

Note: Endowment benefits due to members of the Pension Fun d are assured by Policies held by the Council.

14 1

The Council's Committee in Wales

Schedule 3 Grants and Guarantees for the year ended 31st March, 1964

£ £

Music Opera tThe Welsh National Opera Company Limited 50,750 Other Activities Barry and District Concerts Committee 1,15 0 Cardiff: Promotion of New Music-Commission Fees 32 1 tEbbw Vale: National Federation of Music Societies 1,605 tOsbaston : Merlin Music Society 25 0 tPort Talbot Borough Council 10 0 tDirect Grants to Music and Art Clubs for Concerts 3,788 7,21 4

Drama Aberystwyth : University of Wales Welsh Drama Society 20 3 Cardiff New Theatre Trust 50 0 tCardigan Joint Theatre Committee 2 5 Ebbw Vale: Guild of Welsh Playwrights 2 5 Llangefni: Theatre Fach 25 0 Promotion of New Play : Commission Fee 200 Travel Bursary 500 1,703

Art Aberystwyth : University College 20 0 Anglesey Art Societies 5 0 Bangor : North Wales Group 5 0 Bangor : University College 200 Cardiff: Contemporary Art Society for Wales 200 Cardiff. `56' Group 10 0 Haverfordwest Art Exhibitions Council 8 5 Merioneth Artists Society 2 5 Pontypool : South Wales Group 7 5 tPortmadoc Art Club 2 5 Swansea: Glynn Vivian Art Gallery 1 9 Wrexham Art Group 2 5 Society for Education through Art 22 3 Travel Bursary 750 2,02 7

Festivals Anglesey Music Festival 17 5 Anglesey National Drama Festival 349 Brecknock County Festival of Music 25 0 Caerphilly Festival 67 3 Cardiff: Drama Council of Wales (One Act Playwriting Festival) 7 0 tCarmarthen : University of Wales Students Drama Festival 30 Dee and Clwyd Festival of Music 25 0 Llandaff Festival 1,25 0

Carried forward £3,047 £61,694

t Maximum commitments are given, not necessarily the amounts paid .

14 2

Brought forward 3,047 61,69 4 Festivals tLlandudno : Welsh National Eisteddfod 45 0 (continued) Llangollen International Music Eisteddfod 2,50 0 Llantilio Crossenny Festivals 67 Montgomery County Music Festival 88 7 Rhyl Festival 10 0 Swansea Festival of Music and the Arts 1,25 0 National Federation of Music Societies (Combined Choirs Festival) 50 0 8,80 1 Poetry and Anglo Welsh Review 12 5 Literature Bursaries and Awards 500 62 5

£71,12 0

t Maximum commitments are given, not necessarily the amounts paid .

143 Art Panel Sir Laurence Olivier John Witt, Chairman Harold Pinte r Ronald Alley Patrick Robertso n Professor Quentin Bell Reginald Salberg Alan Bowness Miss Dorothy Tuti n Loraine Conran, FMA T . C . Worsle y Sir Patrick W . Donner Professor L . D . Ettlinger Music Panel Lawrence Gowing, CBE Professor Anthony Lewis, Chairma n Basil Gray, CBE Paul Beard, oB E Adrian Heath Anthony Besc h Ralph Holland Geoffrey Bush, DMu s F . E . McWilliam, ABA George Christi e Professor Bernard Meadows, ARCA John Cruft M . A. Palmer, FMA Meredith Davie s Roland Penrose, CBE Norman Del Mar Professor Nikolaus Pevsuer, CBE, PhD Dame Ninette de Valois John Pope-Hennessy, CBE Geraint Evans, CB E The Earl of Rosse, MBE Dr Roger Fiske John Russell William Glock, CBE R. J. Sainsbury, ACA The Countess of Harewood Mrs K . L . Somerville, OBE Roy Henderson Adrian D . Stokes Miss Imogen Holst David Sylvester Professor Ivor Keys, DMu s Professor Carel Weight, CBE, ARA, RBA Denis Matthew s Gerald Moore, CBE Drama Panel Miss Thea Musgrave Hugh Willatt, Chairman Andrew Porte r Michael Barry, OBE Gordon Thorn e Miss Nancy Burman Professor Sir Jack Westrup John Bur y Professor Bonamy Dobree, OBE Poetry Pane l Miss Jane Edgeworth C . Day Lewis, CBE, Chairma n Martin Esslin Charles Causle y Robin Fox Patrick Garlan d Wyn Griffith, CBE, DLitt Miss Ramer Godde n Peter Hall, CBE David Holbroo k Miss Jocelyn Herbert Ted Hughes Professor Hugh Hunt Philip Larki n Hugh Jenkins Edward Lucie-Smith Major-General Sir John Kennedy, GCMG, KCVO, William Plomer, DLitt Peter Redgrov e KBE, CB, MC Val May James Reeve s Leo McKern Alan Ross Bernard Miles Miss Stevie Smith Miss Yvonne Mitchell Anthony Thwait e John Mortimer Professor Constantine Trypanis

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