Annual Review 2001 Contents

Total Page:16

File Type:pdf, Size:1020Kb

Annual Review 2001 Contents accounts and lottery report annual review 2001 Contents 3 Welcome 4 Arts Council of England grant-in-aid accounts 27 Grants awarded 2000/01 39 Arts Council of England lottery distribution accounts 61 National Lottery Report 2000/01 78 Advisory Panels 79 Regional Arts Boards 4 Arts Council of England grant-in-aid accounts 25 Grants awarded 1999/2000 44 Arts Council of England lottery distribution accounts 64 National Lottery Report 1999/2000 78 Advisory Panels 79 Regional Arts Boards THE ARTS COUNCIL OF ENGLAND 2 Welcome to the Arts Council of England’s Annual Review for 2001 – Accounts and Lottery Report The Arts Council is the national body for the arts in England. We distribute public money from Government and the National Lottery to artists and arts organisations, both directly and through the 10 English regional arts boards. As an independent, non-political body,working at arm’s length from Government, we champion the arts — promoting the importance of artistic endeavour to the economic, physical, social and, not least, spiritual well-being of the country.We commission research, promote innovation in the arts, and provide advice and information. Our strategic priorities are to bring the arts to a wider audience, support the individual artist, nurture creativity across the generations, embrace the diversity of our culture and explore new forms of expression. In 2000 we successfully made the case to Government for a substantial increase in public funding for the arts.This review sets out how we are using this money and our plans for ensuring that England’s artists and arts communities remain among the most dynamic, vibrant and resourceful in the world. This annual review 2001is in two parts: ● Breaking new ground — a review of the year ● Accounts and lottery report See it online at: www.artscouncil.org.uk/review2001/ 3 THE ARTS COUNCIL OF ENGLAND The Arts Council of England grant-in-aid accounts 1April 2000-31March 2001 Foreword Introduction by the Secretary of State. Accounts for grants of £97.6 million to the Regional The Arts Council of England is a grant-in-aid and lottery are prepared Arts Boards during the year,as detailed registered charity,Charity Registration separately in accordance with in Note 4 of the accounts. In addition, Number 1036733. It was established by Accounts Direction also issued by a number of specific grants were Royal Charter on 1April 1994,taking the Secretary of State. administered via the Regional Arts Boards. Details of these are disclosed over those responsibilities in England Internal structure in Schedule 1to the accounts. previously discharged by the Arts The governing body of the Arts Council Council of Great Britain.The objectives of England is the Council, which of the Council as stated in the Royal consists of a Chairman and eleven Charter are to develop and improve members.The Council meets in formal the knowledge, understanding and session about ten times each year practice of the arts and to increase and monitors the work of the Chief accessibility of the arts to the public. Executive and staff.There are a To this end it makes grants to arts number of advisory panels which have organisations and Regional Arts Boards, no executive authority but play an and engages in other activities on important role by providing advice behalf of the sector. from the arts constituency.The Arts Council’s staff are led by the Chief The address of the principal office is Executive and the other members of 14 Great Peter Street,London SW1P 3NQ. the Executive Team. The Arts Council receives grant-in-aid from the Department for Culture, Media The Executive Team consists of the and Sport (DCMS) and is one of the bodies Chief Executive and four Executive designated to distribute funds from Directors.The organisation’s structure the National Lottery by the National is based on the following four Lottery etc. Act 1993 (as amended by directorates, each led and managed the National Lottery Act 1998). by an Executive Director: ● Arts Grant-in-aid is distributed by the ● Communications Council in support of the arts in ● Planning and Resources accordance with the objectives set ● Research and Development out in the Royal Charter. Regional Arts Boards The Council works at arm’s length The Regional Arts Boards are from Government and has the status independent companies, and grants of a Non-Departmental Public Body. to them from the Arts Council As such it is regulated in accordance are subject to conditions set by the with a Financial Memorandum issued Council.The Council made operating THE ARTS COUNCIL OF ENGLAND 4 GRANT-IN-AID Foreword continued Membership of Council The members of the Arts Council during the year and up to the signing of the accounts were as follows: Member Date of appointment Date of resignation/retirement Gerry Robinson January 1998 Renewed March 2001 Derrick Anderson June 1998 June 2001 David Brierley CBE November 1997 Renewed June 2000 Deborah Bull CBE June 1998 Emmanuel Cooper September 2000 Sir Christopher Frayling January 1988 June 2000 Antony Gormley OBE June 1998 June 2001 Anish Kapoor June 1998 Joanna MacGregor June 1998 Brian McMaster CBE June 2000 Professor Andrew Motion April 1996 June 2000 Dr Janet Ritterman June 2000 William Sieghart June 2000 Prudence Skene CBE May 1992 June 2000 Hilary Strong June 1998 David Brierley served as Chairman of the Audit Committee throughout 2000/01. Sir Christopher Frayling and Prudence Skene were members of the Committee in the period prior to their resignation from the Council, following which Dr Janet Ritterman and Hilary Strong were appointed as Committee members. GRANT-IN-AID 5 THE ARTS COUNCIL OF ENGLAND Foreword continued Chief Executive, Chairman arts is now distinguished separately Fixed assets and Council members from operational costs. In line with During the year the Arts Council appointment the requirements of the Statement of increased the capitalisation threshold Gerry Robinson was appointed as Recommended Practice issued by the from £500 to £2,000. Consequently,only Chairman of the Arts Council on Charity Commission, operational costs assets that separately cost more than 1May 1998 for an initial term of three are then split between support costs £2,000 each are capitalised in the years, and reappointed for a further and management and administration. balance sheet. An additional depreciation three-year term on 20 March 2001.The Details are disclosed in Notes 5 and 6 charge to the statement of financial Chief Executive, Peter Hewitt, was to the accounts. Prior year comparatives activities of £0.2m was made in have been adjusted accordingly. appointed by the Council on the year as a result of this change. 9 March 1998 for a period of five years Proposed reorganisation of Reserves with the approval of the Secretary the Arts Council of England At 31March 2001,the Arts Council had of State for Culture, Media and Sport. and the Regional Arts General Fund reserves of £7.5 million. Boards Council members are appointed for up The Council’s policy in relation to In March 2001, the Arts Council to three years and are eligible for reserves is to ensure that it holds announced a proposal to create a new reappointment for a further two terms sufficient funds to maintain liquidity, organisation by combining with the of up to three years each. to cover unforeseen short-term ten Regional Arts Boards to create a emergency cash requirements and new single Arts Council of England. Review of the year to repay to DCMS grant-in-aid over More detailed proposals were The DCMS provided grant-in-aid of committed in previous years. £237.2 million for the year.A further published by the Arts Council in July 2001in a consultation document £1million was received from the Employment and training entitled Working together for the arts. Department for Education and Skills policies and staff The proposed new single Arts Council towards the Interim Funding Scheme. participation of England will establish nine formally The accounts for activities funded The Arts Council is committed to creating constituted regional councils to which from grant-in-aid show a deficit of a working environment that treats it will delegate more of its funding and £3 million.This deficit offsets the people with fairness and respect and other functions than the Arts Council surplus from the previous year.It arose is free from discrimination, harassment currently delegates to the Regional because some commitments were and bullying. Policies and procedures Arts Boards. delayed from 1999/2000 to 2000/01. are geared towards eliminating direct Total grants awarded during the year The Council intends that these changes and indirect discrimination and were £233 million.The Arts Council’s should yield administrative savings of supporting employees in reaching their annual review gives further details of some £8-10 million a year across the full potential. the activities of the organisation. arts funding system as a whole, once transitional costs have been met.The The Arts Council’s training and The presentation of non-grant level of these transitional costs cannot development programmes are designed expenditure has been changed in this be known until staffing proposals have to encourage and support all year’s accounts to aid understanding been developed, but the Working employees in improving performance. of the nature of these costs. Other together document provides an In recognition of the organisation’s expenditure directly in support of the estimate of £8 million (see Note 30). positive approach to the recruitment THE ARTS COUNCIL OF ENGLAND 6 GRANT-IN-AID Foreword continued and management of staff with appointment at the Council’s Great suitable accounting policies on a disabilities, the Arts Council has been Peter Street address.
Recommended publications
  • What Ever Happened to In-Yer-Face Theatre?
    What Ever Happened to in-yer-face theatre? Aleks SIERZ (Theatre Critic and Visiting Research Fellow, Rose Bruford College) “I have one ambition – to write a book that will hold good for ten years afterwards.” Cyril Connolly, Enemies of Promise • Tuesday, 23 February 1999; Brixton, south London; morning. A Victorian terraced house in a road with no trees. Inside, a cloud of acrid dust rises from the ground floor. Two workmen are demolishing the wall that separates the dining room from the living room. They sweat; they curse; they sing; they laugh. The floor is covered in plaster, wooden slats, torn paper and lots of dust. Dust hangs in the air. Upstairs, Aleks is hiding from the disruption. He is sitting at his desk. His partner Lia is on a train, travelling across the city to deliver a lecture at the University of East London. Suddenly, the phone rings. It’s her. And she tells him that Sarah Kane is dead. She’s just seen the playwright’s photograph in the newspaper and read the story, straining to see over someone’s shoulder. Aleks immediately runs out, buys a newspaper, then phones playwright Mark Ravenhill, a friend of Kane’s. He gets in touch with Mel Kenyon, her agent. Yes, it’s true: Kane, who suffered from depression for much of her life, has committed suicide. She is just twenty-eight years old. Her celebrity status, her central role in the history of contemporary British theatre, is attested by the obituaries published by all the major newspapers. Aleks returns to his desk.
    [Show full text]
  • Groundsure Planning
    Groundsure Planning Address: Specimen Address Date: Report Date Report Reference: Planning Specimen Your Reference:Planning Specimen Client:Client Report Reference: Planning Specimen Contents Aerial Photo................................................................................................................. 3 1. Overview of Findings................................................................................................. 4 2. Detailed Findings...................................................................................................... 5 Planning Applications and Mobile Masts Map..................................................................... 6 Planning Applications and Mobile Masts Data.................................................................... 7 Designated Environmentally Sensitive Sites Map.............................................................. 18 Designated Environmentally Sensitive Sites.................................................................... 19 Local Information Map................................................................................................. 21 Local Information Data................................................................................................ 22 Local Infrastructure Map.............................................................................................. 32 Local Infrastructure Data.............................................................................................. 33 Education..................................................................................................................
    [Show full text]
  • BULLETIN Vol 50 No 1 January / February 2016
    CINEMA THEATRE ASSOCIATION BULLETIN www.cta-uk.org Vol 50 No 1 January / February 2016 The Regent / Gaumont / Odeon Bournemouth, visited by the CTA last October – see report p8 An audience watching Nosferatu at the Abbeydale Sheffield – see Newsreel p28 – photo courtesy Scott Hukins FROM YOUR EDITOR CINEMA THEATRE ASSOCIATION (founded 1967) You will have noticed that the Bulletin has reached volume 50. How- promoting serious interest in all aspects of cinema buildings —————————— ever, this doesn’t mean that the CTA is 50 years old. We were found- Company limited by guarantee. Reg. No. 04428776. ed in 1967 so our 50th birthday will be next year. Special events are Registered address: 59 Harrowdene Gardens, Teddington, TW11 0DJ. planned to mark the occasion – watch this space! Registered Charity No. 1100702. Directors are marked ‡ in list below. A jigsaw we bought recently from a charity shop was entitled Road —————————— PATRONS: Carol Gibbons Glenda Jackson CBE Meets Rail. It wasn’t until I got it home that I realised it had the As- Sir Gerald Kaufman PC MP Lucinda Lambton toria/Odeon Southend in the background. Davis Simpson tells me —————————— that the dome actually belonged to Luker’s Brewery; the Odeon be- ANNUAL MEMBERSHIP SUBSCRIPTIONS ing built on part of the brewery site. There are two domes, marking Full Membership (UK) ................................................................ £29 the corners of the site and they are there to this day. The cinema Full Membership (UK under 25s) .............................................. £15 Overseas (Europe Standard & World Economy) ........................ £37 entrance was flanked by shops and then the two towers. Those Overseas (World Standard) ........................................................ £49 flanking shops are also still there: the Odeon was demolished about Associate Membership (UK & Worldwide) ................................
    [Show full text]
  • Download Publication
    ARTS COUNCIL CONTENTS C hairina;,'~ Introduction 4 The Arts Council of Great Britain, as a 5 publicly accountable body, publishes an Sui kA• 1r. -C;eneral's Preface 8 Annual Report to provide Parliament and Departmental Report s 14 the general public with an overview of th e Scotland year's work and to record ail grants an d Wales 15 guarantees offered in support of the arts . Council 16 Membership of Council and Staff 17 A description of the highlights of th e Advisory Panels and Committee s 18 Council's work and discussion of its policie s Staff 23 appear in the newspaper Arts in Action Annual Accounts 25 which is published in conjunction with thi s Funds, Exhibitions, SchewsandAuvrd~ Report and can be obtained, free of charge , from the Arts Council Shop, 8 Long Acre , London WC2 and arts outlets throughou t the country . The objects for which the Arts Council of Great Britain is established are : I To develop and improve the knowledge , understanding and practice of the arts ; 2 To increase the accessibility of the arts to the public throughout Great Britain ; 3 To co-operate with governmen t departments, local authorities and othe r bodies to achieve these objects. CHAIRMAN'S INTRODUCTION and performing artists and of helping t o wherever possible both Mth local build up the audiences which must be th e authorities and with private sponsors. real support for the arts . It is the actua l event, the coming together of artist an d The Arts Council is very conscious that th e audience, which matters .
    [Show full text]
  • An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
    An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work.
    [Show full text]
  • Welcome – Secondary English
    Welcome – Secondary English Welcome to the National Theatre Collection. Here you can find the best of British theatre available for you and your students to watch whenever you’d like. Our unique collection presents high-quality recordings of 30 world-class productions, giving you the best seats in the house from the comfort of your classroom. The collection enables students to see and understand text in performance and understand how a play can be interpreted in different ways. You’ll find an incredible selection of productions, with something suitable for all students from Key Stage 3 through to Key Stage 5. Many of the productions featured as part of the Collection are GCSE and A-Level set texts for English. We hope that you might also use the Collection to introduce your students to plays that you might not have thought of exploring before, expanding their theatrical language and literacy. Key Stage 3 and above • Introduce students to the Windrush generation and their experiences in post-war • Introduce Shakespeare with productions Britain in Small Island, Helen Edmundson’s of Romeo and Juliet and The Winter’s adaptation of Andrea Levy’s novel. Tale, specially adapted for younger audiences. These productions use Shakespeare’s original text, but are only Key Stage 5 an hour long so are very accessible for younger students. • Explore A-Level set text Shakespeare plays in full, looking at the director’s interpretation • Explore a novel brought to life on stage and how this is realised on stage. You with Bryony Lavery’s adaptation of watch and analyse productions of Othello, Treasure Island.
    [Show full text]
  • La Femme Fantôme
    LA FEMME FANTÔME (THE BOGUS WOMEN) de Kay Adshead Mise en scène Michael Batz Retour en 2020/21 du grand succès créé en 2003 au Théâtre Gérard Philipe de Saint-Denis CDN et joué plus de 150 fois ! (Théâtre Vidy Lausanne, Théâtre National de Toulouse, les scènes nationales de Cergy-Pontoise, Guadeloupe, Bar-le-Duc, festival européen de Stuttgart, CDN de Limoges, Théâtre de Poche à Bruxelles...) 06 16 53 00 84 [email protected] La Femme Fantôme de Kay Adshead Mise en scène et scénographie : Michael Batz Traduction : Séverine Magois Collaboration artistique : Valérie Suner Lumière : Julia Grand Musique : Julien Goualo Assistante mise en scène : Alice See Costumes : Monique Proville Décor et son : réalisés dans les ateliers du Théâtre Gerard Philipe Avec : Laurence Joseph ou Carole Karemera ou Wilda Philippe et Siborgile Mbambo ou Manou Gallo ou Fafa Ruffino «...une phénoménale vélocité dans le caméléonisme. ...après ceux de Sellars, de Mnouchkine, un autre spectacle sur la vérité des choses, la tristesse du monde » - Mathilde De La Bardonnie« (Libération). « La performance brillante et le chant profond donnent toute sa dignité à cette cantate du désespoir » (Le Monde) « C'est fort, éclairant, émouvant. Avec des moyens nobles. Michael Batz réussit son entrée avec cette espèce de procès kafkaïen...» J.P. Léonardini (L'Humanité) « Du théâtre politique? Oui. Qui s'insurge, pourfend, dénonce, l'injustice comme l'intolérance. Avec ses armes à lui, la poésie, la sincérité....Tour de force ! » Michel Caspary (24Heures - Lausanne) Coproduction Théâtre Gérard Philipe de Saint Denis L'Apostrophe-Scène Nationale Cergy-Pontoise Théâtre Vidy-Lausanne ETE Résumé C'est après avoir pris connaissance de l'histoire de nombreux demandeurs d'asile en Angleterre et étudié de près le compte rendu du procès intenté aux détenus de Campsfield qui s'étaient révoltés, en 1994, contre leurs conditions de détention, que Kay Adshead a entrepris d'écrire The Bogus Woman.
    [Show full text]
  • Tapra 2015 Conference Programme P a G E | 1 TABLE of CONTENTS
    Conference 2015 Conference Programme 8th - 10th September 2015 PUBLISHERS AT TAPRA 2015 The following publishers will be present at the TaPRA 2015 Conference. Their display stands will be located in the Quandrangle Court where all refreshments and lunches will be served daily Manchester University Press Matthew Frost [email protected] Palgrave Macmillan Jenny McCall [email protected] Lucinda Knight [email protected] Bloomsbury Publishing Mark Dudgeon [email protected] Emily Hockley [email protected] Cambridge University Press Kerr Alexander [email protected] Routledge Marie Coffey [email protected] Claire Spence [email protected] Ben Piggott [email protected] Kate Edwards [email protected] Intellect [email protected] WELCOME TO TAPRA 2015 @ WORCESTER Last year we celebrated TaPRA @ 10 at Royal Holloway, this year we look forward to the next decade for TaPRA with our conference hosts at the University of Worcester. A record number of members booked early this year and we have a packed conference programme but, as always, there will be plenty of opportunities to meet old friends and make new connections with colleagues representing the rich and diverse research interests of our field. There are a number of ‘new’ things to note this year: a new Working Group, Performance and Science, has its first full meeting in Worcester, bringing the number of Working Groups to twelve, with a proposal for a thirteenth group, Asian Performance and Diaspora gathering to test the level of interest from the membership. Another initiative making its debut at Worcester is Research Matters, the first in a series of conference panels curated by TaPRA’s executive committee and designed to respond to issues of current importance to the wider research community.
    [Show full text]
  • Madness, Resistance, and Representation in Contemporary British and Irish Theatre
    Madness, Resistance, and Representation in Contemporary British and Irish Theatre Submitted by Jonathan Edward Venn to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, October 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) . 1 Mum. Dad. Lizzie. It runs in the family. 2 ABSTRACT This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performative analysis of the selected plays, interrogating these plays from various theoretical perspectives. It follows and explores different conceptualizations across both political and ethical lay lines, looking at what composes the theatrical practical critique, how theatre can alter and play with space, how theatre capacitate the act of witnessing, and the possibility of re-invigorating the ethical encounter through theatrical means.
    [Show full text]
  • Blackman Street, Brighton, East Sussex, BN1 4DY LOCATION Contents
    Blackman Street, Brighton, East Sussex, BN1 4DY LOCATION Contents LOCATION Introduction An invaluable insight into your new home This Location Information brochure offers an informed overview of Blackman Street as a potential new home, along with essential material about its surrounding area and its local community. It provides a valuable insight for any prospective owner or tenant. We wanted to provide you with information that you can absorb quickly, so we have presented it as visually as possible, making use of maps, icons, tables, graphs and charts. Overall, the brochure contains information about: The Property - including property details, floor plans, room details, photographs and Energy Performance Certificate. Transport - including locations of bus and coach stops, railway stations and ferry ports. Health - including locations, contact details and organisational information on the nearest GPs, pharmacies, hospitals and dentists. Local Policing - including locations, contact details and information about local community policing and the nearest police station, as well as police officers assigned to the area. Education - including locations of infant, primary and secondary schools and Key Performance Indicators (KPIs) for each key stage. Local Amenities - including locations of local services and facilities - everything from convenience stores to leisure centres, golf courses, theatres and DIY centres. Leaders 119 - 120 Western Road, Brighton, BN1 2AD 01273 720714 LOCATION The Property BLACKMAN STREET, BRIGHTON £279,950 x1 x1 x1
    [Show full text]
  • March/ April 1987
    by Dr. Norman Barfield At a time when the whole of the theatre The buildings were originally built for the ter Douglas Reeve: Wonder Boy Organist" organ enthusiasts movement is following the fishermen, who lived in them when the town (complete with Eton suit, including starched lead of the ATOS London Chapter in the en­ was a small fishing village known as Bright­ shirt collar and short "bumfreezer" jacket). couragement of new young keyboard talent helmston. At the suggestion of Poort, Douglas adopted as the "seedcorn" for the future of these Douglas showed signs of his exceptional as his signature tune the World War I favour­ beloved instruments, we in Britain are enjoy­ musical talent at an early age. He began organ ite, "Pack Up Your Troubles," which had ing the uniquely distinctive style and talents of lessons at St. George's Church, Kemp Town, been Foort's original signature before he Douglas Reeve, who was himself originally Brighton , at the age of nine. When he was 14 composed his ''Keep Smiling.'' The words of promoted as the "Wonder Boy Organist" in he became a pupil of the late Terence Casey, his signature have been Douglas' motto his earliest days at the theatre organ. well-known theatre organist of the day, at the throughout his life. This year Douglas celebrates 45 years at his 2/9 Wurlitzer in the Regent Cinema in Brigh­ Later, Douglas was based in the London beloved 4/51 British-built Hill, Norman and ton. Under Casey's expert teaching, Douglas area at the Regal Golders Green.
    [Show full text]
  • Russell Square, Brighton, East Sussex, BN1 2EF LOCATION Contents
    Russell Square, Brighton, East Sussex, BN1 2EF LOCATION Contents LOCATION Introduction An invaluable insight into your new home This Location Information brochure offers an informed overview of Russell Square as a potential new home, along with essential material about its surrounding area and its local community. It provides a valuable insight for any prospective owner or tenant. We wanted to provide you with information that you can absorb quickly, so we have presented it as visually as possible, making use of maps, icons, tables, graphs and charts. Overall, the brochure contains information about: The Property - including property details, floor plans, room details, photographs and Energy Performance Certificate. Transport - including locations of bus and coach stops, railway stations and ferry ports. Health - including locations, contact details and organisational information on the nearest GPs, pharmacies, hospitals and dentists. Local Policing - including locations, contact details and information about local community policing and the nearest police station, as well as police officers assigned to the area. Education - including locations of infant, primary and secondary schools and Key Performance Indicators (KPIs) for each key stage. Local Amenities - including locations of local services and facilities - everything from convenience stores to leisure centres, golf courses, theatres and DIY centres. Census - We have given a breakdown of the local community's age, employment and educational statistics. Leaders 119 - 120 Western Road,
    [Show full text]